Modcan Touch sequencer. “Four Voice Song” Quick demo.
Short edited demo of the integration of the Modcan Touch sequencer into a modular synthesizer system. 4 voices in 3 sequences that constitute a “song” in TS terms. Make Noise Rene controls wave shape and pitch of the low end pulse/4th voice of the Wiard Malekko Anti Osc.
Video shot with Apple Photo booth/MacBook Pro.
The Punisher – modular synth jam
Numerology 3 Pro and analog step sequencers in the modular. A real-time studio recording in Cubase 6. Synths used were the modular synths, Waldorf MWXT, MicroQ, TX816, Nord Lead 2X, Prophet 8, DX7II and Korg ES-1. Using a Novation Launchpad to control the Numerology tracks. Step sequencers are dotcom Q960, Q119 and STG Soundlabs Time Suite. The opening and closing sound is a new SSL1130 DDVCO through a CGS01 harmonic sequencer and back into the DDVCO exponential and linear modulation inputs. Video editing in Final Cut Pro X.
MacBeth – micromac introduction
Here is a video tour of the up and coming MacBeth micromac! We get to see the front panel explained and also get to hear the sounds. NOTE this vid is just over a half hour in time- and sadly the software that I used to compress the file for upload contains one or to artifacts or ‘aliases’ It may come up as unwanted noise during the oscillator demo.
Benge (working with John Foxx) has a new Buchla album out
Listen to it here:
“Abstraxa – exploring the outer reaches, using the Buchla Electronic Music Box
The six compositions featured on Abstraxa were realised on a Buchla modular synthesiser. Donald Buchla began makng electronic musical instruments in 1963, developing the first Buchla 100 series systems in conjunction with the San Francisco Tape Music Center. These first inventions coincided with the development of Robert Moog’s 900 Series modular systems over on the west coast of america, and as such belong to the very first generation of commercially available synthesisers. One intersting aspect is that Don Buchla is still developing and manufacturing his modular systems, using the same module format (now 200e series) that he introduced 50 years ago. The current 200e modules utilise a combination of analogue and digital components
The Buchla has a very unique way of producing sound, using electronic voltages to control the sound sources (oscillators and noise generators), sound modifiers (gates, filters, phase shifters, modulators, etc) and event timing generators (sequencers, random sources, pulse generators, etc). Systems can be built up from the available modules to suit the needs of the composer. The power of the system lies in the inter-modulation capabilities. This means that extremely deep patches can be set up with a myriad of connections interacting together in complex ways to produce evolving and self-generating soundscapes. It is anagolous to working with a living organism as opposed to a static machine, a brain rather than a computer
The pieces presented here were recorded to tape using overdubbing in places. Additional reverberation and delay lines were also incorporated into the system. See below for a full module list
Buchla 200e Electronic Music Box:
225e Midi Decoder (digital interface and preset manager)
227e System Interface (various audio mixing and panning functions)
251e Quad Sequential Voltage Source
255 CV Processor (octal slew and voltage source)
261e Complex Waveform Generator (dual digital VCO)
266e Source of Uncertainty (complex random and noise functions)
281e Quad Function Generator (quad LFO / envelope)
291e Triple Morphing Filter (three bandpass filters / VCAs plus sequencer)
292e Quad Dynamics Manager (four Vactrol lowpass gates)
077 (Eardrill) Pendulum / Ratchet (complex triggers and clock dividers)
254v (Verbos) Quad Voltage Processor
258v (Verbos) Dual Oscillator (clone of the 1970s Buchla analog VCO)
Boss DD3 Delay Unit (mono)
Ace Tone MP4 Spring Reverb (mono)
Track Listing:
1 – Alpha (4.55)
2 – Beta (4.22)
3 – Gamma (5.04)
4 – Delta (4.20)
5 – Epsilon (5.19)
6 – Zeta (Abstraxa) (6.21)
Total Duration (30.19)
Recorded at Benge Studios, London, February 2012
All Music and Design by Benge (c)2012 Ben Edwards (Benge)
All Rights Reserved
Cover picture adapted from NASA Images lunar photograph
www.bengestudios.com
www.expandingrecords.com
Blippoo playing a Buchla 261e
Basic test of a Rob Hordijk Blippo Box controlling a Buchla 200e.
This is a Blippoo Vers.2 – Lots of tricks as e.g. the proximity sensor are not used.
This is just as a quick vid for the muffwiggler brothers and sisters!
Rob Hordijk’s BLIPPOO BOX is an audio sound generator that operates according to the principles of chaos theory. By designing the Blippoo Box, he attempted to bridge a crossover space between abstract (sonic) art, music and artistic craftsmanship. In the hands of performing musicians the Blippoo Box becomes an electronic music instrument that invites performers to improvise with the chaotic nature of the box. Despite this chaotic behavior, the produced sounds have particular characteristics that are roughly predictable and enable a performer to build a performance around a composed scheme.
The Infamous Blippoo Box
“By using a nonlinear feedback system, patterns are created that exhibit chaotic properties like attractors, bifurcations, etc. Second, the filter also uses a nonlinear feedback system that can go into ranges where bifurcations occur, which results in the creation of ‘undertones’, where the period doublings create harmonic partials that are lower in frequency as the signal fed into the filter.” Rob Hordijk
Analogue Solutions SY02 Multimode Filter w/ VCA – Korg MS20 Clone Filter Module
The beating heart of the VOSTOK MATRIXSYNTH!
The SY02 is as close a clone of the MS20 filter as is possible without digital modeling. It uses the same circuit design. It uses all the same components, except for 2. 1 of which will not affect the sound, the other has been superseded by a part that is essentially the same. In all other respects they are the same.
Not all MS20s sounds the same, and for the same reasons not all Filtered Coffees or SY02s will sound identical to each other or the MS20. Reasons could be trimmer setting variations, component tolerances, but these are the consequences of buying analogue! We believe that the FC and SY02 do sound like MS20 filters, if you don’t it must be imagined!
Controls
Input Level
This sets the input level of the audio signal into the filters.
HPF CV
This sets the level of external CV that affects the HPF cut-off. Set at minimum, the external CV has no effect, set at maximum, the external CV has full effect.
LPF CV
This sets the level of external CV that affects the HPF cut-off. Set at minimum, the external CV has no effect, set at maximum, the external CV has full effect.
Initial Level
This sets the initial level of the VCA. It applies a voltage to the VCA that opens it up. Set to maximum, the VCA will pass signals through at full volume. This would be the normal way of using this control. As the control is turned to minimum, the level of the VCA decrease finally to zero. In this case, an external CV is used to control the VCA level (such as an envelope signal).
HPF Cut-Off
This control sets the cut-off frequency of the HPF. As the controls is increased, more lower frequencies are filtered out (only high frequencies are allowed to pass through).
HPF Resonance
This alters the resonance of the HPF. Set to maximum it will self-oscillate producing a continuous sinewave. In this way the SY02 can be used as a VCO.
LPF Cut-Off
This control sets the cut-off frequency of the LPF. As the controls is increased, more higher frequencies are filtered out (only low frequencies are allowed to pass through).
LPF Resonance
This alters the resonance of the LPF. Set to maximum it will self-oscillate producing a continuous sinewave. In this way the SY02 can be used as a VCO.
Volume
This sets the final output volume of the SY02.
Sockets
VCF IN
Audio input to the filters.
HPF CV
External CV input to control the HPF cut-off frequency.
LPF CV
External CV input to control the LPF cut-off frequency.
VCF Audio Out
This is the audio output from the VCF
VCA IN
Audio input to the VCA
VCA CV
External CV input to control the VCA level.
VCA Audio Out
This is the audio output from the VCA
Closer look at the KRAFTZWERG
This synth has for a long time been on my wish list 
KRAFTZWERG RUN WITH DARK TIME SEQUENCER
MFB-KRAFTZWERG is the semi-modular version of MFB’s Synth-II. It trades memory locations and MIDI-control off for 37 patch connectors that allow breaking and modifying the internal routing. Put single KRAFTZWERG components under analog sequencer control or let the whole unit interact with your existing modular-synthesizer-system.
MFB-KRAFTZWERG works as a stand-alone synthesizer without the need to patch any cable. The classic formation of VCO-VCF-VCA is pre-wired internally, complete with essential modulations. Therefore, you can play the KRAFTZWERG just like any other synthesizer using its MIDI-input. In addition, it may integrate into a full analog environment using control voltages – and benefit, unlike MIDI, from infinite continuous parameter resolution.
MFB-KRAFTZWERG offers a complete set for powerful and versatile synthesis: three VCOs with hard-sync, 24-dB-lowpass-filter with resonance, noise generator, ring-modulator, two envelope-generators, two LFOs and VCA. Technically and soundwise KRAFTZWERG is identical to MFB’s euro-rack-modules. However, the MFB-KRAFTZWERG comes in a compact format that is easy to take with you and faster in use. Your ideal analog partner on stage!
Flame Chord Machine – modular test run
Background data below:
Flame CHORD MACHINE test run 6
‘CM’ pitch & chord input cv by Doepfer A149-1
4ms Peg blue ‘CM’ arp trigger Peg red to VCAMatrix to RS 110
‘CM’ chord out to Malekko 4x Uncle Oscillator
‘CM’ arp out to Quantimator to 4x Anti Oscillator
Analogue Systems RS 110
Make Noise Moddenix QMMG Wogglebug
Toppobrillo Quantimator Sportmodulator
A134 pan by Moog MP 201
Master Clock Logic via Kenton Pro 2000II and 2x 4ms RCD
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 >>
The Klirrfaktor: Krautstep (Modular System & Korg Monotribe)
Background information about the gear and music:
First Track for my next album (or so).
My latest (modular) album you can find here: http://theklirrfaktor.bandcamp.com/album/an4log
Maybe this track is to dirty, noisy or trashy but it`s fuckin cold and all those stupid politicians round the world go crazy and i’m very very angry 😀
Starring:
Beats: MFB Schlagzwerg + Electro-Harmonix Metall Muff, Doepfer A-106-1 + ART Pro Channel
Bass: Bubblesound uLFO & WMD Gama Wave Source + Wiard Borg Filter modulated by MakeNoise Maths
Lead: Pittsburgh Generator + A-124 Wasp Filter + Ibanez SM7 Smash Box + A-199 Spring Reverb
FX/Percussion: Korg Monotribe & all the other modules 😀
I hope you like the track!
More @ http://www.klirrfaktor.com
DATAMASKIN
