Pittsburgh Modular VILFO Introduction
Voltage Influenced Low Frequency Oscillator
The-Pittsburgh Modular Voltage Influenced LFO is unique in the modular world. It is a strange, triangle based LFO that lives in an 8hp euro panel. The module offers two outputs, a triangle wave, and a variable waveform that shifts from a triangle to something that is almost not completely a square wave. The VILFO also includes a unique voltage influence circuit. The influence works differently than standard control voltage inputs, it allows the incoming CV to mingle with the LFO waveforms in interesting ways, creating unique modulations and patterns.
A typical Voltage controlled oscillator works by using a CV input to directly control the oscillation frequency. The more voltage sent to the CV input, the higher the frequency of the ocsillator. The lower the voltage, the lower the frequency of the oscillator. Voltage Influence works by using the CV input to attenuate the frequency of the oscillator while at the same time injecting some of the voltage from ICV Input to the feedback loop of the oscillator. Results can vary from subtle to chaotic. Subtle results can be similar to tremolo, shuffle, or soft reset while more extreme settings produce glitchy, rhythmic, chaotic fluctuations in the frequency of the VILFO. At the most extreme the VILFO can be stopped using Voltage Influence.
Space Echo Spring Reverb
Just a short video with the spring reverb from the Roland Space Echo series.
This particular reverb comes from the RE-301, but as far as I know, the RE-201, 301 and 501 has the same reverb.
I removed the spring reverb when I had to fix one of my units. I’ve placed it in the box again, don’t worry.
The sequence was programmed on a Korg Mono/Poly
I love the text on the reverb tank. “Manufactured by beautiful girls in Milton, Wis. under controlled atmosphere conditions.”
More background information on the topic:
The Roland RE-201, commonly known as the Space Echo, is an audio analog delay effects unit produced by the Roland Corporation.
A tape echo device records incoming audio to a loop of magnetic tape, then replays the audio over a series of several playback heads before it is erased again by new incoming audio. The tape used in the RE-201 is the standard 1/4″ tape of the open-reel variety, but made as one, continuous loop. In the Roland ‘RE’ range there are no reels of any kind, the tape is transported via a capstan drive. The tape loop is contained in a loose, constantly moving jumble in the tape chamber (also known as the tape tank) under a plastic panel which protects the tape and keeps it from getting tangled. The replacement tapes were known as Roland RT-1L replacement tape loops and sold by Roland.
There are several control dials on the device that alter such aspects as tape speed, repeat pattern (an 11-position rotary switch), one instrument and two microphone inputs, a single analog backlit VU meter for all three inputs, wet/dry mix for both echo and reverb, and intensity (number of repeats, in a sense; it actually reduces how much the erase/record head erases the tape), that can be adjusted to a user’s liking; and bass/treble controls to EQ the sound of the repeats (not the dry signal), as well as dry and effected “Echo” output jacks with a switch for output setting (-10, -20, -35db levels.)
Used as a delay/echo, the Roland RE-201 is said to produce an unpredictable delay that is warm and gritty sounding. It is also capable of producing a large variety of its own sound effects, even without an input signal (by turning the intensity control to maximum and allowing the unit to self-regenerate, or self-oscillate, while manipulating the tape speed and other controls).
Despite its age, the Roland RE-201 is widely sought after, and still used by many bands to this day, notably in the experimental work of Radiohead, and the rockabilly stylings of Brian Setzer, the latter using one recently to get the slapback sound sought after for rockabilly and such styles of music. The Roland RE-201 is also extensively used in modern electronic music
Rob Hordijk explains his new modular designs
Rob Hordijk explains his modular designs at the European Electro Music Event 2012 that took place at Mallorca – Spain.
Playlist:
1. Osc Hrm
2. Triple-Input 24dB Filter
3. Triple LF-VCO
4. Dual Envelope Generator
5. Rungler
6. Active Matrix
7. Node Proc
8. Dual Fader
9. Q&A
More info can been found here >>
Pittsburgh Modular Oscillator Introduction Video
http://pittsburghmodular.com/oscillator/
A wide range, high quality, 8hp eurorack utility VCO. It offers a full compliment of standard waveforms including Sine, Triangle, Saw, and Pulse waves. The Oscillator offers 5 octaves of 1 volt per octave tracking, and a frequency range starting as low as 7 seconds per cycle, allowing it to double as an LFO. Additional features include oscillator reset for hard syncing, attenuated linear FM input, pulse width, and pulse width CV input.
Up close with the Solton SM 100
Here we have a demo of the Solton SM 100. It is the expander version of the Project 100. Drums are made with the Roland TR 808.
The SM 100 is a polyphonic synth with 12 DCO’s ( 2 per voice, 6-voice polyphony ) and a 24 dB filter. 4 waveforms : Pulse with Pulse Width + Saw + Wide Pulse. 2 ENV’s + 1 LFO. Analog Chorus FX.
Multitrack recording with some external effects.
Italian company Solton – probably more well known in electronic home keyboard, auto-accompaniment / accompany rhythm or add-on modules for home organ. Their digital / PCM / GM stuff are still widely available today. Synthesizer wise, the SM100 (and the keyboard version, Project 100) are believed to be the only analogue synths they have ever made. In fact both are not very common, i.e. they’re fairly rare, but it’s not ultra difficult to find one because, due to the poor presets, limited controls and usually the lack of a user manual, most people tend to resell them.
The SM100 is not that unknown because it’s one of those synths that uses Curtis SSM synth chips. In fact, the SM100 is actually a big monster – 6 voice poly, with 12 DCOs! The size of the SM100 is also pretty huge – it’s supposed to be a desktop module – but it’s a lot longer than a standard 19” rackmount, higher than 2u, and quite deep too.
Charlie Chaplin through a Bode Vocoder
http://youtu.be/0u2HbzfF1fM
Charlie Chaplin speech from The Great Dictator run through a Bode Vocoder. SCI Prelude used as the carrier signal.
In 1979 Moog released a vocoder of their own, although its design and architecture is almost identical to the Bode 7702 vocoder. It’s a 16-band analog vocoder which separates a given synthesizer sound (carrier signal) into seperate frequncy bands ranging from 50 to 5080 cycles per second. It does not have any internal oscillators so it is designed to be used as a processor for external carrier and modulator wave sources. The modulator is typically a vocal or drum beat used to modulate the carrier/synth sound being processed.
It has microphone and line inputs as well as 16 synthesizer inputs (1 for each frequency band) and 16 outputs. This 16 channel cross-matrix patching system is cumbersome, but useful during the modular synth era, allowing for full external patching between synth and vocoder sections. Other features include a high-frequency bypass, a short 6ms response time for capturing fast percussive sounds, sample-and-hold, and a global bypass switch to turn off the vocoding effect. Unfortunately there is no output mixer, MIDI or CV/Gate.
Studiologic Sledge polyphonic synthesizer – demo and interview
Nice interview with the designer of the Sledge synth from Studiologic, getting a bit more information on the product. The synth is powered by a Waldorf synth engine.
All the details in this post >>
Arturia MiniBrute sound demo
Here’s a new video featuring some of the intense raw sounds of the recently released MiniBrute at the NAMM show
http://namm.soundsandgear.com we were able to capture some direct sound from the Arturia MiniBrute…this thing is a little monster! Very raw sounding synth.
Demonstration of the PPG wave 2.2 “1982”
Vintage synthesizer demo track by RetroSound
all sounds:
PPG wave 2.2 Synthesizer from the year 1982
recording: multi-track
fx: a little bit delay
The German made PPG Wave 2 series of synthesizers are incredibly great sounding analog/digital hybrid vintage synths. They use digital samples of wavetables and feature analog VCA envelope and VCF filter sections for a classic and warm sound. The Wave 2.2 (pictured above) has oscillators that can generate over 2,000 different single-cycle 8-bit digital waveforms! Covered by knobs, the Wave still looks analog and this comprises the “Analog Control Panel”. More complex and new-wave editing of the wavetables and samples is covered by the “Digital Control Panel” where there are several key-pad buttons and an LCD screen. Another familiar treat to analog junkies is the inclusion of an 8-track sequencer which features automation of pitch, loudness, filter cutoff, waveforms and more. A cool feature – its onboard sequencer will also record any filtering and wave changes, in real-time!!
The more commonly encountered Wave 2.3 followed the 2.2 and had enhanced sample-playback capabilities. The sampler was pretty full-featured for its time and included upgraded 12-bit digital waveforms, Fourier analysis and linear playback of samples. The 2.3 model also featured 8-parts multitimbrality and MIDI implementation. The PPG Waves are know to create excellent pads, brass and bass sounds.
Rob Papen shows off the Blade synthesizer
The latest synth from extreme sound mangler Rob Papen is Blade – an additive synthesis engine (around 100 partials) with a user friendly interface based around an XY interface and some cunning gesture based automation for interesting modulation and tonal variation.
Coming soon
More Information
DATAMASKIN
