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Jack Hertz

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  1. The Behringer TD-3-SR is an Analog Bass Line Synthesizer with VCO, VCF, 16-Step Sequencer, Distortion Effects and 16-Voice Poly Chain. FEATURES Amazing Bass Line synthesizer with true analog circuitry for bass and groove sounds Authentic reproduction of original circuitry with matched transistors Pure analog signal path based on legendary VCO, VCF and VCA designs Sawtooth and square waveform VCO with transistor wave-shaping circuitry Amazing 4-pole low-pass resonant filter with cut-off, resonance, envelope, decay and accent controls Easy-to-use 16-step sequencer with 7 tracks, each with 250 user patterns Arpeggiator with wide patterns for great sound effects Distortion circuitry modeled after the DS-1* adds insane spice and edge to your sounds 16-voice Poly Chain allows combining multiple synthesizers for up to 16 voice polyphony 11 controls and 28 switches to give you direct and real-time access to all important parameters MIDI and USB implementation with MIDI channel and Voice Priority selection Designed and engineered in Italy
  2. Jack Hertz

    Behringer PRO-1 Synthesizer

    The Behringer PRO-1 Synthesizer is an Analog Synthesizer with Dual VCOs, 3 Simultaneous Waveforms, 4-Pole VCF, Extensive Modulation Matrix, 16-Voice Poly Chain and Eurorack Format. PRO-1 Making its debut in 1981, the monophonic Sequential Circuits Pro-One* quickly established itself as the synthesizer of choice for numerous artists including: Thompson Twins, the Prodigy, Depeche Mode, Vince Clarke, New Order, Prince, Soft Cell and a host of others. An ultra-affordable homage to that iconic synthesizer with all the features of the original and then some, the PRO-1 lets you conjure up virtually any sound with incredible finesse and ease. With its pure analog signal path, dual authentic VCOs with 3 selectable waveforms, plus extremely flexible VCF and VCA filters, the PRO-1 is sure to become one of your favorite keyboards. Owning the PRO-1 is like having your own personal time machine, enabling you to embrace the past – or make your imprint on the future! True to the Original Great care has been taken in engineering the PRO-1, including the true to the original analog circuitry, legendary VCO, VCF and VCA designs, all of which combine to make it easy to recreate the classic sound performance. This highly-focused attention to detail is what gives the PRO-1 its ultra-flexible sound shaping capability, which covers everything from super-fat bass and lead tones to stunning effects – and all the way out to the otherworldly sounds of your imagination. Big, Fat Tones The inspired synthesizer tracks laid down in the 1980s and ’90s are etched in the annals of progressive rock, wave, EDM and synth-pop music forever, making them truly classic in every sense of the word. The PRO-1 lets you recreate all of that magic – or design incredibly fat and original sounds that will make you a legend in your own right! Authentic 3340 Oscillator PRO-1’s 3340 Voltage Controlled Oscillators (VCOs) provides your choice of up to 3 simultaneous waveforms (Oscillator A: Sawtooth and Pulse, Oscillator B: Sawtooth, Triangle and Pulse), with a selectable range of 4 octaves. The VCOs can be modulated via the envelope or the low frequency oscillator (LFO). Performance is further enhanced by the Mixer section, which balances the levels of the internal VCOs and noise generator. This amazing flexibility gives you the tools to be your creative best. Versatile VCF The very heart of PRO-1’s sound is its classic 4-pole filter, which lets you freely experiment with the Cutoff Frequency, Resonance and Envelope and Keyboard amount, and full complement of ADSR (Attack, Decay, Sustain, Release) controls to dial in the perfect sound. PRO-1’s filter Mode switch can be set to either Lo- or Hi-pass for selecting the range of your choice. 16-Note Poly Chain Ready While it is a monophonic instrument (one note at a time), PRO-1’s 16-note Poly Chain function lets you combine multiple synthesizers for up to 16-voice polyphony – plus provides vastly improved reliability and stability over its 1970s and '80s predecessors. Eurorack Ready Designed to handle the rigors of life on the road or in the studio, your PRO-1 can easily be transferred into a standard Eurorack case for the perfect integration into your existing system. Rock Right out-of-the Box! Your PRO-1 comes ready to rock, thanks to its default signal routing that doesn’t require lifting a single patch cable to instantly create amazing sounds. The semi-modular architecture lets you easily tap into the inspired sounds of 1980s and ’90s progressive rock, wave, EDM and synth-pop music synthesizer tracks that made rock and roll history – or to design incredibly fat and original sounds that will make you a legend in your own right! The Envelope, Please... Make that envelopes! PRO-1’s Low Frequency Oscillator (LFO) features your choice of Sawtooth, Triangle and Pulse waveforms with a sweepable frequency range from 0.1 to 30 Hz – plus 2 separate Envelope generators for modulating the VCF and VCA. Onboard Sequencer & Arpeggiator PRO-1’s dual 64-note sequencers allow you to record and playback your choice of 2 unique patterns, which can be played either in Keyboard mode, where you create and store the pattern, or Step mode, which allows you to interact while composing the pattern. The onboard Arpeggiator switch features 3 positions, Up (ascending), Down (descending) and Off. Both sequencers and the arpeggiator are fun, mesmerizing and totally addictive... The LFO, the Matrix & More… Thanks to its dedicated and fully-analog LFO, PRO-1 lets you choose from triangle, pulse or square waveforms and features a single Frequency control for ultra-easy operation. Additionally, the onboard Modulation matrix lets you set the Amount of Filter Envelope, Oscillator B and LFO modulation is applied to the signal, and how. You can even modulate the pulse wave via the LFO, envelope or manually – for sounds ranging from mild to wild! Controls & Connectivity We just can’t help ourselves – like you, we're gear-heads, too. For those who want the numbers, PRO-1 has 56 controls, all laid out in a highly-intuitive format that puts the joy back into your music creation. And you can expand PRO-1’s tone-sculpting capabilities beyond your wildest dreams by utilizing the patchbay for incredibly vast and flexible patching options! Unleash Your Imagination When it comes to not just pushing envelopes but creating them, PRO-1 gives your imagination its voice – and it’s so very affordable. When modern performance calls for classic analog sound – it calls for the Behringer PRO-1! Visit your dealer to experience the stunning PRO-1 or get yours online today. MUSIC never felt this good! FEATURES + Amazing analog synthesizer with dual VCO design allows for amazingly fat music creation + Authentic reproduction of original circuitry with legendary 3340 and 3320 semiconductors + Pure analog signal path based on authentic VCO, VCF and VCA designs + 3 simultaneous oscillator shapes (OSC A: Saw / Pulse, OSC B: Saw / Triangle / Pulse waveforms) + Classic 4-pole filter design with self-resonance capability + Powerful modulation matrix for 2 modulation buses for flexible music creation + Dedicated and analog LFO with simultaneous Sawtooth, Triangle and Square oscillator shapes + 2 envelope generators for modulation of VCF and VCA + Easy-to-use 64-note dual sequencer (LFO clock serves as master clock) + Arpeggiator with 3 patterns for great sound effects + 16-voice Poly Chain allows combining multiple synthesizers for up to 16 voice polyphony + Complete Eurorack solution ? main module can be transferred to a standard Eurorack case + 56 controls give you direct and real-time access to all important parameters + Audio input for processing external sound sources for enhanced creativity + External control inputs and outputs (Gate, Filter etc.) + Comprehensive USB/MIDI implementation with MIDI channel and Voice Priority selection
  3. Jack Hertz

    Roland JUPITER-Xm Synthesizer

    Since the release of the JUPITER-4 in 1978, the name JUPITER has marked the pinnacle of Roland sound and playability. Roland synthesizers with the JUPITER name carry our most advanced sound technologies, are supremely playable, and are built from premium materials. JUPITER-Xm combines classic Roland design and premium build quality with a powerful new synth engine. It faithfully recreates sought-after instruments from our long history of genre-defining sounds. And with multiple layers, loads of polyphony, and deep hands-on control, you can craft huge, spacious sounds that have as much sparkle as they have warmth and punch. JUPITER-Xm may redefine what you think a synthesizer can be. It has a universe of sounds, expanding all the time. It can jam with you, inspire you, and capture your ideas. It can go just about anywhere, and it doesn’t need any cables or wires to function—not even for power. The JUPITER-Xm is an entire electronic production and performance environment that you can put under one arm. Where you take it, is up to you. Classic analog to vintage digital. And beyond. JUPITER-Xm is equipped with our latest sound engine, capable of morphing into legendary synths from our long history of genre-defining sounds. It’s so flexible that it can reproduce our highly sought-after analog classics like the JUPITER-8, JUNO-106 and SH-101, but also vintage digital machines like the XV-5080 and modern RD pianos. You also get the many Roland drum machines that are the foundation of electronic and dance music like the TR-808, 909, 707, 727, 606, CR-78 and more. It’s like a studio full of vintage gear, with modern capabilities and a deep synth engine so you can explore unmapped sonic territory. Intelligent. Inspiring. Need something wonderful, fast? The JUPITER-Xm’s I-Arpeggio is a next generation arpeggiator that uses artificial intelligence to not just accompany you, but to inspire you. I-Arpeggio takes your input—notes, rhythms, phrases—and creates complementary drum parts, basslines, chords, and arpeggiated lines. It works on each of JUPITER-Xm’s five parts simultaneously, and generated patterns can be customized and even exported to your DAW. These aren’t preset backing tracks, but intelligently generated beats and phrases that fill out your live performance and pulverize writer’s block. Find the sweet spots In addition to its informative display, JUPITER-Xm has an array of large, comfortable knobs, sliders, and buttons. They feel sturdy and precise for incredibly smooth sweeps and subtle changes. There’s a dedicated effects section and switching between synth layers is quick, so you can immediately take control of any aspect of the sound. This kind of natural, hands-on control gives you the feeling of reaching in and touching the sound, shaping it to find just the right settings for the moment. The power of polyphony JUPITER-Xm can layer up to five parts, four for synths and one for drums. To power all of this, you have up to 256 notes of polyphony available overall, with up to 32 notes available for authentic models of Roland classics like the JX-8P or JUPITER-8. With so much polyphony available, you can create layers of sounds and backing parts without limiting complex chords or sacrificing your creative vision. Create the perfect bass and lead split with an SH-101 and JUNO-106, layer a rich RD piano with lush JX-8P strings, or make a monster stack of JUPITER-8s. Built to last. Made to play. Whether it’s a personal studio, professional studio, or part of a touring rig, JUPITER-Xm is right at home. Tough metal and premium components mean it stands up to the rigors of live performance and always feels solid and precise. The high-quality, balanced connections, full-sized MIDI jacks, and multiple pedal inputs mean JUPITER-Xm is ready for any kind of situation. So portable. So playable. Too often you must sacrifice playability and expression for something easily portable. JUPITER-Xm strikes a perfect balance with an all-new 37-key slim keyboard that redefines what a compact keyboard can be. Small doesn’t have to mean cheap, and in the case of the JUPITER-Xm, you get solid, responsive keys and three full octaves in a space generally reserved for a lot less. Ever-expanding JUPITER-Xm is part of an expandable platform so it can be updated with fresh new content as it becomes available.
  4. Jack Hertz

    TINRS RectangularThing

    While playing with the re-issued Curtis chips we hit upon such an audio-aesthetically pleasing prototype that we could not resist manufacturing a limited run of 20 fully analog synthesizers. This Is Not Rocket Science RectangularThing is a classic synthesizer with two oscillators, two envelopes, two VCAs, a mixer, a highpass and a lowpass filter and allows you to adjust the hardware on the back to do your own Thing. Our RectangularThing has a unique way of making rich analog waveforms based on sub-oscillation with our Rambler. Rambler is a combination between two oscillators – it uses a sub-oscillator to switch very quickly between oscillator 1 and oscillator 2 on every sub-oscillator transition. We have also created a ‘sawpulse’ which is an oscillator that alternates between saw and pulse cycles creating a new waveform. !?!?! knobs on RectangularThing are there for you to decide. These knobs control the output of the sub-oscillators and you can change that Thing. By rearranging the jumpers on the back you can select if the top oscillator has either a sub-oscillator or a Rambler oscillator (jumper at SubOsc 1) and for the bottom oscillator you can decide on having a Rambler, sub-oscillator or a sawpulse (jumper at SubOsc 2). You can also select the order of highpass and lowpass filtering by adjusting the Filters jumper. The SYNC switch toggles between soft / off / hard synchronisation of both oscillators in your RectangularThing. The top oscillator is the basis for the bottom oscillator to sync to. When the switch is in the hard sync position, the starting point of a new cycle of the top oscillator forces the bottom oscillator to also start a new cycle. When the switch is in the soft sync position, the starting points of a new cycle are gradually aligned and when the switch is in the off sync position, your oscillators are ignoring each other.
  5. H-Pi Instruments has teamed up with mitxela (the genius behind the world's smallest MIDI synthesizer) to bring you FLASH, the world's first and only very-tiny MIDI-powered polyphonic microtonal FM synthesizer. Two years in development, this little 16-voice wonder fits in your pocket and doesn't require a power supply. Just plug it into a standard MIDI OUT port*, plug in your headphones, and away you go! FLASH features unlimited dynamic General MIDI microtuning for ease-of-use with 16-channel polyphonic tuned output from TBX2, TBX1, and Tonal Plexus TPX keyboards, and also features a mini UART-programmer which allows you to assign unique microtonal tuning tables to each of 16 MIDI input channels for full microtonal output compatibility with literally thousands of standard MIDI controllers as well as multichannel controllers like MIDI guitars and MIDI organs without a tuning device, not to mention advanced 2048 unique-pitch-output for the Tonal Plexus and other microtonal controllers like the Microzone, Axis 64, and Terpstra keyboards. Of course you can also use it as a normal synth with normal tuning ... if you're into that sort of thing. The FLASH UART-programmer interfaces via USB with Universal Tuning Editor (UTE) cross-platform software (free license included), so you can edit tunings and upload them to the synth. Firmware is also user-upgradable via the programmer, so features can be improved or added at any time. NOTE: FLASH draws its power straight from the MIDI socket! All MIDI OUT ports which are made to the specification of the MIDI Manufacturer's Association (MMA) will work. MIDI OUT ports not made to the MMA spec will not work! Be sure you understand this before you buy. We will try to compile a list of MIDI devices which have non-compliant out ports (under construction). FEATURES Tuning + Unlimited pitch General MIDI microtuning up to 16 voices polyphony + NOTE: The MIDI Manufacturer's Association has now officially recognized this method of microtuning, calling it MPE. + 16 full range programmable tunings of 128 notes each = 2048 programmable fixed pitches + Voluntary pitch bending from retuned fixed-pitch centres + Largest tuning error ~ 0.006 cents Synthesis + FM synthesis engine designed by mitxela + Controllable via MIDI CCs Voice Modes + POLY: 16 voices, one oscillator per voice, mono LR audio output + POLY-STEREO: 8 voices, one oscillator per voice, stereo audio output + MONO: 1 voice, 16 oscillators layered, mono LR audio output Inputs and Outputs + MIDI DIN input (for MIDI and power) + 3,5 mm stereo headphones audio output Electronics + Designed in the UK by mitxela + Assembled in Bulgaria Enclosures + Synth main housing made in Germany by Lumberg GmbH, Nickel-plated Zinc Alloy 50 x 14 x 14 mm + UART-programmer housing - Aluminium (2mm thick) 50 x 25 x 25 mm, hand made in Germany
  6. Hard to believe it, but Cakewalk has come to us end of life. Read the full story - http://www.cakewalk.com/Gibson-Announcement
  7. Jack Hertz

    Buchla Easel Command Module & 208C

    The Buchla Easel Command is the newly updated 208C in a standalone desktop form with MIDI and CV control. The 208C is the module itself for use in a Buchla 200e system. Buchla's own Joel Davel led the charge to create a new version of the legendary Music Easel instrument with more modular flexibility and independence, while also providing the means to easily interface with more devices, such as the various DAWs like Ableton and MIDI controllers, including the very expressive Sensel Morph. It’s still fully analog in its default configuration and provides the unique and exquisite Buchla experience with greater functionality at a lower cost. The 208C in the videos is an actual production unit, not just a prototype.....so our confidence level is pretty high that we can see this through completion in a timely manner! We decided to go with Kickstarter in order to be able to offer the users any chance for feedback, last second tweaks (since we've already integrated a lot of futureproof flexibility inside), and most of all be able to just add all of the final touches in order to make this product the best it can be! What’s new compared to the previous Easel/208? + MIDI input(USB B/DIN) standard on Easel Command, optional on 208C. + 2 - 1/4" Audio outputs (Easel Command only) + 1 - 3.5mm 1v/oct input (mixed to keyboard input) (Easel Command only) + 1 - 3.5mm Gate input (turned into Buchla keyboard pulse with sustain) (Easel Command only) + MIDI A (USB Host) optional expansion port. + Five additional audio connections to get independent inputs and outputs from the oscillators and the gates, plus an FM input to the modulation oscillator. + Five additional banana CV connections to control knobs and faders and ability to send pulses independently to different inputs. + If no aux input is present, analog white noise is generated (using the 266 circuit). + A more logical layout of of the top row. + A power/control mode LED indicator. + Pulser now has a dedicated single pulse switch and mode distinction + The modulation oscillator section is now green, so that each main section has its own color. + The listed oscillator frequencies are more accurate and the scaled fader input range is trimmable from the old range to 1.2v/oct. + You can trim the new modulation oscillator and envelope generator inputs to work with the typical input ranges you desire. + You can trim the oscillators to your desired volts per octave range for both the keyboard and the fader inputs. + You can also reduce the gain on the gate 1 input if you have an unusually hot, non-Buchla input. + One single circuit board allows it to be modular case friendly and easier to service; the 208c module can fit into a 200e case. + Switches and jumpers for those who want to use the new banana inputs —those for the modulation oscillator and sustain— to control the sequencer stages instead. + Standard headers for the program card connector that allow us to develop future iProgramCard-like preset control from inside the unit. + New connectors allow our plug-in MIDI interface and provides an optional stereo digital fx option (coming as an optional add-on in the future) + Actual stereo. The 208 was always a mono synth, but if you plug in a stereo digital fx (coming as an optional add-on in the future), you’ll get stereo outputs on the MIX OUT and headphones. + A new power connector for more cable length and case flexibility and removability and one that’s already compatible with the more recent revisions of the Easel power board. + The 208c module will begin shipping December 2019. Easel Command will begin shipping January 2020. Optional preset management coming as an add-on in the future.
  8. Jack Hertz

    Warm Place Fractal Bits Drum Synth

    Fractal Bits is a drum synth with over four billion unique sounds created by fractal algorithms. Each set of 12 drums corresponds to a code of 8 characters (you can save/copy/paste it as plain text). Features: search for new sounds with three buttons: next random set (>>>), edit code, previous set (<<<); three types of keyboards for live drumming: on-screen buttons, PC keyboard, MIDI input; six additional processing parameters + control of all parameters via MIDI; real-time audio recording to WAV (32-bit); export to: WAV (one file or a set), SunVox (samples + effects in one file), text clipboard; the LCK button freezes individual drums - they will not change during the search for new sets; iOS: Audio Unit Extension (AUv3), Audiobus, Wi-Fi export/import.
  9. Eight Voice Digital Drum Computer & Sampler Alive and kicking Digitakt is a new compact sampling drum machine from Elektron. It contains all the necessary tools to make people move to the beat. A digital and highly flexible sound engine, sampling capability, a live-friendly sequencer, dedicated tracks for controlling external MIDI gear, and Overbridge support. Drum machines are something of an Elektron speciality. With the Digitakt we show why. Super quality Digitakt is made for heavy use. It features all new hi res encoders and extremely durable back-lit buttons (rated for 50 million presses). The ultra crisp OLED screen perfectly renders the clear and streamlined user interface. Beat making powerhouse Compact, rugged and to the point. Digitakt is a formidable drum machine and sampler. With an astounding feature set and an exquisite digital sound engine, the stage is set for a striking encounter. Elektron Digitakt 8-voice Drum Machine, Sampler and Groove Sequencer, with 8 Audio Tracks, 8 MIDI Tracks, 64MB Sample Memory, and 1GB+ Onboard Storage. Digitakt provides a compact drum machine solution for a computer based rig. It makes beat making a tactile and rewarding experience. It can also double as a sound card, making it perfect for the nimble studio. Elektron Transfer makes it easy to move samples from your computer to your Digitakt , and vice versa. Factory content Digitakt comes pre-loaded with heaps of great electronic and acoustic sounds. Drums, percussion, synths, and FX are all part of the sound palette. The sample collection allows you to start creating, experimenting and producing right away. Also included is an assortment of absolutely stellar acoustic drum kit samples, meticulously sampled by the renowned drum sample company That Sound. 400+ Factory Samples including: + 5 acoustic drum kits - 4 of which by That Sound + 23 electronic drum kits + 42 synth one shots + 44 synth stabs and pads + 83 single cycle oscillators and noise loops Overbridge for Digitakt Fully integrate Digitakt with DAW environments Control Digitakt with a dedicated VST/AU plugin interface Use Digitakt as a 2 in/2 out sound card (CoreAudio/ASIO/WDM) Stream the eight internal tracks, external inputs, and main bus to separate DAW tracks (24 bit/48 kHz) Recall all Digitakt settings when loading a DAW project Sample management functionality Digitakt specifications: + 8 internal audio tracks & 8 dedicated MIDI tracks + 1 × Multi-mode filter, Overdrive effect, and Assignable LFO per audio track + Delay and Reverb send FX + Sampling capability with 64 MB sample memory & 1 GB +Drive storage + 1 × Headphones output + 2 × ¼” balanced main output / 2 × ¼” input + 1 × High Speed USB 2.0 port + MIDI In/Out/Thru with DIN sync out
  10. The Woods is a single from the upcoming album Ruins by Alex Haas. Alex Haas (born 1963, NYC, USA,) label owner of Sonicontinuum, has been working with many renowned artists including U2, Brian Eno, Eric Clapton, Kronos Quartet, Pat Metheny and Bill Laswell. His first collaboration with Dutch composer Michel Banabila started in April on Collector, a track from Banabila's album Uprooted (Tapu Records / 2019). They then decided to renew their collaboration on The Woods, and Alex invited his long time collaborator, Bill Laswell to join this recording. The Woods became an atmospheric organic blend of experimental ambient, 4th world exotica and lush electronics. Synths and treated guitars by Alex Haas are mixed with Banabila's electronically processed voices, keys and field recordings, together with deep bass sounds by Laswell. Mixed and produced by Alex Haas. mastered by Marlon Wolterink.
  11. Jack Hertz

    Erica Synths SYNTRX

    Since its beginnings Erica Synths has promoted experimental electronic music and has developed instruments that enable musicians to explore it. When it comes to standalone instruments, we think, one of most encouraging instruments in experimental music was Synthi AKS, so we teamed up with engineers from Riga Technical University to develop a synthesizer with a user interface inspired by Synthi AKS. SYNTRX [sintrex] is developed from scratch all analogue synthesizer (no part of schematics is cloned from Synthi AKS) with digitally controlled patch matrix. Unlike most of patch matrixes around, that mechanically connect signals, our 16x16 matrix utilizes 32 (!!!) 8 channel analogue switch ICs AS16M1 (made in Latvia, Alfa RPAR) and is a mixer/buffered multiple with 3 level attenuation (gain 1, 0,6 and 0,3) in connection points. It has 256 patch memory, automatic patch switching in performance mode or via MIDI messages. SYNTRX has 3 highly accurate VCOs that track great over 8 octaves, noise generator with “colour” filter, resonant VCF, ring modulator, spring reverb, looping envelope generator, joystick controller, input amplifier with adjustable gain for microphone to line level signals, 3 VCAs, output signal filter, analogue CV/audio signal level indicator and built in speakers. Extra features, not found on Synthi AKS, are Sample & Hold circuit with individual clock, octave switch for VCO1, synchronization of VCO2, AD mode on the envelope generator, as well as MIDI that accepts CV, Gate, Modulation wheel messages and program change messages for the matrix control. The SYNTRX comes in aluminium enclosure with ash tree side panels. We believe, it will inspire users to explore the space and travel to previously undiscovered audible realms.
  12. Jack Hertz

    miRack Eurorack-style Modular Synth

    miRack is a Eurorack-style modular synthesizer for iOS In the meanwhile, this is a minor update with the following changes: * Multicoloured cables! * Added an item to the tools ("wrench") menu that zooms the rack to fit exactly 2 (3 in portrait orientation) rows of modules. * New modules: 8Mode softSN Machine - a very interesting emulator of TI SN76477 "Complex Sound Generator" sound chip from 1978; trowaSoft MultiScope module; "ML Modules" pack. * Fixed a crash when adding SquinkyLabs Mixer8 module. * Removed two Bogaudio spectrum analyser modules for now. They will be back once we're completely happy with their performance on iOS devices. * Some of the graphics and also Befaco and ESeries module panels have been replaced to avoid possible licensing issues.
  13. Erica Synths Pico System III is affordable, compact, yet powerful sounding, full analogue modular system.It comes in two formats – eurorack and desktop. Features + 2-3-4 step sequencer + 2x VCOs + VCO controller/VCA module + Several mixers that work both with CV and audio signals + Modulator (syncable LFO, random CV and noise source) + 2x voltage controlled ASR envelope generators + 2x resonant lowpass gates + BBD delay Pico System III brings modular synthesis back to the basics – the system has multi functional (instead of single-function, like Pico Drums or Pico Trigger in the Pico System II) analogue modules and is intended to encourage creativity in modular patching. The system has 31 inputs and 20 outputs (master output is duplicated) + 7 switches; if you have enough patch cables at your disposal, you can patch the system in 121000931215044250740178662400 or 1.21x1029 variations (we ignored the possibility to adjust potentiometers here). Even though only 0,0001% of all patches will sound more-less enjoyable, you and all your future generations can spend a lifetime only patching the Pico System III. Voice-cards with preset patches set it apart from other eurorack systems – they allow user to change patches instantly and radically, which makes the system well suited for experimental live performances. The system comes with 5 great sounding “factory preset” voice-cards, and 5 DIY voice-cards that are empty and users can develop their own patches. More voice-cards will be available from Erica Synths shop. Pico System III comes both as a desktop unit and a eurorack module. It features a set of modules for advanced sound design, experiments in modular patching and educational purposes. What do you get? Desktop unit20 patch cables, 1 Hosa stackable cable, PSU, 5 factory preset & 5 DIY voice-cards, user manual and patch note sheetsEurorack module 1 Hosa stackable cable, ribbon power cable, 5 factory preset & 5 DIY voice-cards, user manual and patch note sheets Technical specifications: Audio signal levels10VptpCV signal levels (full span)-5V - +5VSequencer CV output range0 - +5VVCO tune rangeC0 - E7LFO rate0.21Hz - 20HzVC EG attack time0...3''VC EG release time0...4.2''Max BBD delay time400msPanel width42 HPPower consumption 175mA@+12V, 112mA@-12V The Pico System III is a completely analog modular system with 13 Pico modules and preset memory. The good selection of modules allows a large number of patches and is ideal for learning analogue synthesis. The Pico System III is small and above all cheap, which makes it a modular synthesizer for everyone. -
  14. 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.
  15. 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.
  16. 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.
  17. 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.

     

  18. 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
  19. 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.
  20. 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.
  21. 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.
  22. 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)
  23. 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.
  24. 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
  25. 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.
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