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Jack Hertz

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  1. Jack Hertz

    ASM HYDRASYNTH Desktop

    The HYDRASYNTH keyboard is both a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts. Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched. As for the performance capabilities, The HYDRASYNTH keyboard has our proprietary Polytouch™ keybed that offers polyphonic aftertouch over each note, giving you the type of expressive control found only in certain vintage synths. Add to this a 4 octave ribbon controller and ergonomically designed pitch and mod wheels and you have expression and control that is not equaled in any other hardware synthesizer on the market… Today or ever. Polytouch™ keybed The new ASM Polytouch® keybed allows not only the standard velocity and aftertouch found on other keybeds but we support fully polyphonic aftertouch. In recent years companies have been trying to find ways to give the keyboard musician more ways to better express themselves. The problem is that their solution is almost never a keyboard, so you have to learn a new technique to play them. The Polytouch™ keybed features a high quality, standard sized keys, so you can start playing it instantly. Oscillators The tone generation capability is the heart of any synthesizer. The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms. Wavemorphing is a feature usually found on synths with preset wave tables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, our oscillators 1 & 2 have our WAVELIST mode. This mode allows you to pick and choose 8 waves, from our bank of 219, arrange them in the order you want, and then morph from one to another. mutators Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new (and old) ways. Each MUTANT allows you to choose from the following processes: FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs. Wavestack™ - creates 5 copies of the incoming sound and allows you to set a detune amount. Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun. Pulse Width - This will pulse width modulate ANY input sound. PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound. PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section. Harmonic Sweep - this will sweep the harmonics of the incoming sound.​ The Mutant's can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator....Of course the routing is flexible so you can choose the other oscillators as mod sources if you like. Mixer/ filter routing The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator. The Mixer allows you to mix levels as well as pan the input source. There is a balance control that allows you to choose how much signal of each source is routed to filters 1 and 2. The filters can be set to be parallel or series for ultimate flexibility. filters If oscillators and tone generators are the heart of a synthesizer, the filters are the soul. The Hydrasynth has two filters that can be configured in series or parallel. The first filter has 11 different filter models, giving you multiple options for tailoring your sound. The second filter is a 12db per octave has a continuous sweep from Low pass to bandpass to high pass, similar to the way the classic SEM filter worked. LFO's 5 Low-Frequency Oscillators…YES, 5. Much like our sound engine, the LFO’s are not ordinary by any means. The Hydrasynth LFO’s feature a STEP mode that allows you to create patterns with up to 8 steps. Having 5 mini step sequencers gives you an amazing amount of possibilities for further shaping your sound. Of course, there are also 10 standard waveforms to choose from.​ The LFO's all have delay, fade in, 3 triggering modes, smoothing, start phase, one-shot mode so that they can act as envelopes and BPM sync. envelopes 5 DAHDSR Envelopes……YES 5. ​ An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.​ The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in sync to your song. You can also loop the envelopes to create LFO’s whose shape can be voltage controlled in the modulation matrix. MODULATION MATRIX The modulation capabilities on the Hydrasynth are endless. With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155 modulation destinations. Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator. The Modulation matrix points themselves can also become modulation destinations. Modulation sources & destinations include the CV Mod In & Out jacks as well as MIDI CC’s ARPEGGIATOR The arpeggiator allows for standard note arpeggiations but also has a phrase arpeggio built-in. Parameters like RATCHET and CHANCE will generate other rhythmic patterns with some randomness to add life and spontaneity to your performance. You can also modulate most of the parameters in the arpeggiator so imagine using LFO’s, Envelopes, Polyphonic Aftertouch or the Ribbon controller to modify your arpeggios in real time. CV/GATE - MIDI - USB There is the standard MIDI and USB/MIDI interfaces on the synth but we go deeper and allow the use of CV/GATE interfaces for connecting to the modular world. It supports the standard voltages for Eurorack modulars as well as some of the Japanese Volts>HZ products. The MOD in and outs allow for modulation from DC to full audio ranges, expanding your modulation capabilities. Main Controls The Main system controls are where you navigate your patches, configure system settings and see parameters like the envelopes, waveforms, filters in the OLED screen. ​Init and Random buttons will allow you to initialize or randomize a complete patch or specific modules with a press & hold + module select button. ​Pressing the HOME button returns you to navigating patches in a simple and easy way. master controls The Master Control section is where all parameter editing, patch naming, and Macro performing is done. Using OLED screens, high-resolution encoders with LED rings, and 8 buttons, this section is designed to give you good feedback on what is going on. The VOICE parameters give you access to play modes, analog feel, voice panning and many other features. macros The patch MACROS are designed to allow the user deep control over the engine in live performance. The 8 assignable encoders and buttons can each be routed to 8 destinations. Complete sound transformations can take place with the press of a button or turn of a knob. patches The Hydrasynth comes with 5 banks of 128 patches in total. We hired some of the best patch designers around to create the 256 factory patches. Finding the patch you want and searching the library is made easy with our BROWSER. Our PC/MAC based Patch Manager plug-in also allows easy moving of patches to create your favorite order as well as load in new patch libraries in the future. effects The effects chain goes beyond the typical ones found in other synths. Pre-effects and post-effects give you some unique ways to process your sound. The delays and reverbs were modeled on some of the most popular effects on the market. The effects are the perfect way to complete your sound, in the box.
  2. Jack Hertz

    ASM HYDRASYNTH Keyboard

    The HYDRASYNTH keyboard is both a sound designers dream synth as well as a performing musicians ideal. The sound engine is designed for maximum flexibility. At the same time, we designed the user interface in a way to allow you to edit the patch quickly with a minimal amount of paging and many workflow shortcuts. Utilizing an advanced wavetable synthesis engine, 3 Oscillators, dual Wave Mutators and 2 filters that can be configured in series or parallel, the tone generating capabilities are unmatched. As for the performance capabilities, The HYDRASYNTH keyboard has our proprietary Polytouch™ keybed that offers polyphonic aftertouch over each note, giving you the type of expressive control found only in certain vintage synths. Add to this a 4 octave ribbon controller and ergonomically designed pitch and mod wheels and you have expression and control that is not equaled in any other hardware synthesizer on the market… Today or ever. Polytouch™ keybed The new ASM Polytouch® keybed allows not only the standard velocity and aftertouch found on other keybeds but we support fully polyphonic aftertouch. In recent years companies have been trying to find ways to give the keyboard musician more ways to better express themselves. The problem is that their solution is almost never a keyboard, so you have to learn a new technique to play them. The Polytouch™ keybed features a high quality, standard sized keys, so you can start playing it instantly. Oscillators The tone generation capability is the heart of any synthesizer. The 3 oscillators allow you to choose from a selection of 219 single cycle waveforms. Wavemorphing is a feature usually found on synths with preset wave tables. Creating user wavetables is arduous or downright impossible. Unlike most wavetable synths, our oscillators 1 & 2 have our WAVELIST mode. This mode allows you to pick and choose 8 waves, from our bank of 219, arrange them in the order you want, and then morph from one to another. mutators Oscillators 1 & 2 are routed into our MUTATORS. The Mutators allow you to modulate, bend and sculpt the sound in new (and old) ways. Each MUTANT allows you to choose from the following processes: FM-Linear - for making classic FM sounds. Choose multiple FM sources, including external inputs. Wavestack™ - creates 5 copies of the incoming sound and allows you to set a detune amount. Hard Sync - This gives you those classic hard sync sounds. Try hard syncing a morphing wavetable for some fun. Pulse Width - This will pulse width modulate ANY input sound. PW - Squeeze - This is a different form of pulse width mod that creates a smoother sound. PW-ASM - this mode divides the incoming wave into 8 slices and allows you to set how much pulse width mod will happen in each section. Harmonic Sweep - this will sweep the harmonics of the incoming sound.​ The Mutant's can also generate its own waveforms in both FM and Sync modes so that you do not have use another oscillator....Of course the routing is flexible so you can choose the other oscillators as mod sources if you like. Mixer/ filter routing The 3 Oscillators are fed into a mixer along with the Noise generator and Ring Modulator. The Mixer allows you to mix levels as well as pan the input source. There is a balance control that allows you to choose how much signal of each source is routed to filters 1 and 2. The filters can be set to be parallel or series for ultimate flexibility. filters If oscillators and tone generators are the heart of a synthesizer, the filters are the soul. The Hydrasynth has two filters that can be configured in series or parallel. The first filter has 11 different filter models, giving you multiple options for tailoring your sound. The second filter is a 12db per octave has a continuous sweep from Low pass to bandpass to high pass, similar to the way the classic SEM filter worked. LFO's 5 Low-Frequency Oscillators…YES, 5. Much like our sound engine, the LFO’s are not ordinary by any means. The Hydrasynth LFO’s feature a STEP mode that allows you to create patterns with up to 8 steps. Having 5 mini step sequencers gives you an amazing amount of possibilities for further shaping your sound. Of course, there are also 10 standard waveforms to choose from.​ The LFO's all have delay, fade in, 3 triggering modes, smoothing, start phase, one-shot mode so that they can act as envelopes and BPM sync. envelopes 5 DAHDSR Envelopes……YES 5. ​ An advanced sound engine needs plenty of modulation sources. Our 6 stage envelopes feature Delay, Attack, Hold, Decay, Sustain and Release stages.​ The time settings for the stage can be set in seconds or in time divisions, giving you envelopes that play in sync to your song. You can also loop the envelopes to create LFO’s whose shape can be voltage controlled in the modulation matrix. MODULATION MATRIX The modulation capabilities on the Hydrasynth are endless. With 32 user definable modulation routings, you will have plenty of ways to use the 29 modulation sources and 155 modulation destinations. Almost everything in the synth engine can be a modulation destination including the effects and arpeggiator. The Modulation matrix points themselves can also become modulation destinations. Modulation sources & destinations include the CV Mod In & Out jacks as well as MIDI CC’s ARPEGGIATOR The arpeggiator allows for standard note arpeggiations but also has a phrase arpeggio built-in. Parameters like RATCHET and CHANCE will generate other rhythmic patterns with some randomness to add life and spontaneity to your performance. You can also modulate most of the parameters in the arpeggiator so imagine using LFO’s, Envelopes, Polyphonic Aftertouch or the Ribbon controller to modify your arpeggios in real time. CV/GATE - MIDI - USB There is the standard MIDI and USB/MIDI interfaces on the synth but we go deeper and allow the use of CV/GATE interfaces for connecting to the modular world. It supports the standard voltages for Eurorack modulars as well as some of the Japanese Volts>HZ products. The MOD in and outs allow for modulation from DC to full audio ranges, expanding your modulation capabilities. Main Controls The Main system controls are where you navigate your patches, configure system settings and see parameters like the envelopes, waveforms, filters in the OLED screen. ​Init and Random buttons will allow you to initialize or randomize a complete patch or specific modules with a press & hold + module select button. ​Pressing the HOME button returns you to navigating patches in a simple and easy way. master controls The Master Control section is where all parameter editing, patch naming, and Macro performing is done. Using OLED screens, high-resolution encoders with LED rings, and 8 buttons, this section is designed to give you good feedback on what is going on. The VOICE parameters give you access to play modes, analog feel, voice panning and many other features. macros The patch MACROS are designed to allow the user deep control over the engine in live performance. The 8 assignable encoders and buttons can each be routed to 8 destinations. Complete sound transformations can take place with the press of a button or turn of a knob. patches The Hydrasynth comes with 5 banks of 128 patches in total. We hired some of the best patch designers around to create the 256 factory patches. Finding the patch you want and searching the library is made easy with our BROWSER. Our PC/MAC based Patch Manager plug-in also allows easy moving of patches to create your favorite order as well as load in new patch libraries in the future. effects The effects chain goes beyond the typical ones found in other synths. Pre-effects and post-effects give you some unique ways to process your sound. The delays and reverbs were modeled on some of the most popular effects on the market. The effects are the perfect way to complete your sound, in the box.
  3. JG Ballard's 1975 sci-fi epic, "High-Rise", prediction of humans colonizing the sky has come to fruition. As people cram into big cities there is no way to go but UP! With all the convinces right there, things get strange as privacy turns into isolation from society, and ultimately themselves. Jack Hertz takes a sonic look at the new standard of living for the fewture. Elite climbers move to the bottom of the top where masks of civilized manners come off in a bizarre world of elite tastes and strange indulgence created by architects of forgotten dreams.
  4. Here are 5 generative remixes of the original tracks from Jack Hertz and Mystified (2015 Aural Films). The remixes use sounds from all of the tracks on the album, for each remix. Thomas used two original Python codes to do this.

     

  5. Jack Hertz

    Buchla Easel Command Module & 208C

    Announcing the new Buchla Easel Command Module & 208C! Buchla Easel Command Module includes MIDI (USB & DIN) and enclosure. Target price $2,999 USD. Buchla 208C (MIDI optional). Target price $2,599 USD. Starts shipping late 2019.
  6. Silent Records, America’s premier ambient record label, is bringing their mystical brand of ambient and drone music back to Dunsmuir this October. Dronesmuir (a portmanteau of the words Dunsmuir and Drone) is the second of a series of music concerts planned by Silent Records for 2019. Drone music will be performed by three artists on the Silent label: Jack Hertz (San Francisco)—small hand-percussion and acoustic instruments processed via synthesizer Stuart McLeod (Portland)—hydrophone, brainwaves, waterphone & digital processing Mark Schlipper (Seattle)—guitar and effects. Jack Hertz promises to enthrall the audience with realtime processing via synthesizers of small handmade instruments. Stuart McLeod’s performance will make use of a hydrophone (underwater microphone) dropped into the underground rivulet below the restaurant. The hydrophone signal, combined with the waterphone will be processed digitally and controlled by the artist’s brainwaves. Mark Schlipper plays guitar in the Seattle drone-doom band The Luna Moth and will perform a solo guitar drone set. In addition, Jack Hertz will be speaking with music students at College of the Siskiyous at noon on Friday, October 18. The Wheelhouse will have food and beverages available for purchase, and Silent Records will have a merchandise table stocked with releases by these artists and many rarities from the Silent Records vault. Sound by China Cat Sound About the artists: Jack Hertz Inspired by the mystery of life, Jack Hertz manipulates sound to create intangible techno- oganic impressions between music and noise. Jack’s live performance will present a journey into the sonic middle ground between the real and the artificial utilizing instruments, found objects, field recordings, and real-time processing to create a sonic environment the audience can explore. Jack has been composing and recording music for more than 30 years. More on his work can be found at JackHertz.com Stuart McLeod Stuart McLeod has composed music for film, stage, and concert hall, for classical, improv, and rock groups. He has played with Gamelan Northwest and led the experimental group SIL2K. Stuart studied composition with Richard Karpen, William O. Smith and Kenneth Benshoof. Current investigations deal with composition vs. improvisation, conscious vs. unconscious will, and the concept of ‘self’. He’ll be performing a piece processing sounds from a hydrophone and waterphone with brain wave activity from an EEG headset controlling audio processing software. More information on his work can be found at stuartmcleod.bandcamp.com. Mark Schlipper Restless and prone to experimentation, Mark got his start playing music in the 80’s in Washington, DC, studying the avant garde in libraries and hardcore in garages. Moving to North Carolina in the early 90’s he began exploring the psychoactive effects of drone, repetition, and particular frequency ranges, sometimes in solo performances, sometimes in groups. In the late 90’s, he eventually brought his odd blend of genres and styles with him to the Pacific Northwest where his solo work has continued to evolve and shape-shift. “One of my bands released a new album, heavier and darker than previous releases, and it gained some attention, in part for my contribution on guitar, and the nature of the drone I was inclined toward. This led me to explore the element of drone more fully in my solo work—taking those things that were background or accent, and making them the focus. This new work tends toward a more ‘maximalist’ approach, with any lighter moments, as the accents, to help draw out the rest. Ideally creating a sound that is a physical presence in the room and in the head.” —Mark Schlipper The Wheelhouse 5841 Sacramento Ave, Dunsmuir, CA 96025 Telephone: (530) 678-3502 SILENT RECORDS Listen: silentrecords.bandcamp.com For more information contact: kim@silentrecords.us
  7. Jack Hertz

    ARP Quartet Synthesizer Keyboard

    The Seil Orchestra was bought by ARP Instruments to be slightly modified, relabeled and then sold as the ARP Quartet. This version replaced the Reed section with an Organ one, however aside from that the synthesizer was almost identical. The original Orchestra was very limited but still a very characteristic instrument for its time. It produces its sounds from a divide-down oscillator network and therefore has 49 note (unlimited) polyphony. Although it contains 4 sections of presets (Brass, Strings, Reed and Piano), each which contain two sounds, the only parameters that can be edited are Vibrato (LFO), Brilliance (for the Brass, which also has a separate 'Brass Attack'), Attack and Decay. This ultimately means that the Orchestra cannot produce many different sounds; however because of its Italian origin and its distinctive routing, the Orchestra sound is not matched by any other similar synthesizers. Official ARP Product Copy The new ARP Quadra is the fastest user-presettable poly- phonic synthesizer in the world. offering the performing musician overwhelming sonic capabilities from a single keyboard. The name Quadra is derived from the fact that the instrument is actually four separate synthesizers in one microprocessor-controlled system. The instrument gives the musician the ability to write, edit. store. and activate the sounds of four synthesizers in live performance. The Quadra's four sections are: a bass synthesizer. string synthe- sizer, polyphonic synthesizer. and two-voice, touch-sensitive lead synthesizer. A stereo, voltage- controlled phase shifter is also in. cluded, designed for the Quadra's special requirements. The bass synthesizer can be programmed to control the two lower octaves of a five-octave split keyboard. ranging from electric to string bass settings. The string synthesizer produces the rich, deep string sounds for which ARP is famous. and can be used with the built-in phase shifter for exceptionally dramatic string choruses. The poly/synthesizer section provides the musician with a quick change of envelope control param- eters at the touch of a switch. Brass, piano and synthesizer sounds can be processed through the phase shifter. sample/hold and other circuits for a variety of poly- phonic synthesizer and keyboard effects. The lead synthesizer section is actually a two-note. lead-line vari- able synthesizer. with pressure- sensitive (second touch) control of dynamics over three octaves. and full five-octave range when the bass synthesizer section is not in use. The Quadra's lead capability includes twin-channel portamento and. coupled with a microproces- sort allows intervals and octaves to be programmed from the key- board in real time. A built-in sequencer permits instant sequen- tial effects which follow every key deDressed. The se uence can he new ARP Quadra is the fastest user-presettable poly- phonic synthesizer in the world. offering the performing musician overwhelming sonic capabilities from a single keyboard. The name Quadra is derived from the fact that the instrument is actually four separate synthesizers in one microprocessor-controlled system. The instrument gives the musician the ability to write, edit. store. and activate the sounds of four synthesizers in live performance. The Quadra's four sections are: a bass synthesizer. string synthe- sizer, polyphonic synthesizer. and two-voice, touch-sensitive lead synthesizer. A stereo, voltage- controlled phase shifter is also in. cluded, designed for the Quadra's special requirements. The bass synthesizer can be programmed to control the two lower octaves of a five-octave split keyboard. ranging from electric to string bass settings. The string synthesizer produces the rich, deep string sounds for which ARP is famous. and can be used with the built-in phase shifter for exceptionally dramatic string choruses. The poly/synthesizer section provides the musician with a quick change of envelope control param- eters at the touch of a switch. Brass, piano and synthesizer sounds can be processed through the phase shifter. sample/hold and other circuits for a variety of poly- phonic synthesizer and keyboard effects. The lead synthesizer section is actually a two-note. lead-line vari- able synthesizer. with pressure- sensitive (second touch) control of dynamics over three octaves. and full five-octave range when the bass synthesizer section is not in use. The Quadra's lead capability includes twin-channel portamento and. coupled with a microproces- sort allows intervals and octaves to be programmed from the key- board in real time. A built-in sequencer permits instant sequen- tial effects which follow every key depressed. The sequence can be memorized and held while the keyboardist plays additional string and polyphonic lines on top of the latched sequence. At the heart of the Quadra is a computer programmer. a device which unites preset and variable synthesizer technology Prior to a performance, the musician sets up the desired sounds in each section and stores these sounds into any of 16 programmable positions. The sounds are memorized and can then be recalled by touch. Each section of the Quadra is individually programmable and mixable through the output mix- ing controls centrally located on the control panel. Additional syn- thesizers can be interfaced with the Quadra through ARP systems interface jacks. Pedal and foot- switch control inputs for a variety of Quadra functions are easily accessible on the back panel.
  8. Jack Hertz

    Macumbista WolfTone SoundBox

    The WolfTone SoundBox contains a children’s toy voice-changer circuit which has been modified to include three switches and six touchpoints which interactively modify the sound, 9V battery/DC jack power, a line-level/headphone output, a backlit transparent speaker and an interior lined with handmade Japanese paper. A detachable condenser microphone provides the input to the circuit, which can be either the performer’s voice or feedback from the speaker.
  9. Cyber Folk: Digbee’s Electronic Chronicle gives a thorough look into a unique, highly personal approach to musical electronic instrument building, an approach that is many things: naïve, enthusiastic, sincere, alien, and familiar. This strange future/primitive work journal contains the release of tons of data, beautiful photos, schematics, building techniques, and the inside stories behind many of Digbee’s most beloved instruments. Also inside are artist features for Digbee’s favorite musical electronic practitioners. Within are never-before-published photos and stories of the work of Craig Anderton, Charles Cohen, Michael Johnsen, and Nautical Almanac’s Twig Harper and Carly Ptak. Peppered throughout the book are examples of connected imagery from comic books and science fiction illustration. This book was not written for a specific niche. Anyone with a curious mind and interest in musical electronics, experimental music, art, and craft will find a place of connection. An exclusive flexi-disk (phonograph record made of a thin, flexible vinyl sheet) is included in the back of the book. The disk includes a song made using all instruments featured in the book, and was specifically recorded for Cyber Folk. Cyber Folk: Digbee’s Electronic Chronicle is produced by Harpy Gallery and Selfish 60 Studio for the art exhibition entitled “New American Instruments” which will be up from July 20th to August 10th.
  10. Jack Hertz

    Macumbista Benjolin

    The Benjolin is a standalone synthesizer designed by Rob Hordijk from the Netherlands. It contains two oscillators (one LFO and one VCO), a voltage controlled filter and a circuit called a “Rungler”, which allows chaotic cross-modulation possibilities between the different parts of the circuit. Hordijk refers to the Benjolin as a circuit which has been “bent by design.” These hand-made Macumbista Benjolins have been further customized with a patchbay, which can be used to interface with other modular synthesizers or to setup further control voltage feedback systems within the Benjolin itself, attenuators on the three control voltage input and LEDs displaying the internal state of the Rungler. FEATURES The patchbay of these Benjolins has banana jack connections for the square and triangle waveforms of each of the two oscillators, the Pulse Width Modulation output of the two oscillators, the Rungler output, the XOR (exclusive/or) logic operation of the two oscillators and the output of the filter. There are also banana jack control voltage inputs with attenuators for the frequency of each of the two oscillators and the filter cutoff frequency. The layout of the panel is designed to be both intuitive and playable (unlike many EuroRack modules, for example…). And finally, the three output bits of the Rungler have been visualized with red, green and blue LEDs. All Benjolins use a Neutrik 6.3mm (1/4″) output jack , an additional GROUND banana jack to interface with other modular systems and a 12 VAC “wall wart” power supply (mainland European and North American versions available). These Benjolins are produced under licensed agreement with Rob Hordijk. CUSTOM OPTIONS Additionally, there are a number of customizations available for PRE-ORDER ONLY: LOOP SWITCH: The LOOP switch locks the otherwise chaotic pattern of the Rungler into a loop. The UP position is a loop of 4 steps going forward, the MIDDLE position is the normal chaos of the Rungler, and the DOWN position is a loop of 4 steps forwards and 4 steps backwards. EUR 25 (incl. 19% EU VAT) / EUR 21 (shipped outside the EU) EXTERNAL INPUT SWITCH: The external input 6.3mm jack on the back of this Benjolin allows a signal from another source to be sent through the Low Pass Filter of the instrument. Selecting “EXT” on the FIL INPUT switch sends this signal to the FIL input, where the cutoff and resonance controls of the filter can be used to affect it. When the FIL INPUT switch is in the “INT” position, the PWM signal, mixed with a small amount of RUN voltage, is sent to the FIL (this is the normal Benjolin signal path). EUR 25 (incl. 19% EU VAT) / EUR 21 (shipped outside the EU) EXTERNAL RUNGLER CLOCK:: A jack of your choice (banana, mini-jack or 6.3mm jack) on the back panel of the instrument provides a switchable clock source for the Rungler of the instrument. The DOWN switch position clocks the Rungler from OSCILLATOR 2 of the intrument, the UP switch position clocks it from the external clock input. EUR 35 (incl. 19% EU VAT) / EUR 30 (shipped outside the EU) RUNGLER BITS OUT: Three colored banana jacks on the back match the colored LEDs on the front, and give a +5.6V gate voltage when the corresponding LED lights up. These are the individual bits of the Rungler, which are summed together through a simple Digital-to-Analog Converter to provide the RUN control voltage. EUR 25 (incl. 19% EU VAT) / EUR 21 (shipped outside the EU)
  11. Jack Hertz

    Ciat-Lonbarde Tetrax Organ

    The Tetrax Organ follows a lineage of electronic musical instruments based on touch. It was redesigned once, as Tetrazzi. It has four wooden bars that you press to express four oscillators within. Each oscillator has its own fine tuning slider, embedded right within its bar. Also, there is are two master pitch knobs, and two master chaos knobs. Each master chaos knob makes the instrument go from pure sawtooth tones to a nest of noise. It does this by gradually increasing modulation from one oscillator to the next in a circular pattern. The reason there are two of each knobs: the Tetrax is all about timbre modulation, by changing the upslope and downslope of triangle waves separately. So, for master pitch and chaos, there is a separate upwards and downwards knob. In general, Tetrax is for funky bass and complex tones, while Sidrax is for sweet melodies. Of course they all have noise available at any point! There are 28 modulation points brought forth as banana jacks. They are arranged in four columns, representing the four bars. Their layout is shifted diagonally, to allow inputs in proximity to outputs. This is for touch-playability; you can make banana jack metal studs that can be squished by hand to gesture-patch the instrument. Inputs are cool colors: blue, green, and grey. Outputs are hot colors: red and orange. The color jacks allotment for each bar is as follows: BLUE - FM modulation input for that oscillator. GREEN - "glitch" inputs. They cause the boundary conditions of each oscillator to wire to the output of another. GREY - parallel inputs with the master knobs: the two on the left are for master pitch, the right two are master chaos. ORANGE - representing the press and release gestures on that bar in voltage. RED - pure triangle output of that oscillator. The Tetrax organ has a stereo-mini output on the back. This is because each bar, outputs in different channels during the press/release cycle. In addition to the stereo-mini jack, it has an power switch, and optional built-in batteries, or an external, 9 volt battery snap.
  12. This collection of essays has been assembled and developed from papers given at the Ambient@40 International Conference held in February 2018 at the University of Huddersfield. The original premise of the conference was not merely to celebrate Eno’s work and the landmark release of Music for Airports in 1978, but to consider the development of the genre, how it has permeated our wider musical culture, and what the role of such music is today given the societal changes that have occurred since the release of that album. In the context of the conference, ambient was considered from the perspectives of aesthetic, influence, appropriation, process, strategy and activity. A detailed consideration of each of these topics could fill many volumes. With that in mind, this book does not seek to provide an in-depth analysis of each of these topics or a comprehensive history of the last 40 years of ambient music. Rather it provides a series of provocations, observations and reflections that each open up seams for further discussion. As such, this book should be read as a starting point for future research, one that seeks to critically interrogate the very meaning of ‘ambient’, how it creates its effect, and how the genre can remain vital and relevant in twenty-first century music-making. Music Beyond Airports features the following authors and essays: Monty Adkins: Fragility, Noise, And Atmosphere In Ambient Music Axel Berndt: Adaptive Game Scoring With Ambient Music Lisa Colton: Channelling The Ecstasy Of Hildegard Von Bingen: “O Euchari” Remixed Simon Cummings: The Steady State Theory: Recalibrating The Quiddity Of Ambient Music Ambrose Field: Space In The Ambience: Is Ambient Music Socially Relevant? Ulf Holbrook: A Question Of Background: Sites Of Listening Justin Morey: Ambient House: “Little Fluffy Clouds” And The Sampler As Time Machine Richard Talbot: Three Manifestations Of Spatiality In Ambient Music David Toop: How Much World Do You Want? Ambient Listening And Its Questions
  13. Voltage Research Laboratory Organic Modular Synthesizer Explore the Natural Systems and Lesser Known Fringes of Analog Synthesis An Organic Synthesizer by Pittsburgh Modular The Voltage Research Laboratory is a completely different analog synthesizer where every function of the instrument has been influenced by the behaviors and systems of the natural world. Wildly experimental and extremely deep, the Voltage Research Laboratory is a sonic playground created to explore the natural systems and lesser known fringes of analog synthesis. The Voltage Research Laboratory is 100% eurorack modular format compatible and is comprised of 3 separate eurorack modules housed together in a purpose-built, handmade eurorack enclosure. More than a collection of tools and functions, it is a unique modular synthesizer designed to reward deep experimentation and encourage the creation of unique sonic systems. Voltage Lab Synthesizer Voice Module The unique sound palette of the Lifeforms Voltage Lab originates with a complex oscillator pair that utilizes a wide range of shaping and manipulation options to move away from basic geometric shapes to more harmonically rich tones. A custom wave folder with enhanced waveform warping, linear FM, amplitude modulation, ring modulation, waveform cycling, hard sync, and more are available for extreme sonic research. Manipulation A set of multi-function generators work as interactive voltage processing systems to create and modify complex control voltages. The function generators act as voltage controllable envelopes, LFOs, slew generators, and more to produce evolving control signals. Voltage controllable parameters and multiple unison modes create complex and intertwined modulation systems through time. Interaction Twin dynamics controllers pull everything together. A unique circuit expanding on the classic low pass gate, the dynamics controller with variable response adds an organic depth to the sound of the Lifeforms Voltage Lab by simulating the natural behavior of sound. The multi-mode signal processor features a 12db resonant filter, VCA, and percussive low pass gate modes. Dimensional Sound interacts with the world around it. The Voltage Lab uses analog delay to simulate this interaction and create an artificial sense of time and space. Manipulation of delay time and feedback add depth and warmth through reverb, chorus, flanging, Doppler, slap back, and echo type effects. Unstable Systems Chaos is everywhere. Random gates and control voltages spark uncontrolled reactions, disrupt systems, and generate ideas. The Voltage Lab utilizes noise, stepped random CV, a pseudo-random sequence generator, pitched random CV, pitched random sequences, and random gates to add multiple levels of unpredictability to any patch. Interactive Touch Controller Module Intuitive and inspiring, the Lifeforms Touch Controller replaces the creative restrictions of a traditional chromatic keyboard with a set of fully configurable multi-dimensional touch pads. A duophonic touch controller that utilizes two sets of five touch pads to offer a flexible and interactive performance surface. Performances can be interpreted with a unique combination of monophonic and duophonic responses. The channel animator is available to quickly generate complex sequences or glitchy chaos. Intuitive and inspiring, the Lifeforms Touch Controller is the perfect launchpad for an experimental journey. Output Utility Module A Voltage Research Laboratory exclusive, the Utility module adds a few welcome features to round out the functionality of the instrument. A unity gain signal mixer / splitter along with stereo headphone and line outputs. Research Console Eurorack Case A beautiful 96hp eurorack enclosure designed with the warmth of walnut and the strength of steel. The Research Console eurorack format modular case pairs classic desktop synthesizer ergonomics with a modern eurorack form factor and clean, reliable power supply.
  14. Vector Synthesis: a Media Archaeological Investigation into Sound-Modulated Light is a computational art project inspired by theories of media archaeology, by the history of computer and video art, and by the use of discarded and obsolete technologies such as the Cathode Ray Tube monitor. This text explores the military and techno-scientific legacies at the birth of modern computing, and charts attempts by artists of the subsequent two decades to decouple these tools from their destructive origins. Using this history as a basis, I then describe a media archaeological, real time performance system using audio synthesis and vector graphics techniques to investigate direct relationships between sound and image using analog CRT displays. Key to this system is a didactic, open source approach which encourages reuse and modification by other artists. The conclusion of the book reflects on how the project and the research surrounding it has contributed to the larger experimental audiovisual arts community through events such as the Vector Hack Festival. Artists discussed include Mary Ellen Bute, Ben Laposky, Norman McLaren, Desmond Paul Henry, James Whitney, John Whitney Sr., Dan Sandin, Steina Vasulka, Woody Vasulka, Larry Cuba, Bill Etra, Mitchell Waite, Rosa Menkman, Cracked Ray Tube, Andrew Duff, Benton C. Bainbridge, Philip Baljeu, Jonas Bers, Robin Fox, Robert Henke, Ivan Marušić Klif, Jerobeam Fenderson, Hansi Raber, Ted Davis, Roland Lioni, Bernhard Rasinger, and the Kikimore group, among others.
  15. Pierre Schaeffer has been credited with being the first to formally identify, document, and promote the use of common sounds for new forms of art. What became the foundation for Musique Concrète, Acousmatic, and other forms of recorded medium sound art. Still in use today, most of the techniques Schaeffer identified including playback speed, sampling, looping, pitch transposition, stretching, and editing were all focused on discovering what he referred to as the “in-itself-ness of the sound”. Read more about Pierre Shaeffer life and work at en.wikipedia.org/wiki/Pierre_Schaeffer Hear, on his birth date of August 14th, 12 contemporary artists from around world celebrate Pierre Schaeffer's life, legacy, and vision by continuing with his on-going pursuit of new dimensions in sound.
  16. The DCS II - Get ready to change what you think about polyphonic synthesizers Look again at the photograph. You're viewing a new generation of synthesizers. The DCS II employs advanced digital technology to bring you (1) advanced digital control matrix (2) an astounding variety of functions unmatched in any other comparable synthesizer (3) complete memory of all functions and (4) single button recall of all programs. Remarkably, it costs less than any other synthesizer that even comes close to its capabilities. First, notice the differences you see. No knobs. No sliders. Just a com-pact instrument with a clean, perfectly arranged control panel of push buttons. These buttons put your fingertips in touch with an amazing variety of functions. The more you know about synthesizers, the more amazed you'll be with the versatility of the DCS II. Imagine yourself with the DCS II at home or in rehearsal. Let your creativity soar as you command its unmatched versatility and flexibility. Explore the widest range of features built into any competitive instrument. When you find the sound you want, program ALL THE FUNCTIONS used in creating that sound with the touch of a single button. Later, in the studio or on the stage, you can summon your creation instantly with the flick of a finger. A single button will activate both voices, the memory sequencer and the multiple function joystick. Incredible? You bet it is. The DCS II packs more features into a com-pact instrument that is easier to use for both the beginner and the advanced synthesist. And it's all done through advanced digital techno-logy. Here is a brief look at the most important features of the DCS II: • Two polyphonic voices which can drive up to eight notes each, commanding a separate synthesizer module on each note. • Each separate synthesizer module has three oscillators with mixable waveforms and modes such as ring, FM, noise source, multi-mode state variable filter, separate ADSR and modulation for oscillator, VCA and filter sections. • Single button, instant access to 48 voice patches. Sixteen are permanent presets and 32 are variable voice patches. • A 256 note memory sequencer which drives one synthesizer mod-ule in either voice and has 16 memory banks. • A totally programmable joy-stick that can vary and set or just vary almost any combination of functions in real time. • Single and/or multi-trigger key-board that will drive Voice I only, Voice II only, Voice I and II high/ low split at middle C, and a unison mode. • Unlimited storage of memory on cassettes, with built-in interface. Compare these features with those found on any other synthesizer.You can come to only one conclusion. There is no comparison! Strider SYSTEMS, INC. P. 0. Box 2934 Norman, Oklahoma 73070 (405) 360-5413 CalZone "Strongarm" Flight Cases are available to fit the DCS II
  17. Jack Hertz

    SynthJacker Synthesizer Sampler

    SynthJacker is an autosampler for iOS. It automatically plays back a MIDI sequence with the notes and velocities you specify, and records the results into an audio file. It then slices the audio into individual sample files, ready to import into an iOS sampler app of your choice. SynthJacker supports both internal instrument Audio Units (AUv3) and external hardware synths. You can also save presets of your sampling sessions, including the note range, velocity layers, and note durations. You can also apply post-processing to samples, to trim silence from them or normalize their level. SynthJacker automatically names the resulting sample files with note and velocity information, so that they can easily be automapped by a sampler app. It also writes an SFZ file with sample information as regions and their root keys. You will find the results in the iOS Files app, in the SynthJacker folder.
  18. Introducing a revolutionary new way to turn your guitar or bass into a fully featured polyphonic synth: Roxsyn, the world’s first metamorphic guitar synthesizer. Expressive, fast and responsive to every nuance, it is a league apart from all other guitar synths to date. Unhappy with cold and temperamental guitar-to-MIDI synths that dominate the market, we developed a completely new approach to guitar synthesis. Our all-original technology synthesizes your guitar directly, without the use of MIDI notes. Rescued from being a poor keyboard substitute, your guitar suddenly becomes an integral part of the synth. It's alive! There is no pitch tracking involved. There are no pitch estimation errors, octave glitches, or garbled chords. There is no over-complicated G2M between your guitar and synth to destroy everything human about your playing. Instead, Roxsyn’s metamorphic sound generation technology retains all the personality of your sound: vibrato, slides, bends, dynamics, even extended technique. The result is a polyphonic synthesizer that is as fast and accurate as it is richly expressive. No need for special MIDI pickups or hardware, either: just plug into your favorite Lightning/USB audio interface, and start synthing! Powerful Synth Engine Roxsyn’s big synth heart is its three metamorphic signal generators (AKA oscillators). Each generator offers 5 unique waveforms, and has a 4+ octave range to cover a wide spectrum of frequencies. They also feature stereo panning, and can route into either of Roxsyn’s dual filter banks. You can even dial in your guitar directly into the synth engine for even bigger sounds. Dual Filter Banks Each containing four custom virtual-analog filter types and dedicated envelopes, the filter banks help sculpt the synth generators in countless new ways. The envelopes are specially designed for the guitar, and are driven by a fully adjustable automatic trigger generator controlled by your playing dynamics. Envelopes offer original features like finite-duration sustain stages, as well as the ability to receive or ignore trigger-off messages. They can also be triggered externally via MIDI controllers like an expression pedal. An additonal envelope controls the amplitude of the signal, giving you even more options in creating synth sounds. Arpeggiator Instantly transform sustained guitar notes into fast (or slow), complex patterns with Roxsyn’s powerful yet easy to use arp. There are 8 stepping algorithms to choose from, as well as settable note value, swing, and note repeats. You can even route the arp to any combination of the 3 voice generators — enabling you to layer a non-arpeggiated sound with an arp pattern. What's more, the arp can send trigger signals into any of Roxsyn’s 4 envelopes, and even reset the LFOs. So it’s also a handy rhythmic / trance tool as well! Modulation & FX Roxsyn’s user friendly modulation matrix lets you manipulate parameters (pitch, amplitude, filters, etc) using its two LFOs and mod envelope. Add subtle vibrato, even glide simulation, or go full-on berserk. LFOs each have 9 waveforms, and feature beat syncing. Each matrix row can take LFOs or the mod envelope as a modulator or control, and can even use external control sources. And if you like your synths on the spicy side, Roxsyn comes with top-notch stereo FX specially developed to evoke extra synthiness: Powerful algorithmic reverb with the sound of countless rooms, phasing, modulating, 2-channel delay, and graphic EQ. Pro Features 500+ factory presets with bass, lead, pad, arp sounds & more. Easily create & share your own presets. Audio Unit v3, IAA, Audiobus, Ableton Link. 64-bit processing at up to 96kHz. 160+ MIDI controllable parameters; MIDI learn & map save/share. Tapedeck (in the app), so you can record, loop & share your ideas on the go. Just some of Roxsyn’s professional features that make life and music a little bit easier.
  19. EG WaveSHAPER is the first synthesizer that lets you create your sound with a finger. Draw the waveform on the screen or shape a builtin one, mix it with a classic analog oscillator and a sub oscillator and automate all the knobs with 2 drawable LFOs and 2 ENVs HYBRID WAVESHAPING ENGINE 'Waveshaping is a synthesis-and-transformation technique that turns simple sounds into complex sounds' 2 wavetables can be designed and morphed to create unique and dynamic sounds under your finger, choosing the morph attack and release; complex spectra can be created waveshaping the oscillator and introducing non linear distortion, rich harmonics and a tube-vacuum behaviour. The hybrid Waveshaping/Wavetable engine lets you combine a wavetable oscillator with a classic oscillator and a sub oscillator, to add additional sound layers and depth. LFOs & ENVs 2 Lfo and 2 Envelopes with indipendent time can be assigned to virtually any of the synth parameters. They can also be graphically designed with the touch of your finger or you can choose among the builtin envelopes. OTHER FEATURES - Hybrid Wavetable/Waveshaping engine - Draw your wavetable oscillator with your finger - 100+ presets (Pad, Lead, Bass and Fx) - 30+ builtin waveforms to use and modify - 2 LFOs and 2 ENVs assignable to any parameter - FX: Reverb, Delay and EG Crush - Detune osc to create huge unison sounds - FM and Noise with configurble FM Ratio and Noise eq - VCF and Reso filters - Complete presets management with export and share - Core MIDI: MIDI in, MIDI CC, MIDI channel pressure control - AU3 with full knobs parameters automation - Universal for iPad & iPhone
  20. Jack Hertz

    Digital Suburban Dexed

    Dexed is a multi platform, multi format plugin synth that is closely modeled on the Yamaha DX7. Under the hood it uses music-synthesizer-for-android for the synth engine. The goal of this project is to be a tool/companion for the original DX7. Sound engine with 'float' value parameters, different waveform à la TX81z would be great but anything that goes beyond the DX7 should and will be a fork of this project. This is to keep the compatibility with the original machine. Dexed is licensed on the GPL v3. Features: Multi platform (OS X, Windows or Linux) and multi format (VST, AU, LV2). The sound engine music-synthesizer-for-android is closely modeled on the original DX7 characteristics. 144 DAW automatable DX7 parameters available from one single panel. Fully supports DX7 input and output Sysex messages; including controller change. This means that you can use this with a native DX7/TX7 as a patch editor and SysEx manager. Each operator have a realtime VU meter to know which one is active. Can load/save any DX7/TX7 SysEx programs. It is also possible to save a single program into a different SysEx file. iOS Version Notes A port of Dexed, an FM Synthesizer. Features over 20,000 Cartridges with 32 patches each. Comes with AudioUnit AUv3 plugin for use inside GarageBand and other DAW apps like AUM. iOS Midi and Bluetooth MIDI supported. Get a camera kit and plug in a midi controller through USB, or get a 5-PIN DIN 1/in 1/out, to: USB and use the camera kit through USB MIDI Spec, NOTE: some devices handle SysEx differently and therefore we cannot promise support for SysEx, so invest in connectors and cables wisely. If you have questions involving making MIDI-USB work the best for your situation, email support. This iOS app was designed especially with small interfaces in mind. Example: an iPhone 5S or a resizable window inside AUM. If one clicks the menu eye, a feature LOCK SCROLL can be –very– important to set knobs, sliders, et cetera: if screen size is limited. LOCK PARAMs in the eye menu locks the parameters for scrolling without knocking loose the preset. In the CARTs menu double tap a cartridge to load a series of patches, the files will have a .syx extension. To use MIDI CC, in the menu eye you must first turn on MIDI CC. When MIDI CC is on it makes the tap events react like a right mouse button click, so make sure LOCK PARAMs is off. NOTE: MIDI CC, in eye menu, doesn't have to be on after CC controls are mapped. However, you can turn it on again later to turn off mappings or create new CC mappings. I would suggest setting CC knobs in the bottom section of the screen – above keyboard (if visible). Currently you must save patch in DAW – for instance: GarageBand or AUM. Once we can determine unity and saving/loading between the AUv3 plugin and the StandAlone app, external save will be eventually developed. There is a pathway set to transfer .syx files through iTunes to the StandAlone app, only. Other plans include fixing pixelated images, a quick zoom to set CC mode and updating GUI to a higher degree.
  21. Assembler Strat 1 Patchable Modular Synthesizer is semi-modular kit produced around 2010.
  22. Jack Hertz

    Homegrown Sounds Midi Looper

    Midi Looper is an exploration of live recordable step sequencers which works in a similar way to Guitar Loopers, except for MIDI notes. They are a fun and creative way to generate sequences and MIDI Looper brings a large selection of Record Modes which behave in different ways. There are 7 Sequencers in total and each one can be up to 128 steps in length. They are all polyphonic with up to 8 notes per step and some Modes allow overlapping steps. The Sequencers are hard locked to the timeline, which is a first for HGS Instruments. This means that the Sequence is always accurate when using different step amounts or frequencies regardless of where Playback is started. The normal Mode when Hold is disabled is that the 7 Triggers (represented in red) will act as Gates and let a Sequence through when engaged. Alternatively DAW Automation can be used using the GUI Buttons. Everything except Modes and the Scale can be automated by the DAW, it was designed with this in mind to be a single control per Parameter. Once Recorded the Sequencers can then be processed through the playback system with many options such as Play Mode, Velocity and Length Percentages, Probability and Gate Conditions. Additionally there are 7 Variations which allow overriding specific parameters with customized values. Only one Variation is selected at a time and each can have a unique Global Scale attached to it for re-pitching the output. There is a Midi Recorder which starts recording the output of the Sequences as soon as Play is engaged in the DAW. Using drag n drop the Sequences can be exported at any time either to the DAW or elsewhere. Although Kontakt doesn’t support multi-channel Midi output, by using Multi Track, the exported streams will be separated into individual Sequences. Main Features 7 Sequence recorders each with up to 128 steps and 8 Note polyphony per step. 12 Record Modes which use different methods of Recording Midi. Record Erase removes underlying notes. Note Trigger System for Sequence playback, variation select, common Record options and Transpose. Midi Recorder with Multi-Channel and Drag Export. 7 Variations for overriding Parameters in real-time 7 custom Scales assigned to Variations. Sequence Edit page to provide an overview of each Sequence. Fixed Swing Mode. Customizable Randomization System Internal Preset System Note Record undo up to 30,000 notes.
  23. RhyGenerator is an Euclidean step sequencer made by HoRNet Plugins together with the electronic music artist HATEFISh. The sequencer is designed to distribute as evenly as possible a certain number of “beats” in given number of “steps”, wikipedia explains it better: The Euclidean rhythm in music was discovered by Godfried Toussaint in 2004 and is described in a 2005 paper “The Euclidean Algorithm Generates Traditional Musical Rhythms”. The greatest common divisor of two numbers is used rhythmically giving the number of beats and silences, generating almost all of the most important World Music rhythms,[2] (except Indian). The beats in the resulting rhythms are as equidistant as possible; the same results can be obtained from the Bresenham algorithm. Simply put, with RhyGenerator you can create up to 16 different rhythms, consisting of up to 32 steps each. Those 16 lanes you have on the GUI of the plugin are actually 16 different step sequencer linked to your DAW tempo and each of the sequencer can work in multiple modes: Single note Arpeggiator up Arpeggiator down Chord MIDI Control In the “Note” mode the sequencer outputs the specified note following the rhythm generated by the Euclidean algorithm, in “Arpeggiator up” or “Arpeggiator down” mode the sequencer outputs the notes on the plugin input from lowest to highest (or vice versa) following the specified rhythmic pattern. In “Chord” mode all the notes on the input are played together on every active beat and in the last mode, the “Control” mode MIDI control change messages are used instead of notes, allowing you to automate rhythmically any parameter of your synths . Every one of the sequencers allows you to control the number of steps and beats separately, also the the note mode you can control the velocity and the length of the note, in the control change mode the note number becomes the “control number” and the velocity becomes the “control value”. Of course you can assign a different MIDI channel to every one of the step sequencer to be able to control up to 16 different synths and in addition to these controls we also thought it was cool to add an LFO to every sequencer that can modulate the MIDI message value, velocity for “Note” mode and value for “Control” mode.
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