VCF Low-Pass Filter Shootout - Korg Minilogue, DSI Mopho, Korg DSS-1

Published on Jul 2, 2016 CarillonAudioVid

"I wanted to get a slightly more scientific view of how the filters are compare on my three hardware analog synths.

I ran my Korg DSS-1 through its own filter first, then through the filter in the Korg Minilogue and then the Dave Smith Mopho.

Just by looking at the 3 tracks you can see how they compare.

For each filter I did a sweep. Durin the first few seconds you see a screenshot of all the clips. No EQ or volume correction has been added. Clips 1-4 for each track are sweeps at 0% resonance, 50% resonance, 75% resonance, and 100% resonance of the 24dB filter. Clip 5-8 for each track are sweeps at 0% resonance, 50% resonance, 75% resonance, and 100% resonance of the 12dB filter. You can see how some filters make the signal quieter, while others make the signal louder.

0:07 is the raw sound
0:12 Korg DSS-1 24dB filter sweeps
1:04 Korg DSS-1 12dB filter sweeps
2:01 Korg Minilogue 24dB filter sweeps
2:52 Korg Minilogue 12dB filter sweeps
3:49 Dave Smith 24dB filter sweeps
4:39 Dave Smith 12dB filter sweeps

My take is that the filters all have different qualities that make them unique. The DSS-1 isn't as resonant as the others and it gets quieter when the filter is applied, even with max resonance. The Minilogue gets a little bit dirty, doesn't seem to sweep as low in frequency, has less bass to it than others and the 12dB filter signal is a little "hotter" than the 24dB filter. The Mopho adds volume when in 24dB mode and the resonance is up, which is unlike the other two. It's resonance sweeps super low and is slightly more bass heavy. Watch the peak of the spectrum as it sweeps during the 24dB 100 resonance sweep. At 4:27 the peak is about +6dB, but it increases as it gets lower in frequency. At 4:32 it is about +18db, so it resonates more at low frequencies and is not quite linear across the spectrum. The Mopho 12dB filter has less character though.

Basically 12dB Minilogue is my favorite "dirty" sound, the DSS-1 12dB is my favorite "clean" filter for pads and mid-range sounds, 24dB Mopho is my favorite for bass type sounds."

https://carillonaudio.wordpress.com/2016/07/02/analog-vcf-shootout-minilogue-mopho-dss-1/

Roland JX-3P Filter Resonance Boost Mod DIY: Detailed Walkthrough and Sound Demonstration

video by thesrabbit

follow-up to this post.

"Disclaimer: I cannot be held responsible if you try this out and break your gear or yourself. Please be careful! This mod requires the synth to be powered on with the panel open as you make adjustments to the trim pots. Please do not touch anything inside the synth other than the trim pots, and only touch the trim pots with your trim pot tool. I used a special tool for this, but I think it may be possible to use other tools as well.

This video is meant to show you how I accomplished my particular goal. It does not mean that this is THE correct way, if there is such a thing. I'm a total DIY noob and have never used an oscilloscope before. Please leave a comment if you know something important about safety or want to call me out for anything that I'm doing which is clearly wrong.

Contents:
0:00: Intro
1:35: Preparation and disassembly
3:00: Opening the top panel
4:07: Trim pots

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Next Rez30 Filter (MAM RS3) 3 Band Pass Resonant Filter

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"This is same unit as MAM RS3 but under different label. No longer made these are rare and a wonderful filter for your electronic music. You set the centers of 3 resonant frequencies and then sweep around them for beautiful swells and sweeps under control of the internal LFO or outboard CV control...

This is MONO in but STEREO out here's a good description -

Controls

Stereo Pan
The RS3 gets it's "mono in, stereo out" designation from Filter 1 and Filter 3 being panable from hard left to hard right. With the control fully counterclockwise, Filter 1 is panned hard left, and Filter 3 is panned hard right. Moving the control to the center places all filters "right up the middle" basically making the unit mono, and then continuing to full clockwise reverse the position of Filter 1 and 3.
Refering back to Mode 3 of the LFO modulation, note that the modulation of Filter 1 and 3 comes from different sources. This is where you will get the greatest stereo effect from the RS3, and this is where the "Jarre Strings" sound lives.

This control also has an effect over how the RS3 can create a stereo spread when using the Envelope Follower. Again, Filter 1 and 3 are panable across the stereo field, and with the three follower channels each driving a separate filter, there is magic to be had.

Resonance
Controls the resonance of the filters.
Volume
Controls the output volume.
Bypass
Switches between the dry and effected signals.
Bandpass 1
Controls the frequency of filter 1.
Bandpass 2
Controls the frequency of filter 2.
Bandpass 3
Controls the frequency of filter 3.
LFO Rate
Controls the speed of the LFO.
LFO Depth
Controls the depth of the LFO sweeps.
LFO Mode 1/2/3
Mode 1: LFO 1+ to BPF 1, LFO 1+ to BPF 2, LFO 1+ to BPF 3
Mode 2: LFO 1+ to BPF 1, LFO 2 to BPF 2, LFO 1+ to BPF 3
Mode 3: LFO 1+ to BPF 1, LFO 1- to BPF 2, LFO 2 to BPF 3
Env Depth
This is a classic envelope follower which allows for sweeping the pass frequency of the filters. But, there's a twist. The envelope follower does some frequency separation at three ranges, "Low", "Mid", and "High", with a separate follower circuit at the output of each of these "channels".
Env Decay
Controls the decay of the envelope
Env Polarity +/-
The polarity of the signal from the envelope follower is switchable from Postive to Negative allowing for classic Down sweeps, as well as Up sweeps, of the filters.
Man/Ext Modulation Depth
When something is plugged into the External jack, the Manual control becomes an polarized attenuator for the signal. In the Middle position, the external signal will have no effect. Moving clockwise from center will cause the external signal to sweep the pass frequency up, while moving counterclockwise from center will cause a sweep down."

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February Filter Sweep YouTube Protest & a Call to any YouTube / Google Employees

Youtube claimed copyright on a synth filter sweep video by ranzee

"I can't believe we are now getting copyright claims just for performing tests on synths! Yep - all I did was a filter sweep - and BAM! Copyright Claim police came on in and took my video away (partially) from the world. This is ludicrous!"

This one was sent my way via supporting member, Synth Addict.

For those not aware, YouTube has algorithms that scan audio in videos for copyright infringement. If something is found in violation, the video is automatically unpublished. The problem? Apparently certain filter sweeps are triggering take downs. This is becoming a problem for synth demos (per ranzee above, and previously mentioned here for example). I am curious what sample is being used for the comparison. Rush's Tom Sawyer? :) Actually, Synth Addict mentioned it being a Chemical Brothers track, which does sound familiar. Anyway, if anyone out there reading this has any connections, maybe you can reach out to someone that can fix this?

For the rest of us, not sure how the following will help, but if anything it will bring some attention to the problem amongst the synth community.

via Synth Addict:

"What users can do:

Post a video on YouTube of yourself demonstrating a filter sweep on a synth or synths of your choice and tag it #FFS

Attached image created by Andrew Brooks on FB [the image directly above, in this post], as a joint effort with the chat community of Pro Synth Network, GEO Synths, and SonicState.

bogus YT claims received so far by:

Pro Synth Network
GEO Synths
ranzee
Andrew Brooks
Starsky Carr
…and growing"

Update: and the first #FFS video:

FFS - February Filter Sweep

video by Vague Robots

And a couple more:

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Softube Mutronics Mutator

Published on Dec 17, 2014 SoftubeStudios

"Mutronics Mutator creates mind boggling filter sweep effects on any sound source—guitars, vocals, keyboards, drums, etc. The Mutator can clearly be heard on records by artists such as Radiohead, Beck, Daft Punk, The Chemical Brothers, Nine Inch Nails, Massive Attack and many more. It is now available as a plug-in for VST, AAX and Audio Units, both on Mac and Windows platforms. More info: www.softube.com"

"Mutronics Mutator was an instant success when it came out in the early 1990's, and had an enormous impact of the sound from that decade. The Mutator can clearly be heard on records by artists such as Radiohead, Beck, Daft Punk, The Chemical Brothers, Nine Inch Nails, Massive Attack and many more.

But the Mutator was short lived. Production ceased abruptly when a vital component was discontinued by the component manufacturer. The original has since then only been available at auction sites, often at prices much higher than the original purchase price. Softube has worked closely with Mutronics to ensure that the plug-in captures every delicate detail of the original hardware.

What is the Mutator?
Mutator has an analog voltage controlled filter (VCF) for each of its two channels, which can create synth-like filter sweeps on any sound source that is fed into the unit. The filter can be controlled from a number of sources, for example the envelope follower, which sweeps the filter in proportion to the amplitude of the sound source. In Gate mode, the filter is either on or off, and the filter can also be controlled by the on-board LFOs. These have four waveforms, which create filter sweeps in our out of time with the music.

Another very cool option is to use the external sidechain input, to have an external sound source control the filter movements. For example, insert the Mutator on a pad track and have the filter move in sync with a drum loop. You can also link or unlink the two channels for trippy stereo effects, use the Width control to extend the stereo field and use the Mix knob to blend in the original sound source with the mutated sound.

To further understand what the Mutator does, we recommend that you check out the product video!

In Short

Mind boggling filter effects
Control filter sweeps by the sound source's amplitude, from the LFOs or from an external sound source
Used on many seminal records from the 1990s
Based on technology developed for analog synthesis from the 1960s
Each and every component carefully modeled
Extremely analog behavior of frequencies, phase, distortion, etc"

See the Mutronics channel below for more.

Red Roland SH-101 with Mods

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

"THE MODS INCLUDE:
VCF FM controls – Essentially VCF FM allows you to modulate the filter cutoff at audio frequencies to create all kinds of clanging cross modulation and bizarre alien splatters and sweeps. This effect works best with the resonance turned up into self oscillation but also produces good effects with lower resonance settings. The VCF FM waveform control allows you to select one of six sources for the FM modulation source. The options are square (PWM still has an effect), sawtooth, sub-1, sub-2, sub-2 pulse and noise. You can also use the external audio input as a source.
The VCF FM amount knob controls how much the filter cutoff is modulated by the source signal and the switch turns the effect on and off. The VCF FM is probably the most dramatic mod of the lot and while it can be somewhat unpredictable you can create sounds ranging from savagely aggressive grinding to unearthly ring modulation drones that wouldn’t sound out of place on the Forbidden Planet soundtrack.
PWM waveform source – Normally with the PWM set to LFO modulation you only have the option of using the triangle waveform as a modulation source. This rotary switch allows you to set the PWM modulation source to other waveforms independently of the main LFO setting. The options are Triangle, Square, Random, Noise, Sub-1 and Sub-2. The Sub waveforms are actually sourced from the VCO. Changing the setting of the sub octave switch will alter the sound with these sources.

VCF CV input – This jack socket on the top left of the case will accept an external voltage to control the filter cutoff. The suggested input is 0-5V but it can probably take a couple more volts if your Midi-CV converter can deliver them.
Audio Input – This is the jack to the right of the VCF CV input. It will accept an external audio input from any source and can be routed through the filter or used as another VCF FM source.

Audio input FM / VCF switch – This switch sets the destination of the audio input. With it set to VCF the audio input is treated as another oscillator and is run through the VCF and VCA in the same way. You will only hear the external audio if you press a key on the keyboard. Set to FM the audio input modulates the filter cutoff in the same way as the VCF FM sources except the external input can run at the same time as another FM source.
Audio Input Level – This knob controls the level of the audio input.

Filter Overdrive – This knob drives the VCO or external audio source into the filter stage causing the VCF to overdrive and distort. (The words Aggressive & Phat come to mind)

LFO rate extension switch – This is the three way switch located under the LFO rate slider. The right hand setting delivers the normal range of LFO speeds. The centre setting allows much slower speeds ranging right down to 25 second sweeps at the lowest setting. The left hand switch position allows outrageously fast LFO speed, well up into audio frequencies peaking at around 550Hz. Some evil effects can be gained by cranking up the filter mod or VCO mod sliders and switching the LFO to its highest speed.

LFO trigger input – This allows you to inject a normal +5v trigger signal to this socket which will restart to LFO waveform from its zero crossing point in a positive direction. The LFO will still run at the speed set by the slider but every time a trigger is received the waveform will restart. This runs independently of the clock and CV / Gate inputs allowing you to run a sequence via CV / Gate or the sequencer clocked externally and sync the start of the LFO sweep to a certain point instead of letting it run randomly. You can also restart the LFO anywhere you want in a sequence for special effects. One bonus feature of this mod is that it will also accept an external audio signal and retrigger the LFO at audio frequencies. Crank up the resonance, turn up the VCF mod slider, play a drum loop into the LFO trigger input and you can create sounds that will quite literally scare the shit out of you.

In addition to the mods offered on the circuitbenders website & listed above this 101 has an additional Seven x 1/8 jack sockets for extra modular connectivity and madness for....
VCF OUT
SQUARE WAVE OUT
SAW WAVE OUT
NOISE OUT
And 3 X SUB SWITCH OUT ( one socket for each sub octave )"

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M-Audio Venom Review and Interview with Product Manager Taiho Yamada

A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.

Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.

*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.

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Helmatronic Challenger in the Flesh

via OurDarkness on Gearslutz

CV & MOD BUSSES
"Modulation Sources:
1. The square output of the LFO
2. The triangular output of the LFO
3. The upwards sawtooth output of the LFO
4. The downwards sawtooth output of the LFO
5. S&H
6. Oscillator 4
7. External In 1
8. External In 2
9. Env (the envelope from VCF1)

Modulation Destinations:
1. Oscillators (individually)
2. Filters (both)
3. Pitch (equivalent to modulating all oscillators simultaneously)
4. Pan

Mod Wheel Range:
Specifies how much the modulation wheel affects the modulation between source and destination.

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Sonic Detours

Published on Jul 15, 2016 Sonic Detours

Playlist (full descriptions for each further below):
1. Mr. Fingers - Can You Feel It (Sonic Detours Cover)
2. Korg Volca Bass, Keys, Sample and Beats + Waldorf Rocket - Detour #1
3. Korg Volca Jam - Detour #2
4. Korg Volca + Waldorf Rocket Jam - Detour #3
5. Korg Electribe Ambient/Downtempo/Chill Without Beat - Detour #4
6. Jam with Push 2, Waldorf Rocket, Roland JU-06, Korg Volca Bass and Keys - Detour #5
7. Detour #6 - Push 2, Roland JU-06, MicroBrute, Korg Volca Bass, Keys, Beats and Sample
8. Jam with Korg Minilogue, Roland JU-06, MicroBrute, Korg Volca, Ableton Live, Push 2 - Detour #7


1. Mr. Fingers - Can You Feel It (Sonic Detours Cover)

"I bought a Roland JU-06 today and decided to celebrate with a cover of a house music classic.

Gear used:
- Roland JU-06
- Korg Volca Bass
- Korg Volca Keys
- Korg Volca Sample
- Ableton Live 9
- Ableton Push 2
- Novation Launch Control

Ableton live was used for sequencing and mixing only - all synth and drum parts were played on the hardware units."

2. Korg Volca Bass, Keys, Sample and Beats + Waldorf Rocket - Detour #1

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Marion (Oberheim) MSR-2 Poly Analog Modular Synthesizer

via this auction

"Concernig the O.S. VERSION:
- Following Internet searches, I believe these are the latest OS versions:
MSR (mainframe) Version 1.09 / ASM (synthesizer module) Version 1.13
- As you can see, the mainframe of the actual item has OS 1.09; can´t really tell the ASM version at this point

---------- ----------
Some facts/rumors about the MSR-2:
- It has Audio-In, so you can process external audio signals thru the envelope/filter et al.
- The Marion MSR-2 is known for having the 'Oberheim sound' packaged inside a compact single-space rackmount module with modern digital reliability and MIDI implementation.
- Despite its rather harmless and simple appearance, the MSR-2 allows for some fairly complex but intuitive programming. The filters, envelopes, LFOs and other parameters are very analog-like in their sound and editing methods.
- The module is 16-part multitimbral.

8 voices and HROs (high resolution oscillators) used in here, midi control, the rest is quite like the Matrix 6, this mainframe can hold up to 2 complete ASMs (16 voices) and a main graphic EQ. planned: sample player, wavetable synth, FX, FM?.. - Module never came up.. has triangle to saw morphing.

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next! SPACEBASS 3.3 With Mods

via Circuitbenders.co.uk
Click through for demos. Details on the mods captured for the archives:

"This is the 'next! SPACEBASS 3.3' version (the exclaimation mark remains a mystery), which is exceptionally rare. As far as we know, this version was only ever available very briefly in the US and this is the only one we have ever seen in Europe. Most versions found in the US appear to be imported Freebass' or MB33's, so we'd suspect that very few of these models were ever produced.

Our mods add 5 switches, 2 knobs and a jack input round the back to allow a whole extra smorgasbord of sonic mayhem. A veritable 3 course breakfast of orgasmic analogue delight! Something along those lines anyway :) .

THE MODS INCLUDE:

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Modified MAM MB33 Analog RETRO Bass Synthesizer w/ Circuitbenders Acid FM Mods

Note: Auction links are affiliate links for which the site may be compensated.
Published on Mar 21, 2017 circuitbenders.co.uk

"MAM MB33 Retro with Acid FM mods: This video shows the filter FM mod modulating the filter cutoff at audio frequencies using the internal square and sawtooth VCO waveforms as FM sources. It also demonstrates the Filter Lock mod that holds the filter and VCA open with no envelope, the resonance boost, and the overdrive mod.

The MB33 retro seems to be designed to slightly distort the output stage at full volume, much like the TB303 did. The Drive mod boosts this distortion savagely for some grungy acid techno sounds."

via this auction

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Vintage MOOG SIGNAL PROCESSORS

Note: Auction links are affiliate links for which the site may be compensated.

via this auction

See the original advert for the set in this post.

via the seller: "THIS IS A ONCE IN A LIFETIME OPPORTUNITY FOR ANYONE TO OWN ALL THESE UNITS WITHOUT HAVING TO WAIT YEARS & YEARS TO FIND THEM ALL... IT TOOK ME MANY YEARS TO FIND THEM ALL AND SPENT LOTS OF MONEY ON THEM PLUS ALL THE ELECTRONIC MAINTENANCE I HAVE GIVEN TO EACH ONE OF THEM TO HAVE THEM WORK ALL 100%.

I have 5 units in a robust ATA Molded PE Shock w/ Rubber Shock Suspension (12U Space) Model: G-Shock-12L almost new with both front and back lid covers with it's own locking key as well... (REFER TO PHOTOS...) And the Moog Parametric Equalizer as a single unit because it didn't fit in the case unfortunately... But you get all 6 units shipped together as a complete set... NOTE: On the last picture the Bode Frequency Shifter, Bode Vocoder, and the second Moog Parametric EQ ARE NOT included in the bundle they are there just because that's where I had mounted both Parametric EQs but you only get one of the Parametric EQs and not 2 that are pictured there along with the other Bode stuff... Although the Bode Units are going for sale as well but are being sold separately so please refer to info description or ask questions if you're not sure. Thanks...

Here's what's included in the bundle:

- Moog 16 Channel Vocoder 327A - Model: MBVO - X 1 Unit
- Moog Custom Engineering String Filter - ( Fully Calibrated...) - X 1 Unit
- Moog Custom Engineering Dual VCO - ( Fully Calibrated As Well...) - X 1 Unit
- Moog 12 Stage Phaser - Model: MPKH - X 1 Unit
- Moog Three Band Parametric Equalizer 304A - Model: MKPE - X 1 Unit
- Moog Ten Band Graphic Equalizer - Model: MKGE - X 1 Unit

Here's some info you may want to know about each unit:

* Moog Dual VCO - The Moog Dual Voltage Controlled Oscillator was built in very limited quantities by the Moog Custom Engineering Department A.K.A. Modusonic which has 2 Ultra-Stable VCOs based on the 3rd Revision of the Minimoog 921A VCO With Temp Comp UA 726 Matched Differential Pair Transistors. SUPER FREAKING PHAT..!!! Personally I think it beats any Minimoog I've own... The waveforms are just "EARGASMIC"... =) You've got to hear it for yourself... The Moog Dual VCO was designed to add that extra two oscillator fatness to other Moog Synthesizers as the Multimoog, Micromoog and the Minimoog at the time; although the Minimoog required the addition of the Keyboard CV Output Modification so it could control the Moog Dual VCO's pitch and route it's output back into the Minimoog's External Audio Input... The Micromoog & Multimoog did not require this mod because they have already a Keyboard CV Output Jack as well as their respective audio input. So basically you can use the Moog Dual VCO with any Analog Synthesizer with a Keyboard CV Output (1 Volt/Oct.) and an External Audio Input to pass the Dual VCO's output signal back in it and voila two extra fat Moog Oscillators in your set up.

* Functions, Features & Input/Output Option:

- Master Tune - Controls overall tuning of both oscillators or one when only used as single...
- Pulse Width - Controls width of both oscillator's pulse waveforms when used either as single or dual.
- Octave Select Multi-Switch Knob with: LO, 32', 16', 8', 4', 2'. (Both Oscillator 1 & 2 have their own Multi-Switch Knob)
- Waveform Select Switch with: Up Ramp/Sawtooth, Triangle, Pulse, Sine.
- Oscillator On/Off Switch - Each Oscillator has it's own on/off switch to quickly add or subtract one oscillator while performing.
- Oscillator 2 Sync Switch - Automatically syncs both oscillators together by the flick of a switch.
- Oscillator 2 Tune Knob - To tune or detune oscillator 2 from 1 either while synced or un-synced.
- Output Level Knob - Controls overall output volume.
- Power Switch - Turns on/off unit.
- Oscillator 1 CV Input Jack 1/4" (1 Volt/Oct.) - Controls oscillator 1 only.
- Both In 1 CV Input Jack 1/4" (1 Volt/Oct.) - Controls pitch of both oscillators while oscillator 1 being the master controller.
- Oscillator 1 Output Jack 1/4" - Outputs signal of oscillator 1 only.
- Oscillator 2 CV Input Jack 1/4" (1 Volt/Oct.) - Controls oscillator 2 only.
- Both In 2 CV Input Jack 1/4" (1 Volt/Oct.) - Controls pitch of both oscillators.
- Oscillator 2 Output Jack 1/4" - Outputs signal of oscillator 2 only.
- X 4 Multiple Output Jacks 1/4" - Note: These are not connected whatsoever to any circuit inside the unit, they only serve to split any input or output signal you wish to multiply.
- Runs on 120 VAC Only.

* Moog 16 Channel Vocoder - The Moog 16 Channel Vocoder was designed by Genius Engineer and Pioneer In Electronic Music Instruments Harald Bode in the mid 70's about and first released in about 1977 under the "Bode Sound Company" Brand which was manufactured by Polyfusion under the name of Bode Vocoder 16 Channel Model 7702, and was then licensed to the Moog Synthesizer Brand in about 1978 which was then released as The Moog 16-Channel Vocoder 327A Model MBVO. Both Vocoders are almost identical in circuit design except for a few slight variations in the type of components that were used in each but functions and features are basically the same...

* Functions, Features & Input/Output Option:

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The New Roland Boutique Synths - JP-08, JU-06, JX-03, K-25M - Pics & Full Details

We saw the JP-08 here. The full line of new Roland Boutique mini synths have been leaked.  The source as far as I can tell was Zzounds via Google cache: JP-08 ($399), JU-6 ($299), JX-03 ($299), K-25M ($99).

The first thing to note is the mini keyboards on these are optional. They are all desktop synths and the front panel can be angled to different degrees including flat when mounted to the keyboard. Each is a four voice synth but can be chained to add an additional 4 voices per unit. Each can run on batteries and has a built-in speaker. The keyboard is purchased separately. Details and pics on each follow.

"Roland JP-08 Synthesizer Module
The legendary Jupiter-8 synth is back - as a limited-edition module no bigger than a book. Part of the Roland Boutique series, the JP-08 is all about hands-on control and that iconic Jupiter sound. With an array of 36 knobs and sliders from the original Jupiter-8 front panel, the 4-voice JP-08 is highly programmable and encourages sonic experimentation, especially with the built-in speaker and battery operation. Using Roland's acclaimed Analog Circuit Behavior (ACB) technology the JP-08 faithfully reproduces the original Jupiter-8 sounds and adds a few new twists in the form of extra LFOs and expanded VCO range. You can even slide the JP-08 into the K-25m keyboard unit (not included) for a self-contained, go-anywhere synth experience.

Huge Synth. Small Package.
The Jupiter-8 was a big synth in every way; physically imposing with loads of knobs and sliders, and most importantly, a huge sound. The JP-08 retains the big sound of the Jupiter-8 but shrinks everything else - including the price - into a module measuring under 12" across.

Hands-on control
With such an expressive sound engine, you'll want to shape the sounds to match your mood. With 36 of the original parameters accessible from the front panel, the JP-08 is all about hands-on control, and even users of the Jupiter-8 will quickly feel at home as the user interface and programming 'feel' is highly reminiscent of the original.

New Sound-Shaping Options
Even though the JP-08 is an authentic recreation of the Jupiter-8, Roland also included a few extras. The JP-08 adds several new waveforms to the original architecture, including TRI and NOISE for the LFO and SIN for VCO-1, and both VCOs have an expanded range for even more sound shaping potential.

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Moog Minimoog Voyager White (Performer Edition)

Note: Auction links are affiliate links for which the site may be compensated.
via this auction

"Moog Music presents the award-winning minimoog Voyager Performer Edition, an all analog performance synthesizer incorporating virtually all of the functions of the original minimoog synthesizer, produced from 1971 to 1984, and a number of new features that makes this the minimoog for the 21st Century.

This investment will last you a life-time. The Voyager is paneled in ash with a stunning custom finish. Features include 3 ultra-stable oscillators, dual moog filters, 4-stage analog envelope generators, flexible modulation busses, and much much more...

If you want THE Moog sound, this is it. Period. This has Bob Moog's legendary synthesizer design expertise in its circuits. Say no more. It sounds amazing, looks amazing, and feels amazing. There is no substitute.

The Voyager has been awarded a "Key Buy" award from Keyboard magazine, a "Platinum Award" from Future Music magazine, an "Excellence Award" from Music Tech magazine, a TEC award from Mix magazine, and the "2003 Editor's Choice award" from Electronic musician magazine.

Wait...

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New Pittsburgh Modular Impulse Filter Demo Video

Published on Dec 9, 2016 Pittsburgh Modular Synthesizers

"Organic and percussive, the Dynamic Impulse Filter utilizes an entirely new, all analog design to replicate the impact transients and vibrance of a percussion hit. The result is a versatile lowpass filter that sounds natural and energetic. The Dynamic Impulse Filter works in one of three modes, lopass filter with resonance, high quality VCA, and a combined mode that manages both harmonics and gain at the same time. The core of the filter uses a Sallen-Key topology to produce a smooth two pole filter that will self-oscillate at high resonance settings."

"Lifeforms Dynamic Impulse Filter

A New Species of Low Pass Gate

Organic and percussive, the Dynamic Impulse Filter utilizes an entirely new, all analog design to replicate the impact transients and vibrance of a percussion hit. The result is a versatile filter module that sounds natural and energetic.

We Love Vactrols Too...

The fruit of over two years of research and development, the Dynamic Impulse Filter evolves the lowpass gate into the present by retaining the sonic characteristics we love about vactrols while solving all the problems that come with it. The unique design of the Dynamic Impulse Filter replaces the vactrol with a modern analog circuit created to replicate and expand on the signature sound of the vactrol. The response time of the Dynamic Impulse Filter is not static like a vactrol; instead it is tunable allowing the response of the module to adapt to any musical context.

The suggested retail price for the Lifeforms Dynamic Impulse Filter is $229 and it begins shipping to authorized resellers December 16. More information is available at www.pittsburghmodular.com/lifeforms-dynamic-impulse-filter"

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Intellijel Rubicon Demos by Matttech Modular Demos

All tracks in player directly above.  Individual tracks with details for each below.

http://www.intellijel.com

"NOTE: FULL VERSIONS OF DEMOS 2 AND 3 CAN BE FOUND AT soundcloud.com/spitezoo-experimental-lab/sink-estate AND soundcloud.com/spitezoo-experimental-lab/band-of-rubbers RESPECTIVELY."

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Exploring The Gristleizer Eurorack Module

Published on May 12, 2016 Bimini Road

http://www.endangeredaudioresearch.com/
http://www.biminiroadelectronics.com

"Here are a few clips of The Gristleizer working with some other modules. The Expert Sleepers FH-1 is acting as a bridge for my KMI QuNexus (off screen). The Disting mk3 is the oscillator, which is feeding into the L-1 Tube VCA, which itself is triggered by the gate from the FH-1 (I don't have an envelope module at the moment). The output of the VCA is then fed through the Gristleizer and sent through my Universal Audio Apollo, where a Cooper Time Cube provides the stereo delay. It is also running through the Neve 1073 Preamp plugin, the Studer A800, and the Ampex ATR-102.

0:00 - Output A of the Disting is multed using a Tiptop stackable cable to the Mod input of the Gristleizer in VCF mode. This means that the speed of the scanning Bandpass Filter within the Gristleizer is moving at the same rate as the pitch of the oscillator. Doing this, the Bias, Filter Mix, and Depth Controls all allow you to dial in amazing tones.

0:46 - This is the same setting as above, but the internal triangle wave of The Gristleizer is modulating now. I call this effect a phase ring mod. Although it does not use diodes in a ring configuration to achieve the ring mod effect, the effect of the scanning BPF creates another oscillating tone that, especially when dialed into the tonic or the dominant note of the scale you're using. In this case, I am dialing it in so that it crashes against the pitch of the Disting's oscillator, creating some truly growling tones.

1:46 - Here, I'm adjusting the drive of the VCA to create some feedback overtones in order to highlight the range that the Bias knob sweeps through. The Bias controls the center frequency that the Gristleizer sweeps through. Only with the Endangered Audio Research Gristleizer filter do you get this wide range - the original design was focused way down in the bass range which, for most instruments, was completely unusable. The redesigned filter is dirty enough to be at home within The Gristleizer, but is without a doubt much more musical. In this example, I have patched the Saw LFO output to the Mod input (breaking the normalized connection to the Triangle wave).

2:17 - This is The Gristleizer in VCA mode. Notice towards the end of this clip how much the Bias changes the tone of the input. The added Filter Mix control also doubles as a presence control in VCA mode. The Square LFO is patched into The Gristleizer's Mod input.

2:59 - Another example of the phase ring modulation effect."

Exploring The Gristleizer Eurorack Module - Part 2

Published on May 14, 2016 Bimini Road

http://www.endangeredaudioresearch.com
http://www.biminiroadelectronics.com

"Ableton Live is controlling the oscillator and the L-1 Tube VCA through the iConnectivity Box and the Expert Sleepers FH-1, and I'm scanning through different sounds and modes of The Gristleizer to show what a versatile tone box it is. Few modules can radically alter their input this much!"

Pittsburgh Modular Timetable Synth Module Clocks

via this auction
"The Pittsburgh Modular Timetable is essentially a pair of clock dividers that share a common clock and reset.

The divider produces quarter, half, whole & double whole-note divisions of the input signal. The patterns generated in the 2nd section range from the simple (or mundane, even an exact replica of the divider outputs) to the convoluted, depending on several factors – some adjustable in real time, some not.

Even in its basic configuration the Timetable is ‘bent by design’ it takes advantage of what could (should?) be considered errors to provide variations and unpredictable (but not random or chaotic) changes… all tied to a clock. The user can also take the ‘bends’ further by swapping out one, or both, of the CMOS logic chips in the core of the circuit. Changing the logic chip changes the functionality of the Timetable creating a new set of behaviors to explore.

The primary intention of Timetable is to provide timed events, both predictable & inconsistent… a little like the average public transport system.

In practice, you can use the module to provide a set of straightforward divisions or as a whacked out gate spewing lunatic… and of course something, somewhere in the middle. It loves feedback. Sending one of the many outputs back into its CV or Digital control inputs will make it jerk and twist. A Binary system that sometimes gets stuck somewhere between 1 and 0.

Here is some audio of the Timetable in action. A basic oscillator and filter are used with the Timetable in this demo. The pitch of the oscillator, frequency of the filter, and the divider within the Timetable are all CV’d from different voltages available on the Timetable.

A Mod Pack is available separately so it will be easy to try different combinations of logic. It comes with 2 sets of 4 different logic chips, a logic pattern table for each chip, an IC Remover to make swapping out chips a breeze, a sticker, a fancy cardboard box with anti-static foam to keep everything safe, and a secret prize. The mod pack will be $15 USD. The logic chips included in the Mod Pack are NOR, NAND, XOR, XNOR.

Divider 1:
Divider 1 (outputs 1/2/3/4) produces fixed /2, /4, /8, /16 clock divisions. These outputs are not effected by any of the CV or external controls, it is the straight guy.

Divider 2:
Divider 2 (outputs A/B/C/D) starts from the same point as Divider 1 but the counter can be manipulated in a number of ways…

Mode:
Divider 2 can be advanced by either the main clock, or the last stage of Divider 1. With no CV and the Invert control fully counter-clockwise this just extends the count for longer divisions. The Mode can be controlled by external gates.

Flip:
Decides if the 2nd counter is advanced on the positive or negative going edge of the clock. At its most basic this offsets Divider 2 by a clock pulse. It is the same divisions as Divider 1 but on the next beat. The Flip can be controlled by external gates.

Invert and CV Input:
The invert control is nominally fully counter-clockwise. At clockwise, each stage of the 2nd divider is inverted, but, its not just the outputs that get inverted, as each stage feeds the next to create the divisions the whole count is effected. The easiest way to explain it is it’s like offsetting the count backwards; where Flip moves the divisions one beat forward, with Invert clockwise the divisions are shifted one beat back. The CV amount control is attenuverting so you can add or subtract voltages from the Invert value.

Gate Inputs:
All the gate inputs have a threshold of ~1V.

Gate Outputs:
The gate outputs (1/2/3/4 and A/B/C/D) follow the pulsewidth of the clock. With some feedback patches its possible to get triggers from A/B/C/D with “gate” inputs.

CV1 – 3 Outputs:
These are voltages derived from Divider 2. CV1 is stepped, bipolar and CV3 is stepped, unipolar. CV2 is the smoothed difference between CV1 and CV2. In use CV1 and CV2 are usefull for things like filter sweeps etc… CV3 is great for pinging filters and Low Pass Gates. All 3 CV outputs are great for controlling VCOs.

Usage Notes:
1. Using a fast LFO into the CV Input, you can get bursts of events that only occur when the clock is high.
2. Both sets of divided outputs (1/2/3/4 and A/B/C/D) are generated the same way, by first ANDing the clock with the output of a binary counter. A/B/C/D has the voltage controlled logic applied to the binary outputs before the AND.
3. One cool patch is to control Flip with output 3 or 4. This starts both dividers from the same point but as they advance they get offset, then eventually after a fairly long cycle, they come back into alignment. SImilar to the effect of singing in the round ,but for the chorus everyone sings at the same time.
4. Another interesting patch is with the Mode switch up and the Invert pot fully clockwise. The A/B/C/D outs will now follow the clock, but for every 16 clock pulses a differant set of outs will be active. If the outputs where clocking sequencers you have a kind of “dueling banjos” set-up.

The Timetable was designed by Thomas O’Connor. His designs are a unique combination of utility and chaos and the Timetable is no different."

Point Blank on Emulating The Classic Roland TB303

The following tutorial covers emulating the Roland TB-303 with Logic's ES1, however the techniques can be applied to other synths. Posted in full here with permission from Point Blank. The embeds below are only linked in the Point Blank post. I opted to embed them. Be sure to check out their site for more pro audio tutorials.

"Hands up who likes analogue synthesisers?! Of course you do; there’s dozen of models out there and the best thing is, they’re all different. That might seem strange at first glance because when you examine them, most models appear to be basically the same.

My Roland SH101 has one oscillator, one filter, one envelope generator and plays only one note at a time. Put that next to my Yamaha CS10, which is nearly exactly the same in terms of sound making facilities, and everyone except a guitarist would tell you they’re different, as different as a grand piano and a Yamaha DX7 (and the SH101 sounds far better in my opinion). And as every synth sounds different, each is unique. Which brings us to a tiny silver box manufactured in 1982. It’s the antique synth that inspired every dance music genre since Acid House:

The Roland TB303 Bassline.

Hardfloor - Acperience 1

YouTube Uploaded by drstrobo on Nov 27, 2006

On paper it looks extremely limited. It has one oscillator, one envelope generator, one filter and a tiny keyboard that’s next to impossible to program. And yet, this synth sounds like no other. It’s weedy, shrill and despite it’s ‘bassline’ tag the thing it does worst is basslines. How ironic! TB303 are very rare and very expensive these days, and quite frankly you’d be better off spending £1200 on a decent set of monitors. To save you some money I’m going to show you how you can make Logic’s ES1 software instrument do a close imitation. And if you don’t have Logic, don’t worry, because these steps will work on just about any softsynth.

The basics

1. Load in the ES1 and set the oscillator to ‘sawtooth’. Set the oscillator mix so you have only the main oscillator, not the the subsoscillator. The TB303 has no suboscillator and only a dial between sawtooth and ‘square’; you can switch the oscillator to square if you prefer.
2. Set the oscillator range to 16’.
3. Make sure the ES1 ‘Voices’ setting is in ‘Legato mode’ and with ‘Glide’ set to around a 1/3 of the way up.

This setting is extremely important; we must not have notes overlapping and creating chords. We need the ability to slide between specific notes too!

4. Set the ADSR to very fast attack (but not instant, just slightly off will suffice). Set sustain to zero. Set the release and decay to two thirds of the way up.
5. Set the amp to ‘Gate R’ and the ‘level via vel’ triangles to one at the top and the other 2/3 up.
6. Set the filter to 12dB (the TB303 actually has an 18dB filter but the ES1’s filter sounds far more realistic at this setting) and the ADSR via vel triangles at zero and 2o’clock. Drive should be at zero, and ‘Key’ at half way.
7. Set ‘Analog’ to 100%
8. Set both modulation faders to zero. There’s no modulation other than ADSR on a TB303!

So, with your synthesiser set up in this way, you should have an approximation of a TB303 coming out of your speakers. That’s only half of the battle: to really get that acid feel you need to play the ES1 like a TB303 too. Which actually means that you mustn’t play it but manually program in a pattern in the style of a Roland sequencer from the early 1980s.

The Pattern

1. Create a one bar region in the arrange area using the pencil mouse tool (esc > No.2)
2. Open that in the piano roll editor and draw in the notes you want to play using the pencil tool. Note that the default length on velocity setting is ideal for us because the note is one 16th note long and the velocity is 80. Remember, no chords!

Here’s where things get really clever. At the moment, you’ll probably have a string of notes, each clearly firing one after the other. The TB303 can do that, but the best patterns use glides, legato and accents to create that classic Acid House feel.

1. Drag the right hand corner of the note that you want to ‘slur’ into the next one to the right so that it overlaps with the next note. This will do two things: it will stop the envelope generator triggering again and it will make the ES1 sweep to the new note’s pitch. Nice!
2. The finishing touch is to add accents. You do this with the velocity mouse tool (esc > No.9). At the moment, all your notes will be at velocity 80. Click-drag up on the note you want to have an accent until the velocity is at, say, 100. That note will not only be louder but it will also be slightly brighter too, just like in the old days.

The finishing touches

Of course, it’s how you adjust the settings on the synth that makes that TB303 ‘performance’. The best ones to play with are the Decay/Release settings on the ADSR, Filter Cutoff, the Filter Resonance and the degree of Filter Modulation (move the fader by clicking between the two triangles). If you want to emulate the changing of the ‘accent’ setting, try moving the top filter triangle up and down. Also, you can adjust the attack setting on the ADSR; moving it up to just under a quarter of the way will give you an accurate ‘filter lag’ sound. The key here is subtlety. The real TB303 connoisseur can also add a touch more resonance on every accented note; this is most easily drawn in with automation.

Clean TB303 sounds went out of fashion in the 80s.

Phuture - Acid Tracks (1987)

YouTube Uploaded by CraazyAcid on Sep 26, 2009


Try these effects to dirty up your fake TB303:

1. Bitcrusher. But don’t use it to down-sample the audio. Instead, just adjust the drive setting. This will give you that classic ‘abused preamp on a cheap mixing desk’ grit.
2. Ensemble. This can help a pattern come alive, and adds a nice movement to the sound.
3. Tape delay. Throwing a dash of this into your mix can give the ES1 pattern an extra bounce and sound great with those shrill filter sweeps.

Enjoy!

To learn how to produce the classic Roland TB303 sound using Ableton Live, check out this tutorial from fellow Point Blank tutor, Danny J Lewis.

Steve Hillier teaches Music Business at our London College and Logic Music Production Online. Keep up to date with all of our news, tutorials and giveaways by subscribing to our Youtube channel, or following us on Facebook and Twitter. Please leave a comment below."