The Moog Foundation has really been busy over night – uploading some 20+ videos, below you will find a snapshot on what you can explore on their Youtube channel
This is the introductory video for the Bob Moog Foundation/macProVideo series “The Foundation of Synthesis.” In it, Marc Doty sets the stage for the intent of these videos, which is an integrative instruction which not only describes synthesizer function and operation, but also gives a historical foundation for the functionalities and their implementation.
Pulse Width Modulation is a pleasing aural effect generated by the voltage-controlled adjustment of the width of a square wave. In this Foundation of Synthesis video, Marc demonstrates this function on several classic synthesizers. The video includes an oscilloscope, which shows you exactly what is happening when the width of the square wave output of the oscillator is changed!
In this part of the 3rd Tutorial of the Foundation of Synthesis, Marc outlines the history of the filter from its origin in the telephone to its application in electronic devices in order to give a firm understanding of how the filter came to be an important part of modern synthesizers. The filter is a function which removes harmonics from a sound. Since harmonics define the timbre of the sound, this is a fast and easy way to create new timbres.
Control voltage is the concept synthesis had waited for for 60 years. This technology united the synthesizer into a single device as well as allowed that device to become fully controllable and automated. Control voltage was a revolution in synthesis. In this video, Marc gives a short history to this amazing development.
Maul: a multi-band distortion and tone-shaping plugin with advanced modulation.
FXpansion is proud to present Maul: a multi-band distortion and tone-shaping plugin with advanced modulation. Maul is suited to all music requiring powerful sound-sculpting abilities – everything from subtle warming and loudness generation to shredding distortion and experimental creative effects. Maul features 3 separate drive stages, each of which can act on a different frequency range with any of 32 distortion types. The available algorithms include DCAM-modelled germanium diode, tube and transistor-based circuits, clippers, overdrives, waveshapers of various kinds and bit-crushing devices for digital distortion flavours. Each drive stage also features control over transient-shaping, saturation circuitry and additional post-process tone filtering.
Availability & Pricing
Maul is available as a download-only product from the FXpansion web shop!
Pricing is USD $99.00, EUR €79.00, GBP £69.00 inc VAT where applicable
Kevin Spears explores new soundscapes playing his kalimba through a Moog MF-102 Ring Modulator.
The MF-102 Ring Modulator is a direct descendant of the original Moog modular synthesizers. It contains three complete modular functions: a ring modulator, a voltage-controlled carrier oscillator, and voltage-contolled dual-waveform LFO. It can be used to process any instrument-level to line-level signal.
A ring modulator produces sum and difference frequencies between the audio input and a carrier oscillator. The ring modulator’s LFO can be used to modulate the carrier frequency. The moogerfooger ring modulator can create effects ranging from subtle tremolo to harmonically rich distortion, gong-like sounds, sweeps, swoops, and divebombs. It can be subtle, or outlandish in it’s use – you decide!
The moogerfooger ring modulator’s control parameters are signal mix, carrier frequency, LFO rate, and LFO amount. All of the ring modulator’s parameters can be controlled by the great feeling knobs that beg to be tweaked as well as with expression pedals or external control voltages. Panel switches select LFO waveform and carrier frequency range. 1/4″ jacks are provided for audio input and output, pedal/control inputs, carrier input and carrier output. The heavy-duty yet smooth acting bypass switch allows tabletop or floor use.
Imagine that the ring modulator’s carrier oscillator is producing a 500 Hz sine wave, and your input signal is a 100 Hz sine wave. The ring modulator’s output will be a complex waveform. You will hear two pitches: 400 Hz and 600 Hz. You will not hear your original input or the carrier oscillator.
More at www.experimentalsynth.com
WOPR is a polyphonic, stereo virtual analog synthesizer with totally unique evolving modulation driven by vintage 1970s cellular automata. It’s made for iPad 2 or later only. WOPR is a performance instrument, a stand-alone instrument in the same spirit as the Korg Monotron.
It’s brilliantly playable: the full-width Wribbon keyboard lets you play pitch-perfect notes every time, then bend them like a guitar god to convey your inner pain to the screaming masses.
It’s performance-friendly: you can create customized control panels for comfortable access to parameters. That’s much better than contorting your fingers to fit some tiny panel layout.
WOPR is a seriously powerful analog, but what sets it apart is its modulation grid: you paint a pattern of cells into a grid, set the tempo, hit ‘run’ and let the cellular automata evolve your pattern. You link areas of the grid to any of the synth’s parameters and your patches come to life, rhythmically pulsating as the patterns shift with each beat. Constrain parameters to ranges for tight control over rhythmic modulation, or set them free to dynamically breed new patches.
Being a virtual analogue synthesizer, we’d be remiss if we didn’t include some allusion to the past. Here it is: the modulation grid is a bona fide 1970s invention called Conway’s Game of Life. Look it up, marvel at the infinite variety of patterns, geek out on the math, then put them to work twisting knobs in WOPR.
The core synth engine justifies its powerful modulation. WOPR has:
- 2 pannable oscillators with sine, saw, square and triangle waves. Each oscillator has an incredible range: 32′ to 1′, with +/- 500 cent detune (a perfect fourth either way). There’s also a white noise generator.
- 3 ADSR envelopes, 2 assignable between osc 1 & 2 and the third dedicated to the noise source.
- 2 fruity, resonant 24Db/octave low pass filters, assignable to osc 1 & 2 or to the left and right stereo channels.
- 2 delays, a free-running delay with fine control over low intervals, and a tempo-synced delay running from 32nds to two whole beats. Delays are independent, or can be assigned to feed eachother in any sequence. Howls, rings and reverbs are easy to create; so are good, old-fashioned solid, rhythmic delays.
- 2 octave, full-width Wribbon keyboard: play piano like a guitar, bending individual notes or entire chords. All without losing fixed-key pitch accuracy when you don’t want to bend. Best of all the whole width of your iPad 2 is there for performance.
- 6 voice polyphony. If that’s not enough (maybe you have tiny fingers), it comes with the best note stealing algorithm on the iPad.
- Modulation matrix: use this to link controls to the Game of Life, or simply use it to define a custom control panel for easy performance.
WOPR is version 1.0.0. It doesn’t yet have these features, but they’re being worked on:
- Audio copy/paste (it’s coming soon.)
- A giant preset library. (More are available for free download within the app.)
WOPR’s architecture might change a bit too. It’s young and has a lot of growing up to do. Right now Omnivore is experimenting with stereo BPF & LPF filters that you can insert into various places in the signal pipeline. We’re looking at ways to drive a wavetable library from the grid, too. Feedback is welcome, so please send your requests to email@example.com.
Finally, what does WOPR stand for? Anything you like. Wave Oscillator Piano Replacement? Wickedly Optimized for Phat Response? Who knows. All we can say is that it’s the synth David Lightman would choose…
In this video, the demonstrator will present all of the Rhizome Host Step Automations functionalities, allowing you to use your Rhizome as a full Effects Sequencer.
10 Moogist Tricks on the Moog Voyager
Tim Tsang, demonstrates that with some modulation, you can turn you keyboard shredding into something much better. Expect explosive flurries of atonal melodic flourishes and timbral mayhem. Using a Moog Voyager, he modulates those pitches into some musical insanity. In short:
- Add pitch randomization with sample and hold (a lot of it).
- Filter the result.
- Hold that key trigger so you can use your fingers for something else. (Here, the Voyager’s X/Y pad.
- Route mod wheel to LFO.
- Route LFO to pitch, add more triggering, timbral modification like FM …and go all wobbly.
More details on the Pi Synth:
A short demo showing filter cutoff, resonance and more LFO- and EG-driven Phase Distortion.
Synapse Audio has released three new Rack Extension effects for Propellerhead Reason:
RM-1, above, is a virtual-analog ring modulator with a unique soft-saturation characteristic. Both an internal oscillator as well as mono and stereo side chains are available as a modulation source.
The AF-4 is a virtual-analog lowpass filter module, based on the well-known transistor ladder design. The filter can be driven into a warm, musical saturation, as well as into self-oscillation. Additionally, the resonant tuning is correct across the entire frequency range. The filter can be toggled between a 12dB/oct and 24dB/oct lowpass response, and supports both mono and stereo processing.
Full integration into the Reason enviroment and workflow is provided by the CV Inputs on the backside, allowing to control all front panel parameters.
The Synapse DC-2 dual chorus offers a warm, sweeping stereo chorus effect based on a classic two-stage design with matched delay times. Sound parameters include the delay time, modulation rate, depth and a bipolar feedback control.
The delay time, modulation rate and feedback parameters can be controlled via CV Inputs on the backside.
Second video tutorial featuring the Xpander:
In this video I will introduce the MODULATION PAGES used for creating a SINGLE-mode patch.
My next video will continue discussion of modulations and programming a Rave Hoover sound, and a Hi-Fi Crescendo Deep Chord as heard at the end of Tutorial 1.
The Freqbox is a very underrated device.
This is very simple programming, just some slight modulation of the waveshape, to an overdriven 101 LPF. Then a random sequence with most of the pots totally CCW seemed to simulate a two person morse code conversation using the Ringmod as a pitch source.
Oscs sent to a synthesiers.com VCA and to the MF 104z Delay prior to going to the board.
The MF-107 FreqBox is different from other effects – the effected sound is not a processed version of your input signal, but the sound of the input signal modulating an internal oscillator. It contains a VCO with continuously variable waveshape, and the capacity to modulate that Oscillator in the following ways:
- the VCO can be hard synced by the input signal
- The VCO can be frequency modulated (FM) by the input signal
- The VCO frequency can be modulated by an envelope follower which tracks the dynamics of the input signal
- The Amplitude of the VCO also tracks the dynamics of the input signal
Hard sync is a classic analog synthesis technique where the start of an oscillator’s cycle can be reset by another. The oscillator being synced takes on the frequency characteristics of the other oscillator, and when its frequency is swept, it reinforces the harmonics of the fundamental frequency. In the case of the FreqBox, the input signal is used to reset the FreqBox’s VCO.
FM is a technique used to get really rich sounds from simple waveforms. The type of FM used in the FreqBox is linear FM. Sounds range from gong or bell-like tones to sizzly sweeps.
The FreqBox, like all moogerfoogers, works with any instrument to line-level input. In addition to the panel controls there are control inputs for use with expression pedals or control voltages and control outputs for interconnecting moogerfoogers like you would a modular synth.
The demo was recorded with an electric guitar, the FreqBox, a Moog EP-1 expression pedal, and recording software on a laptop. That’s it!
The FreqBox can provide some really unusual processing to all types of signals – guitars, synths, drum sounds, vocals or wind instruments allowing you to enter previously unexplored sonic territory.