Nanoloop (1st version for Nintendo Gameboy) + modified Korg Monotron, both synced by a Roland TR-626. Nanoloop is triggered by the rimshot pattern of the 626. The sawtooth LFO (low frequency oscillator) of the Monotron is triggered by syncuino (http://chemiker1981.blogspot.com/) and the cutoff frequency of the Monotron analog filter is controlled by a sequence generated by Syncuino.
Patching an Anyware Tinysizer to play sound effects by itself. This is not “music”. It sounds kind of like old computers fighting under water. Pew pew pew! There is a lot of re-triggering and frequency modulation happening, all based on the three LFOs, which also act as VCA envelopes.
Gear used in this video:
Anyware Tinysizer – Analog Modular Synthesizer
Filmed with a Canon Rebel t2i (550D).
A mid-mourning experiment, connecting a Nintendo Game Boy (running Nanoloop) and a Casio VL-Tone to an analogue modular system. Digital+Analogue Joy.
The recording is 100% live, with some basic mastering.
Playing around to get some ideas for the Save Icebreaker Audio Campaign: indiegogo.com/projects/save-icebreaker-audio
Full technical spec:
Recorded and Mastered in Sonar via Audio Kontrol 1
Game Boy bought at Berlin flea market running Nanoloop
Game Boy stereo signal split and routed into Diode Filter+Waveshaper, and a Spring Reverb.
Casio VL-Tone mixed into the VCA, VCF, and external input of the A-111-5 (Dark Energy Module)
Background video description:
Hello ! My name is Frederic Gerchambeau. I have made this movie and this music. The music has been made using a Doepfer analog modular system. Enjoy !
I am a (proud !) member of the french association PWM (Patch Work Music) :
Crumar Nerve Centre 15 is an analogue drum machine that was build into a number of Crumar’s organs from the mid 1970′s.
“I took this particular specimen out of an old defective organ some years ago (and made a video of it) and now the time has come to find out how it works so that I can use it for something.
One very special thing with this drum machine is that there is a separate row of selector switches for the auto-accompaniment so that you can pick and chose independantly – in other words it is possible to combine for instance the samba rhythm with waltz bass and arpeggio (not that it would sound very good but it is possible). I wonder why so few organ companies came up with that idea. It makes the auto-band much more flexible and it only costs an extra row of switches.
The music in something I made on Yamaha HE-8 and Technics SX-C600 organs, Roland SH-2000 synthesizer and TR-66 Rhythm Arranger drum machine, and the little Casio CZ-101 phase distortion synthesizer.”
This is a live improvised analog modular synth composition featuring the Animoog (Iphone App) patched into the Make Noise MATHS module This sound exploration is a glimpse of what my live shows are like. This song will be featured on my up coming limited edition vinyl release that shall remain nameless for the time being.
Maschine Meets Modular in this grimey, lo-fi hip hop instrumental featuring the Intellijel Korgasmatron analog multi-mode filter. The faux-sample is the sound of the frequency modulated Korgasmatron self-oscillating low pass filter. No oscillators were used. The bass and drums are Maschine.
This video shows off a few modifications to a FR-777 bass synth, performed by Jered at FR some 15 years ago. Shown are the Oscillator sync, Endless-drone, and LFO-to-cutoff mods, plus variations.
“Around 2:20, when I say “Envelope”, please substitute “LFO!”
The Future Retro 777 is a monophonic analog synthesizer with a digital sequencer. The 777 is a sleek retro design that has realized the full potential of the monophonic pattern based synth. It’s not just another TB-303 emulator. It uses analog circuitry and has a lot of hands-on knobs for instant sound tweaking. And while the 777 has extensive editing and modulation abilities, the layout is as basic and intuitive as an old SH-101 or MC-202!
The 777 functions quite well as either a standalone bass sequencer or as a sound module in a MIDI environment. Two oscillators (A / B) produce a fat bass sound. Modulation abilities are quite complex, the oscillators themselves can modulate each other for example. The filter is very nice with switchable 3 or 7 pole slopes as well as other sound shaping controls for a wide range of tones. An external sound can be routed through the filter too. The sequencer, OSC B and the decay envelope can also modulate the filter cutoff. The 777 also employs a smart accent effect for that extra bit o’ kick in your bassline.
As a sequencer the 777 shines once again. Bear in mind that this sequencer accommodates a monophonic (single tone) instrument which normally has very basic sequencing needs. Notes are entered using the pseudo-keyboard buttons. Programming is different than other synth / grooveboxes of similar function but is relatively easy to master. Up to 256 patterns can be linked to form up to 16 songs all of which remain in memory. And of course all real-time editing can be recorded into your sequence and are also MIDI controllable. Final goodies include an internal MIDI to CV-gate converter, glide or portamento effects, distortion, chorus and phase effects and more!
Moog Moogerfooger Cluster Flux MF-108M, with feedback at maximum, can be “played” from MIDI Notes On/Off. In this video, the sound source is, as usual, the Acidlab.de MIAMI Analog Drum Machine; the frequency/time of MF-108M is played with Novation SL25 MkII MIDI master keyboard.
Shooted with an iPhone, audio in glorious mono.
The clock frequency of Moog Moogerfooger MF-104M analog BBD delay can be severely down scaled from external MIDI control. So, you can use the MF-104M as a grunge/glitch/hack/drone machine on every audio source. On this (dirty and short and easy) video bits, MF-104M is munching the Acidlab MIAMI analog drum machine.
Icebreaker Audio has announced the release of S.O.O.G. (Sub Octave Oscillator Generator), a free analogue style octaver effect for Native Instruments Reaktor 5.8.
The effect produces a fuzzy version of the input signal, by generating a modulated square wave one octave below the tracked pitch. This fuzzy octave can then be filtered to smooth out the tone, or to create synth style sounds.
The effect works best on monophonic instruments with strong fundamental frequencies like bass guitars or clear vocals.
The ensemble is a free download from Icebreaker Audio.