Improvisations on the EMS VCS 3 synthesizer using cross modulation, feedback and nonlinear patching. Recorded in June 2013 at WORM Studio, Rotterdam.
FM percussion patch on the Tinysizer. Using Waveshaping + linear FM (Frequency Modulation). No filtering. Pattern made with Max for Live mono-sequencer (Ableton 9) controlled with nanoKontrol2
An oscillator can produce a frequency that is too low to be perceived as a pitch. In this case it is known as an LFO or low frequency oscillator. Because the oscillator in your kit can be both low frequency or audio range, you can turn up the frequency of one oscillator and feed it into another oscillator to create “frequency modulation”.
littleBits makes an expanding library of modular electronics that snap together with magnets. Bits modules are just the beginning. Combine them with craft materials, building sets, and other toys to electrify your life. Find out more at littleBits.com
Background video description:
In my last video, I showed how the Microbrute’s LFO will sync to external MIDI clock and used the LFO to modulate the MicroBrute itself. But using the LFO CV OUT from the Micro, you can also modulate another synth. In this video, I’ve got the Micro’s LFO modulating the filter on the MiniBrute. You’ve probably notices I’m using a Leatherman multi-plier to hold down keys on the MicroBrute to allow the sequence to run “hands-free”. I have been told that Arturia is releasing a software update on Nov. 12 that will allow the sequencer to run hands-free using a MIDI CC command. Until I get the update, I’ll be using the weight of the tool to hold keys down.
Plankton Electronics has introduced The Jellyfish – a DIY double delay, with modulation options capable of a wide variety of sounds, from simple delay lines to crazy modulated stereo sounds.
- Analog passive filters
- CV inputs
- Two LFOs
- Infinite feedback switch
- Xdelay function
- Dry/Wet controls
- Pseudo-stereo (1 in-2 outs) or mono mixed sound
The Jellyfish is available as a kit for 120 Euro (the case is additional). Schematics and other documentation are provided on their site – right here >>
Here is a brief exploration of the Dewanatron Swarmatron’s optional frequency modulation feature which allows one or more its eight voices to frequency modulate the overall pitch as well as the spread of its 8-note cluster.
The Swarmatron was created to produce eight tones tuned approximately to one note, each tone slightly different in pitch to produce a complex and natural choral effect. These eight oscillators can be played with a single ribbon controller (variable resistor) to move the pitch center up or down. The span control expands the sound of a swarm of eight notes spread just a few cents apart into a wide chord of equidistant pitches spread over the entire spectrum. The player can “taffy pull” the resulting chord by using the span control and pitch ribbon in tandem. Swarms of sine waves evoke swarms of angels congregating. Swarms of sawtooth waves evoke the swarming of bees. The sound of a host of voices, earthly or unearthly, has a unique character recognized by the ear even when they are folded together in unison.
Exploring filter modulation on the Prophet, details below:
I was able to to borrow a Prophet 12 recently. Since it has analog filters, I thought it might be interesting to do “analog things” to it. This is part of what happened next.
At first I was disappointed when I saw that there were no CV connections, but I soon found that the two pedal inputs can be used with a variety of CV gear.
In this video I have the Koushion Step Sequencer iPad app sending MIDI notes to the Moog Mult-Pedal. The Multi-Pedal converts them to an analog control Voltage which step-sequences the Prophet 12’s filter.
The Moog CP-251 allows us to make multiple copies of the Control Voltage so we can also step-sequence a Moog Voyager and Little Phatty. Learn more at www.experimentalsynth.com
This Bitwig Studio beta video demonstrates the unified modulation system in Bitwig Studio. Whether you’re working with macro controls, setting up modulation devices (such as LFOs or envelope followers controlling plug-ins), or just assigning velocity to the filter in our virtual analog synth—assignments are all made using the same powerful but easy-to-use concept.
For more information visit: www.bitwig.com
An implementation of the Bob Borries modulation trick to mimic PWM on a Miniwave.
Simply put, an LFO (or EG, or other modulation source) sweeps the cutoff on a ramp (rising sawtooth) wave being fed into a highpass filter. The output of the highpass HPF drives the Miniwave input.
Changing the waveshape of the ramp changes the spectral content of the Miniwave, lending a PWM style tonal sweep.
Not everything sounds great, but they beauty of it is that one can go from subtle sweeps to nails-on-a-chalkboard grind with relatively little effort.
This overview is an exploration into the versatility of the Braids’ wavetable synthesis using heavy modulation. The Timbre, Color, FM, Trigger inputs are being fed intense modulation. If you want to hear specific waveforms, they are all timestamped on Youtube in About/Show More. All the waveforms are timestamped on the YouTube page. The basic waveforms can be heard below in Equinoxoz Music Solutions’ video. This overview does not cover the universal paramaters like Bits, Rate, Trig, META, etc… You can find additional information in the Braids Manual.
More information: http://trashaudio.com/?p=9333
ZLPF 3:20, ZPKF 3:42, ZHPF 4:01
VOWL, 4:29 VFOF 4:57
FM 5:15, FBFM 5:37, WTFM 5:50
BLOW 7:09, FLUTE 7:29
CLOU 8:51, PRTC 8:59