"Here's my raw, unedited and literal first patch and experience with the Time Machine Eurorack module from OAM (Olivia Artz Modular). I've been excited for this one since I first saw it, I'm a huge delay fan and a multi-tap delay with loads of control was bound to have me interested!"
Time Machine is a tactile interface for mixing together 8 delay lines with an input signal. At least that was the plan. We made a prototype and got like 300% funded on kickstarter, so we got to work.
As the DSP engine was refined a sonic character emerged that howls like guitar feedback while granulizing like the grey goo at the end of the universe. We leaned into this. The resulting module can create clocked rhythmic glitch effects, reverbs, chaos, and ego-death.
22 HP 25 mm deep 122 mA +12V, 8 mA -12V 24-bit audio in/out (-5V to +5V) 16-bit CV control (-5V to +5V)
The above playlist features a handful of Oberheim OB-X8 videos by Adam Borseti. Note the first few videos feature the custom OB-Xa style overlay (link below), followed by the stock OB-X style panel.
Playlist:
1. First Day of Summer! (Oberheim OB-X8)
Here's a fun little spur-of-the-moment jam over a song I've been working on. This is the direction I want the song to go in, but I'm probably going to re-record some of it. We'll see. You like the 80s style OB-Xa/OB-8 blue pin stripes for the OB-X8? I do to! They're made of semi-rigid plastic and can be applied or removed in less than 2 minutes with no adhesive. It's really cool to be able to switch between the late 70s OB-X look and the super-1980s OB-Xa and OB-8 look.
Using the SEM filters in lowpass for the bottom layer and a delicious Notch filter on the upper layer pad.
4. OB-X8 - Left Hand Bass Exercises
Laying down bass lines thick and hard with lefty, following the lead of whatever chord righty is holding down. This was all improvised so forgive any chord meandering and weird transitions, mistakes and the like. Is what it is.
5. "Approaching Chaos" - Oberheim OB-X8
All sounds made with the Oberheim OB-X8 run through a Zoom MS-70CDR, with the drums from my Roland TR-626. Enjoy
Consider this some filler while I'm working on my next actual song. I'm almost done!
7. "Reflections" - Oberheim OB-X8
A new original tune of mine, the first in a good long while! Less time and more stress have resulted in less creativity haha, but I'm trying over here. :)
"At long last IDUM is back! IDUM is our multi-effect processor for gates, allowing anything from a little variation to absolute insanity. Here is a little jam showing off using IDUM's new features - split mode and the improved looper.
We have a two IDUM system here with one controlling the VPME quad drum and a second controlling a set of SSF percussion modules as well as a voice made with the Schlappi Engineering Three Body and Boundary. We are also controlling our Tree/ Leaves combo module which is doing the main sequencing duties. The entire patch is mixed using our 3DVCA modules and our upcoming Ana v2 modules are acting as a macro controller, allowing us to change the whole patch with just four knobs. The main sequencer is the amazing Westlicht Performer.
In this jam I am focusing on showing how much variation you can get out of IDUM without changing the source sequence at all. This means that the same trigger sequence is driving IDUM the entire time and the note sequencer is not changed at all either, all of the variation you hear is either from manipulating IDUM or from changing some of the timbre settings of the drums.
If you would like to learn more about IDUM go to our website here:
"IDUM is a gate processing effect that turns its input effortlessly into IDM. Making complex electronic music with the modular usually requires meticulous sequencing done in advance or a large ecosystem of modules. Unfortunately, the level of expertise needed to accomplish this is not accessible to the average modular user. IDUM aims to make this process easier and put Intelligent Dance Music, also known as IDM, into the hands of people with average intelligence. IDUM does not require much knowledge to get immediate and compelling results; but with some extra familiarity, this module can enable innovative music making techniques. Instead of generating musical patterns on its own, IDUM acts like an effects processor for the sequences that run through it. For example, a filter or a delay allows the user to alter their sound by twisting the knobs or modulating the parameters. Similarly, IDUM manipulates the actual gates and sequences of connected modules, but with a level of playability normally inaccessible to a sequencer. IDUM can vary carefully crafted sequences or turn your music into an onslaught of controlled chaos. Its open source code and hardware based on the beginner friendly Arduino Nano Every encourage users to tweak their modules to taste or to add new features all while ensuring future improvements as IDUM makes its way into the wild."
"Meet Neptune, a salty sea dog of a Eurorack module, dripping in character from Winterbloom & Decapod Devices. It's a diode ladder filter with an added 'salt' control, which is a feedback-modulated distortion (I show you exactly what this is AND how to add it to your own filters/patches in the video).
It's a multimode filter that instead of giving different filter mode outputs gives inputs to them, which allows for flexible spectral morphing between two inputs, dual band saturation and tilt EQ FX and plenty more, lots of patches below, take a look.
As part of this video I sat down to chat with Carson Walls of Decapod Devices. Short parts of that interview are in this video, but you can watch the full thing here [video below]."
INTRO 00:00 Hello & previews 01:20 What is Neptune & tell us about the SALT?!?
SOUNDS & FEATURE RUN DOWN 02:32 Feature run down 03:34 Low pass sounds 04:15 High pass sounds 04:39 Peak EQ & notch behaviours 04:52 Salt me baby 05:38 Decapod Devices interview preview
PATCHES 06:26 A characterful back end for a synth voice 08:13 Spectral Crossfading - a wonderful performance tool 10:27 Salt, in the designers own words 11:15 How to add salt to any filter 12:58 Cute Delicate Pings & Soft Salty Blurps 15:28 Tilt EQ, compression & phaser like sweeps 18:02 Notch Filter phaser FX 18:44 Kicks from the ocean floor 21:01 A Waveshaping Oscillator with added FM & AM 22:05 Neptunes Salty Acid 24:05 Chaos-scillator - a one module salt in the wounds noise concert 25:13 Audio Rate Modulation 26:29 Sub Audio Processing - Resonating Envelopes & Interjecting Wobbles
Getting to know Decapod Devices for the release of Neptune with Winterbloom
"This video is a historical, technical, and musical deep dive into the Buchla 100 Series Modular System at the Mills College Center for Contemporary Music. This instrument was the first voltage controllable modular synthesizer built by Don Buchla—it was delivered to the San Francisco Tape Music Center in the mid-1960s.
In this video we’ll start with a brief historical overview of the Buchla 100 Series Modular System and the San Francisco Tape Music Center. Then, we’ll unpack everything that’s inside the instrument module by module. Finally, I’ll share some of the quirks of this particular instrument, and lots of patch examples to illustrate its unique voice and character.
As I was getting to know this instrument, I tried to keep in mind the circumstances surrounding its development—the people who contributed to it, the time in which it emerged, and the state of electronic music at the time of its invention. These thoughts greatly inspired my approach to working with the instrument and are present throughout this video.
It’s a rare opportunity to be able to work with a historical instrument like this one. I have always been super inspired by Buchla’s work in general, but like many people have had few opportunities to work with his original instruments. Instead, much of my experience has been through newer instruments inspired by his designs. Being able to work closely with this instrument was an incredibly inspiring and clarifying experience that allowed me to gain a deeper understanding of Buchla’s own creative and technical development, as well as the multitude of music, modern modules, and instruments that have been inspired by his work.
Special thank you to Mills College for letting us spend a week in the electronic music studio working with the Buchla 100; to The Buchla Archives and Ryan Gaston for helping to put this video together; and also to all of the amazing folks in my Patreon community for your support in helping to bring educational projects like this one to life!
Learn more / join the waitlist for Learning Sound and Synthesis, my online modular synthesis and sound design class: https://www.soundandsynthesis.com
Join my Patreon community for behind-the-scenes content, unreleased music, and extended tutorials: sarahbellereid
TIMESTAMPS:
00:00 Historical Overview: Buchla 100 + the San Francisco Tape Music Center
7:38 Mills Buchla 100 System Overview
14:27 Timbre in the Mills Buchla 100
18:29 Chaos in the Mills Buchla 100
21:52 Voltage Control Quirks
25:00 Sequencing Tactics: Triggered Segments
30:40 Sequencing Tactics: Extended Sequences
32:06 More Patches + Sounds
32:36 Ring Modulated Reverb Patch
34:40 Keyboard Chaos Patch
36:55 Gated Voice Patch
38:29 Wonky Drum Machine Patch
38:57 Triggered Gestures Patch
39:14 Transposed FM Sequence Patch
39:48 Bell Tones Patch
40:27 Touch Controlled Ratchet Patch
41:00 Sequenced Melodic Patch
Sarah Belle Reid is a performer-composer, active in the fields of electroacoustic trumpet performance, intermedia arts, music technology, and improvisation.
"In the Spring of 2024, Reid spent a week at the Center for Contemporary Music at Mills College, where she worked closely with their original Buchla 100 modular synthesizer system. This specific instrument’s historical significance can’t be overstated. It was the very first voltage controllable modular synthesizer that the now-famous artist, inventor, and electronic musical instrument designer Donald Buchla built in the mid 1960s—indeed, one of the very first modular synthesizers altogether. In its time, this specific system has been used by countless inspiring and influential musicians, such as Pauline Oliveros, Morton Subotnick, Suzanne Ciani, Warner Jepson, and others.
The video begins with a brief historical overview of the Buchla 100 Series Modular System and the San Francisco Tape Music Center. Then, Reid unpacks everything that’s inside the instrument module by module, with sound demos and examples. Finally, she shares some of the unique quirks of the Mills Buchla 100 instrument, and patch examples of how the instrument can be used to create a wide range of music and sounds."
"I made this video on the 26th, 27th and today the 28th, so it's not a jam but a regular video. The main subject of this video is patching from scratch. With infinite possibilities, where do you begin? For me it's often a patchpoint I haven't used much or don't understand well. I had just finished the Mysteresis video and new ideas pop in when you're done and doing something completely different like cooking or cleaning. Since I've been working with Echophon feedback, I wondered if I could do something different with Mimeophon. Feedback doesn't really work, but how about clocking Mimeophon with Wogglebug, which is clocked by Mimeophon? I call it a clock feedback loop but don't know if there's a name for it. The fun obviously begins when you're going audio rate. The results were interesting, but not as spectacular as I hoped for. Second subject of this video is the Spectraphon Noise + Chaos mode which was added in the lastest firmware. The clock feedback delay and the SP were a nice combo and at the end of the session I finally got something worth sharing. I ended the video with a stock scene from a tibetan bowl player because it looked interesting and it had this relaxing vibe. This morning I patched up the Spectraphon to make bowls, so the stock video makes sense. It sounded very nice! So here's how one idea leads to another and adds up to your knowledge and experience. It's something you can't really learn from a book, you just need to let it happen and learn as you go. So it's noise and chaos from both Mimeophon and Spectraphon, and definitely in the patching process :).
Without a goal and without expectations, because a modular will always take a different route. So always keep that recorder running...."
"How you like your kicks? How you like your blips? Big and boomy? Tight and snappy? Clicky and poppy? Stiff and twangy?
This is the third in a short series of videos is all about making techno-ish dance music with a specifically-tailored eurorack case. This time we're comparing a short, brighter percussive kick to a darker, boomier kick using the same module WMD Crater. We're also adding some short plate reverb to the kick and toms so they start to ring out a bit. I find that makes the T-networks clicks and pops sound like Chinese New Year firecrackers.
Shout out to Susie
I'll be releasing completed mixes of these one-shot improvisations later this month. To hear more of my work with modular techno, check out https://soundcloud.com/bilijie Or buy stuff at https://bilijie.bandcamp.com Also Spotify if you must
Sequencing: Acid Rain Constellation, Clank Chaos
Voices: WMD Crater, Addac 104 VC T-Networks, SSL Thundrum, Erica Synths Pico Drums, Prok Drums flashed as Music Thing Radio Music, Befaco Pony
Filter: WMD C4rbn
VCA: Bastl Aikido
Function generator: Cosmotronic Delta V
FX: Happy Nerding FX Aid
Mixing and EQ: Worng Soundstage II, Nano CEQ, Make Noise XOH"
"This video is about Rung Divisions, by Fancyyyyy Synthesis. It’s one of the most inspiring modules I’ve used recently, but it’s also quite a hard one to sum up in one sentence.
It has two main components. The first is a clock divider which outputs pulses that you can combine in two buses to create polyrhythmic patterns. That drives a universal shift register which outputs pseudo-random, chaotic or looping stepped voltage patterns. It’s an evolution of Rob Hordijk’s Rungler circuit, which is at the heart of the Benjolin synth. And there are dozens of interesting musical applications for it - a few of which I explore here.
NB: Fancyyyyy Synthesis sent me this unit to check out, but I don’t get any other sort of payment. This is a demo, not a review, and this channel is a hobby, not a job, so I only showcase things that I’m genuinely enthused about.
More stuff from me:
https://tomchurchill.bandcamp.com/
https://soundcloud.com/tomchurchill
https://www.instagram.com/tomchurchill/
Chapters:
00:00 Intro and patch previews
02:46 Rung Divisions overview
05:54 Drum trigger sequencing
09:54 Melodies from pulse divisions
14:14 Shift register sequencing
20:15 2-channel pitch sequencing
24:00 Patching a voltage-controlled clock divider
27:42 Shift register as a VCO
30:22 Rungling for chaotic sequencing"
Rung Divisions combines a universal shift register, a “divide by n” pulse divider, analogue noise, and several logic and binary operations. These functions synthesise an array of predictable and unpredictable digital signals at arbitrary time scale.
Rung Divisions’ primary use is as a complex polyrhythmic gate generator that drives a chaotic / pseudo random / looping stepped cv pattern generator, with voltage control over the pattern “direction”, length, and chance of the pattern looping. The combination of these features can be used to generate auditory illusions similar to a stroboscopic effect – like the visual aliasing of a wheel that appears to stand still and reverse direction at speed. Rung Divisions is built with solid state & discrete logic blocks to work at frequencies between 0–40kHz. The module is designed to drive multiple voices with gate patterns and CV, or to generate audio rate mayhem - these functions can be combined through patching with other modules that can take input signals over a wide frequency range.
Rung Divisions behaves in many surprising ways with feedback and self patching - the module has propagation delay compensation to allow for all outputs to be used in feedback loops.
Polyrhythmic Clock Divider Random / Looping Sequencer Chaotic Stepped Signal Generator 12hp 35mm deep +12V 58mA -12V 42mA Complete redesign of the 2018 module, building on the original features in multiple ways: Universal shift register - can shift data in two directions Dual gate bus with three position switches CV over pattern length, shift direction and chance of loop Analogue noise output Clock pulse width affects all outputs 1-bit, 3-bit and 8-bit data encodings All solid state and discrete logic, runs at wide bandwidth Expander ports for upcoming dual oscillator, cv addressable clock divider, bit sieve and random voltage sources
"This is a super cool handmade experimental noise synth, and the craftsmanship really shows. I've been pining for one for a while but in the end it just isn't the best fit for the music I make, so I'm moving it on. It's hand-built using a wooden craft box and epoxy resin with interesting pulsating LED lighting and feedback/filter controls. It's also got a mode switch that alters elements of the overall sound, and the touch-sensitive metal contacts allow you to essentially play it like an instrument, as the sound changes and responds to your touch.
Here's how the builder describes it:
'Explore the sonic ether with this experimental sound machine this Phantom Cell. Channel all metaphysical frequencies with the Phantom Summoner. Touch the metal contacts to become part of the cosmic circuit. Special components are sensors to extra dimensions of the unseen and unheard. Enjoy making new and glorious sounds as you experience new frequencies and vibrations. Has built in echo/reverb circuit that can go from a metallic reverb sound to total noise chaos. There is a feed back knob for infinite feedback to a lowpass filter. I added a switch that changes the output mode turning on and of additional circuits.'"
"'ROSTOCK by Xaoc Devices should not be taken lightly' is what I figured out while making this video. ROSTOCK can be easily mistaken for just being a delay, but the patch ideas (provided in the manual of ROSTOCK) prove that with some creative insight you can use ROSTOCK for much more somewhat unexpected and useful things.
This video is a slow burn. I start of by proving that high-fidelity audio rate delay is probably not the strongpoint of ROSTOCK, but just like me there will probably be a lot of people hoping that they can still get away with using it as such. That's why I spend a generous amount of time showcasing this feature of the module. I demonstrate and explain how the clock works on ROSTOCK and how to use the seperate clock inputs, as well as exploring the loop and scramble features of the module. Afterwards I go into detail about the patches provided in the manual of ROSTOCK and you'll soon see that this is where ROSTOCK really shines: auto-generative waveforms, patching up a trigger/gate sequencer or 1-bit multi-tap delay, creating chaos and looping melodies, ... ."
0:00 intro 0:24 a few sounds 1:24 introduction to ROSTOCK 6:03 thank you Xaoc Devices 7:10 summary of the video 8:22 explaining audio delay (intro patch) 15:55 modulating length CV 19:27 modulating the clock 22:50 no clue about Leibniz? 25:30 clocks 27:40 conveyer belt analogy 31:08 loop and scramble 48:18 P.I.1 audio delay and feedback 1:00:49 P.I.2 JENA chaos loop 1:11:37 P.I.3 LIPSK gate sequencer 1:22:34 P.I.4. POCZDAM multi-tap 1:28:10 P.I.5 Turing Machine bonus 1:44:04 thank you for watching!
"This is ambient music with my Ensoniq Fizmo. All patches I created just on the fly during the recording session, and all stems I recorded live into the DAW.
I used for the recording the following FX chain:
Pigtronix Echolution 2 Deluxe - GFI System Specular Reverb 2. Depending on the recorded track some FX are deactivated or tweaked.
The signal went through a Presonus StudioLive 16.0.2 into the PC via USB for recording. To create the complete song I recorded consecutively several stereo tracks. The final song was then mastered with a bit EQ and compression on some tracks and iZotope Ozone on the master track."
"Welcome to the soundset for a semi-modular system Moog Sound Studio: DFAM + Mother-32. 'DM Generative' is a collection of 25 patches. This genre of sound design is very popular inside modular culture, and Moog Sound Studio suggests a good set of features to enter this club. Controlled chaos and randomness, probability, non-repetitiveness, tempo break, pattern uniqueness, short and long sounds alternation, unexpected changes, silence and density, harmonic and fx-like tones, freaky splashes during a sequence - all these things are included in the soundset.
That was a hard work. Each patch took me up to 2 hours. I tried to find interesting combinations of settings and patching. Hope you will enjoy the results.
Generative timbre may be a good addition to (or a lead part of) ambient or techno tracks, jams and performances. You may also record fragments into your DAW or sampler, slice it to one-shots or make loops - you’ll get a unique material for further processing.
The main point of the soundset is the high level of interconnection. In this patchbook, the timbres of the synths are soldered and can’t exist separately: 🔸 they modulate each other with LFO and Envelopes 🔸 a sequence from one synth change parameters on the other one 🔸 gates and triggers interact to break predictable patterns 🔸 audio signals from VCOs may be used as modulation sources to create harmonies/intervals or - crazy experimental inharmonic tones 🔸 or they may be used just as audio sources sent to the other synth for processing with its different filter and envelope, giving them a 'second life’.
The soundset is presented in PDF format. Each page contains notes that explain how the patch works, what parameters are worth tweaking during playback, and how to develop the timbre during a performance. If you make all the settings consciously and try the things mentioned in the notes, you will learn a lot about the synths and discover their true depth.
To recreate these patches, you need up to 15 patch cords.
There are audio examples of all patches inside the folder with the soundset. Audio examples for a patch are presented in three variants: DFAM only, M32 only, and both together.
The patches don't include Mother-32 patterns.
For the video demo, I added delay and reverb to the synths and background pads to put the timbres into a musical context.
"Pendulate is a free virtual instrument from Newfangled audio based that blends and oscillator based on the chaotic physics of a double pendulum with a Buchla-style wavefolder and low-pass gate from 'west coast synthesis'.
00:00 Introduction
00:38 Double pendulum physics and chaos
01:16 Overview of Pendulate
02:13 The Double Pendulum Oscillator
07:37 The Wavefolder
10:25 Wavefolder and Chaos
11:39 The Low Pass Gate
14:31 Factory Presets
'Pendulate is a chaotic monosynth that uses a brand new double-pendulum-oscillator to create previously unheard sounds - biting basses, searing leads, and gritty textures. It can smoothly fade from a sine wave to total chaos, with an expanse of territory to explore in between.'
For another chaotic synthesizer, please check out our review of KULT from Tracktion & Dawsome [posted here]
"Bored of the same old synth sounds? Newfangled Audio's Pendulate is refreshingly different. Pendulate is a chaotic monosynth that uses a brand new double-pendulum-oscillator to create previously unheard sounds - biting basses, searing leads, and gritty textures. It can smoothly fade from a sine wave to total chaos, with an expanse of territory to explore in between.
CREATE THE CHAOS
Pendulate’s chaotic oscillator is based on the physics of a double pendulum. What initially looks like randomness contains underlying patterns, interconnectedness, constant feedback loops, repetition, self-similarity, fractals, and self-organization. When designing the Pendulate oscillator we took great care to bring out these underlying patterns to create something both chaotic and musical.
"New synth from Toneboosters, makers of Flowtones. But this is Lowtone, which they're calling an innovative bass synthesizer plug-in. TB says they're using loudness-domain harmonic synthesis in Lowtone, which is aimed at making in their words 'deeper, more consistent and production-ready bass sounds.' I haven't made any specifically bass-y patches yet but I've had a blast programming things. It has three VCOs but also a VCN, a voltage controlled noise generator, which was great fun to play with. The three VCOs have dozens of waveform variations, and there are a pile of different filter types as well. There are two xLFOs, X for extended, which I think go all the way down to 0.01 Hz (!). There's also a gate section, which is kind of like a sequencer for modulations. You can maybe use it like a regular sequencer if you like, although I haven't had a chance to try that yet, but each step can have its own shapes, giving you a lot of different sound-shaping options.
I've only made a handful of patches so far but have had great fun making them. A couple of 'normal' sounds, one haunting rhythmic drone-ish thing which I find totally mesmerizing, and one batch of absolute chaos using only the VCN as a sound source (LOL).
This particular video was done using Lowtone on the iPad, but there's also a Mac/Windows version as well so you should be able to transfer patches back and forth as needed.
Note the "Peterlin" made it's first appearance with Hainbach on May 7 here on MATRIXSYNTH. This post features a few examples from others, and additional details and pics below.
Above:
"In this Signal Colors Palette video, I'm taking a first look at the Ciat-Lonbarde Benjolin / Peterlin, a tiny wooden synth featuring a nod to synthesis history by putting the focus on sound creation with a circuit design inspired by the 'Rungler' by Rob Hordijk.
Hang out while I coax some cool sounds from this wildly experimental sounding synth!"
Quirky little groove machine: Ciat-Lonbarde Peterlin first impressions
"Listen to albums, download tracks and support me at https://noctopolis.bandcamp.com/
I was lucky to get a Ciat-Lonbarde Peterlin (why not Blassolin though?) from the first batch at PatchPoint and these are clips from my first don´t-know-what-I-do-sessions with it. First one: solo. Second one: with Lorre Mill Double Knot 3. Third one: with Moog Subharmonicon."
"first patch ring modulates peterlin xor to vcfq with a sine wave - both controlled by rungler. this is mixed with the peterlin audio output in the vc res eq and its bands get modulated by various peterlin outputs
second and third patches have a bit less and a bit more going on... all gets a little confusing and knotted up
"Dressed in their signature banana jack-laden wooden enclosure, the Peterlin is Ciat-Lonbarde's take on the Benjolin: a tribute to the synthesizer designs of Rob Hordijk. Deceptively simple in appearance, the Peterlin is a highly interconnected instrument containing two oscillators, a resonant lowpass filter, and Peter Blasser's take on the infamous Rungler circuit. Clocked by one oscillator, the Rungler is a shift register feeding upon not only its own output, but also listening to the output of the other oscillator to further influence its data with feedback chaos. As the Rungler's CV output is then fed into the oscillators and filter, a range of hefty drones and chaotic noise is possible. Of course, the Ciat-Lonbarde take on this classic experimental instrument is filled with its own mysteries.
Here are two new old modules :)
I have been trying to get these in production for quite some time now. Delays in supply chain forced these to the background for too long.
àradh is a new take on a transistor ladder filter and fills the role of fat "East" Coast subtractive filter as well as adding a dedicated low-pass gate (LPG) to the Instruō range.
Plus some other quirks!
tágh is not a V2 but is in fact the OG module that I had in mind for the name a long time ago.
It's a 4HP powerhouse of modulation sources and clock utilities.
Please check out the full Overview videos for both àradh and tágh now :) [below]
In addition I would like to introduce the first production range of Instruō spacer panels.
Available now are 1HP, 2HP, 4HP, 6HP, 8HP, 10HP, 12HP and a very special limited run of 14HP.
The 14HP panel features a glorious picture of my Greyhound Winston wearing his jammies.
https://gal.org.uk/
"GAL is a registered charity in Scotland (SC031027) that rescues and rehomes Greyhounds and Lurchers throughout Scotland. "
A donation of £7.50 will be made to GAL for every panel sold from the limited batch.
Hope to see you all at Superbooth this year!
Cheers
~Jason
By popular demand – an exciting new take on the legendary transistor ladder filter. Introducing the Instruō àradh, the long-awaited successor to the first Instruō low pass filter, tràigh. Expanding on tràigh’s classic functionality, àradh adds a VCA with pre or post-filter routing options, an envelope follower, a comparator gate, a strike input with variable decay time, and a plethora of user-definable voltage-controlled parameter combinations.
Whether you’re looking for voltage-controlled resonance, pre-gain filter saturation, noise gate functionality, dynamics processing, or even an envelope follower, àradh can get the job done – a true sound-shaping powerhouse in only 6 HP.
• Low pass filter and VCA • VCA pre/post-filter routing options • Strike input and button • User-defined CV input • Envelope follower and comparator functionality • Self-oscillating resonance
"This is a module I've wanted to release for years!
The Instruō tágh is a “Swiss Army Knife” modulation source. It features an analogue sample and hold, white noise generator, digital random voltage generator, morphing LFO, and probabilistic trigger generator, all with a unique phase-adaptive tap tempo functionality.
After many iterations of random voltage generation experiments, tágh’s 6 algorithms were meticulously curated to meet the needs of the designer. Once realised, it was quick to see its importance in small and big systems alike. These 6 random algorithms include Classic Stepped Random, Repeatable Stepped Random, Chaos, LFO, Probability-Synced LFO, and Downsampled LFO.
At only 4 HP, tágh is a true modulation workhorse.
• Analogue sample and hold • Analogue white noise generator • Six digital random voltage algorithms • Built-in bias and attenuation controls • Smart tap tempo follower with manual button • Steady and rhythmically-relevant clock generator • Internal or external clock options of analogue sample and hold
00:00:00 Instruōduction 00:01:46 Overview 00:04:56 Clocking 00:06:55 Clocking - Probability 00:07:50 Clocking - Tap Tempo 00:09:54 Clocking - External Tap Tempo 00:13:58 Clocking - Internal Clock 00:17:11 Tempo Follow 00:21:24 Tempo Follow - Adaptive Phase 00:22:50 Tempo Follow - Probability + Phase Sync 00:28:48 Patch Example - Lubadh Sync 00:35:20 Patch Example - Analogue Sample Rate 00:40:25 Patch Example - Random CV pan 00:42:37 Algorithm 1 - Classic stepped random 00:58:31 Algorithm 2 - Repeatable steps 01:09:41 Algorithm 3 - Chaos 01:22:08 Algorithm 4 - LFO 01:33:04 Algorithm 5 - Probability-synced LFO 01:40:50 Algorithm 6 - Downsampled LFO"
"In this patch i played a lot with the amazing Chaos Clank and Pam's New Workout, in order to achieve an interaction between the MI Plaits, 4MS Ensemble Oscillator and TipTop/Buchla 258t.
A lot of modulations, generative sequences, happen in this ambient/meditative patch also with the addition of Instruo Ochd.
"In this tutorial, take a tour through MiniFreak's features, hidden talents, and wild sounds, as Matt Pike gives you the lowdown on the 6-voice hybrid #polysynth that's out to break all the rules.
_CHAPTERS
00:00 Intro
01:03 Presets Playing
02:27 Oscillators
03:40 Virtual Analog Engine
04:41 FM Engine
05:50 FM Modulation
07:04 Analog Filter
07:35 Modulation Matrix
10:13 Digital Effects
12:02 Sliders
13:30 Sequencer & Arpeggiator
14:51 Sound Edit & Utilities"
Arturia MiniFreak: 5 things you need to know (+ no-talking sound demo)
video upload by MusicRadar Tech
Review: Arturia MiniFreak // vs MicroFreak // Everything covered, including almost all 256 presets
"Today's the day for the big Arturia announcements - and the one we have most experience of is the new MiniFreak which is an expanded MicroFreak - (the Algorithmic Synthesizer with multiple oscillator types).
The MiniFreak doubles up the Oscillators to two - with 20 oscillator types on board, keeps the multi-mode analog filter and adds 3, quality, digital FX. It also has a physical 37 key keybed (short travel) with aftertouch. There's two control strips which can do pitch/mod or macro 1/2, each with four destinations or a sequencer/gate control for the on board sequencer.
It also comes with a free VST version MiniFreak V
We fully confess that we didn't get the time to do the full review in time for this deadline, but first impressions are pretty positive."
"first time performing with the arturia minifreak. this is the patch 'Trent's Pno' I made for the factory presets. this is also the last patch in my current house, as i will be moving. see you in november!"
@Arturia MiniFreak Introduction, Unboxing & Demo | No Talking
video upload by DKS SYNTH LAB
Arturia expands wild hybrid synth range with 6-voice MiniFreak
MiniFreak is a polyphonic hybrid keyboard that combines two digital sound engines with warm analog filters, playful modulation, spontaneous sequencing, and rich stereo effects for sounds that are immediately curious, beautiful, and chaotic in equal measure.
Hybrid polysynth power
MiniFreak’s twin digital sound engines feature over 20 modes, and can be used individually, stacked, or to process each other’s output for unique compound sonic behavior. Its digital voices then collide with analog filters, balancing digital crispness with a rich analog response, complete with 6-voice polyphony, 12-voice paraphony, monophonic, and unison configurations.
Customizable & experimental sound design
MiniFreak’s expanded modulation matrix gives users even more control over shaping, transforming, and evolving their sound, with features like polyphonic ADSR envelopes, customizable multi-segment LFO shapes, FM & Ring Modulation, and the familiar Spice & Dice randomization.
Mix-ready stereo sound
With stereo outputs and 3 digital FX slots with 10 FX types to choose from, users will have everything they need to push their sound over the edge while keeping it mix-ready, from stereo-enhancing chorus, to surgical 3-band EQ, to gritty distortion.
Expression, meet chaos
Despite its penchant for wild & exploratory sound design, MiniFreak is an instrument of expression. Its velocity-sensitive 37-note keybed with aftertouch and spontaneous Seq/Arp functionality makes it a dream to perform with, while its randomization features put playfulness first.
MiniFreak V
MiniFreak comes with a dedicated VST counterpart, letting users totally integrate its unique hybrid sound and presets into their DAW productions and vice versa. Using identical sound engines, modeled filters, presets, and totally synchronized controls, users can enjoy an identical experience in hardware or software form.
"I am enjoying the Moon Modular Sequential switch. I am using it to string patterns together from my Synthesizers dotcom Q119 Sequencer and my Encore Electronics Universal Event Generator. The main bass line is a DIY Ian Fritz DoubleDeka VCO through an STG Soundlabs Sea Devils filter. There are also Corsynth drum modules prominent in the mix. There is a lot more going on as well. Much of it was experiments that did not add to the sound when prominent, but added interest to me when lower in the mix and triggered occasionally. This started out sounding a bit like Devo, but as it progressed seemed to add in some Adrian Belew era King Crimson, and now it barely sounds like either.
I may do a demo of the Universal Event Generator soon. A tip in the meantime, try patching the Trigger out into the trigger in and experiment with the different settings, especially finish loop. You may have to hit the manual gate button to get it started, but that little tip was something I had not thought of until I spent some time with some Serge Modules."
