In this official Ableton Live demo video, Live guru Gustavo Bravetti demonstrates a modular approach to using Live’s clip unlinked envelopes and effects to create elaborated sequenced sounds.

Bravetti also looks at how to create a bass, a tuned bass drum, a clap and hi hats.

via CDM

Dan Kirkhus demonstrates using Ableton Live with a handful of LFO type wav files to modulate external analog gear:

(if you’re not interested in the “how” and just want to see the frostwave spaz out, jump to 3:30 or so.) this stuff *only* works with MOTU audio interfaces (see: volta). this is an easy and free way to send beat-synced LFOs to your outboard modular gear; moogerfoogers, sherman filterbank, little phatty… anything with a CV input.

i recommend setting the warp method to “Re-Pitch” to keep LFOs smooth at extreme BPMs. or don’t… and get cool glitches.

You can download Dan’s LFO files here – but don’t blow your monitors with them!

This video shows how Ableton Live’s drum racks and simple waves can be used to send CV.

This is all just the Frostwave Resonator under CV control, making a nice racket.

via tremorcore:

Plug-ins used :the o-scope is a demo of schope by schwa at http://stillwellaudio.com/ . fuzzplus2 (fuzz) and rough rider (compressor) from http://www.audiodamage.com/ and TAL-dub-II delay from http://kunz.corrupt.ch/ .

This is a video demo of the MoonModular M525 reversible attenuator.

via moonmodular:

We use 3 different CV- sources via M591 matrix router: one LFO ramp and one LFO rectangle and one M511c.

This is another MOTM demo via JohnLRice:

Just some fun trying to rework a patch using a Synth Tech MOTM-510 WaveWarper module to sound more like the opening of Deep Purple’s song Space Truckin’. inspired by Attorks!

It really does sound much better played extremely loud!!!!

MOTM-510 Live Patch Jam

via JohnLRice:

Here is another instance of playing around with a particular module and coming up with something “almost” good enough to post here . . . and going ahead and posting it anyway!

Sorry for all the keyboard noise!

I promise for the next video I’ll take the time to attach carrot laden sticks to the heads of the multitude of little donkeys that turn the big wheel the powers my studio and record a proper line out to the computer instead of using the camera mic again!

About the MOTM-510:

The MOTM-510 is a new kind of analog signal processing module. It’s not easy to describe what it does, but I’ll try.

Let’s start with the well-known Ring Modulator (like the MOTM-110 or MOTM-190). A Ring Modulator is a multiplier: the output can be written as Out = X * Y, where X and Y are the 2 input signals (sometimes referred to as the modulator and the carrier). X and/or Y can be audio or DC signals. The output is simply the voltage X times the voltage Y. This produces the sum of X and Y (X+Y) and the difference of X and Y (X-Y).

The traditional RM has no ‘control voltage’ inputs: you just feed 2 signals in, and get 1 signal out. The MOTM-510 takes this concept and generates entire new types of waveforms.

Instead of the 2 RM inputs, the basic WaveWarper has 3: X, Y and Z. These are audio inputs. The transfer function is OUT = X * (Y/Z)^m, where:

• X is the GAIN signal. It controls the overall amplitude of the signal
• Y is the ‘main audio’ signal, the one that is getting ‘warped’
• Z is the DIVISOR signal. This is acts to modulate the amplitude of the main audio signal before it gets warped
• m is the Warp Factor. This is a fixed exponential factor, which is what is doing the ‘warping’. No, it’s not voltage controlled.
• m varies (by the FACTOR control) from 0.2 to 0.6 (ROOT mode), 1 (UNITY, which makes it similar to a RM), to 2 to 5 (POWER mode)
• each input (X, Y and Z) has attenuators
• the AUDIO OUT is AC-coupled and band-limited to 18Khz. The FULL OUT is DC-coupled and can go as high as 200Khz!

There are 3 DC-coupled inputs called OFFSET. These can be DC control voltages (LFOs, EGs, etc) that add to the audio signals. In this manner, the WaveWarper can respond to 6 different modulation sources simultaneously.

Great….what does this MEAN? Well, it makes an absolute mess of even the simplest waveform. Effects range from frying bacon to a frog in a blender to sticking your head into a jet engine. You can warp LFOs into bizarre new waveforms, as well as the output of MOTM-800 EGs. You can process any line-level audio. 

This video, via analogueak, demonstrates a very basic analog modular patch.

This video, via ModularLand, demos the Genoqs Nemo Sequencer.

The track features melodies sequenced by the Nemo and synthesized by Synthesizers.com, MacBeth M5N, Cynthia, and Modcan.

Number 3 in a series of videos demonstrating live patching with a Buchla 200 System.

Live patching of the Buchla 200 and other modular synthesizers are performed in every Positron concert.

Nick Bontrager demos a basic voice synth patch, using a Doepfer synth and a number of oscillator/patch bays.

He explains the patch:

By talking, the pitch of my voice is triggering a number of gates which will generate new audio based off incoming ramp waves from the various oscillator bays. So what you are actually hearing when I flip the switch is not my voice, it is just the 12-15 different oscillating patterns emulating my pitch.

Gameboy Genius nitro2k01 has a vision for the future of modular synthesis, and it’s the ModularDuino – An Arduino based modular synthesizer.

If that sounds like a lot of supernatural mumbo-jumbo, the Arduino is an open-source electronics prototyping platform based on flexible, easy-to-use hardware and software.

People are using the Arduino to do all sorts of freaky DIY stuff, so it’s only meet and right that synth DIY’ers should bend this to their will, too. The above audio sample, Funky Arduino Acid, documents the unholy marriage between the Arduinoscillator and the Serge modular synthesizer. 

nitro2k01 hopes to develop the Arduino as a low-cost component for modular synthesizer users. Arduino hackers should check out the Gameboy Genius site for more info.

Here are nitro2k01’s goals for the project:

• 1 V/Octave frequency response for the Arduinoscillator. 
• Implement ?M (Phase angle modulation. When most people FM, they means this) 
• More waveforms can be added relatively easily.
• A delay module. The Arduino has the potential to store a buffer of about a second in RAM, which could be used to create a lo-fi 8-bit delay comparable to BBD delays.
• It’s pretty possible to make waveshapers or distorsion units with a characteristic digital sound.
• Envelopes, LFOs and perhaps sequencers with extended possibilities, editable code and a lo-fi touch.
• A filter using the Arduino. 

This new video series, Visual Synthesis via GM, explores synthesis basics with graphics that help visualize the sound.

The program will include lectures, demos, jam sessions, and concerts.

The scope of this festival is very broad, covering all aspects of electro-music, experimental electronic music, including circuit bending, computer music, electro-jazz, modular synthesis, musique concrete, improvisation, algorithmic composition, multi-media, visual art and much more. The focus will be on participant involvement, sharing, community development, audience education, and great music.

A three day pass is available for purchase online for only $50. Tickets for individual concerts/events will be available at the door.

If you would like to participate in electro-music 2008 by giving a musical or visual performance, seminar, workshop, or demonstration, please follow the instructions here. Note that in order to cover the expenses, all participants are required to purchase tickets for the event.

Musikmesse: Spectral Audio introduced the Cyclus 3 sequencer.

Features:

• A combination of analog style and digital style sequencing.
• 112 patterns with each 8 tracks. Each pattern can be named ( 8 characters ).
• Easy to learn and operate
• 30 songs with each 253 steps of pattern change and TRACK ON/OFF change (always shifts in the end of track one).
• All tracks can loop independently. They do not have to be equal in length.
• Each of the 8 tracks has 5 subtracks: note(pitch), xtranote, step length, note off time, velocity, ctrl value, ctrl length, ctrl glide on/off. The ctrl tracks can also transmit pitch bend, prg change and sysex messages. You have to choose between xtranote or controller subtracks.
• Last step (Loop point) can be set separately for each of the subtracks, for creating ever-changing complex tracks.
• Change basic pitch, note spread, subtrack loop points, step note pitch, xtra note pitch, step length, step off-time, step velocity, ctrl values, ctrl step lengths, ctrl step glide on/offs, copy a track (or part of it) to itself or another track and randomise, all in analog style, while the Cyclus is running.
• Create new tracks from an external midi-device, in real or step time or by tweaking the Cyclus knobs (analogue style). After a real time recording, it analyses the note and controller data, and creates analogue style tracks from them, which then afterwards can be totally analogue style tweaked, even when the Cyclus is running.
• Create songs step by step, or start the Cyclus in song rec mode, and change patterns in real time.
• Tempo is stored with each pattern. In song mode patterns are played back in their own tempo.
• One track can modulate the basic pitch of another track.
• Pitch bend values can be transmitted instead of note values, to create something that sounds like a real analog sequencer over midi.
• Track playback modes: forward, backward, alternate, random step follow and random step not follow.
• Track midi key split function: a track can run on 2 midi different channels, above and below a split point. The upper zone can be transposed. This function also works on the midi input, when merge (canalise) is on.
• Spread transform function. If you have created a great piece of music, with note spread set to ’8’, and you want one of the notes to be 1 octave higher, just enter the spread transformer, and change the note spread to f.ex. ’64’, without changing your melodic line.
• Plenty of memory for all patterns/songs.
• Transmits/receives midi-clock.
• 154 x 132mm
• Use for Desk or Rack mount with Ears.

This year’s show had more modular analog synth gear on display than any show we’ve been to, and possibly ever.

If there had been any more mega modulars in the convention center, it might have been dangerous, and we’ve got the photos to prove it.

Warning – not safe for work – you don’t want to get caught drooling on your keyboard….

Here are a few highlights:

Check out this modular bad-boy – a classic Eµ Modular Synthesizer System.

We talked to Riley from E-Mu, and he was justifiably proud of the modular. It was hooked up via MIDI and audio outputs so that it could automatically be sampled using E-Mu Emulator’s automated sampling feature, providing the best of both analog and digital worlds. You can’t see it here, but there was another rack of modules in the case below the main modular synth!

Big City Music may have one-up’d E-Mu with it’s collection of analog gear, which included equipment from Analogue Systems, Frostwave, Future Retro, Mellotron, Metasonix, Sherman, Schippmann, Vermona and others.

Electro-Acoustic Research was displaying their Plan B line of synth modules, in a very cool Synthbox clear acrylic case. We’re not so sure about the Plan B name, but their gear is so sexy that you just might want to have some emergency contraception on hand.

Speaking of sexy, Haken Audio’s Continuum Fingerboard was on display with its gorgeous new stand – driving a modular synth, of course.

Metasonix was displaying their S-1000 Wretch Machine, the ultimate tube synthesizer. It doesn’t have any pictures of scrotal torture or anal violation, but it’s still one of the nastiest things tube guru Eric Barbour has ever come up with.

Future Retro had a was showing th XS Expander, a very cool new semi-modular synthesizer from FR’s Jered Flickinger. Pair this up with his Mobius sequencer, the 777 or the Revolution, and you’d have a very powerful compact setup.

Wolfgang Michalowicz may not look that excited to get his picture taken – but he’s standing next to his Surfin Kangaroo sequencer. The sequencer is an interesting mix of traditional analog Moog-style step sequencer, and MIDI control. It’s carried by Analogue Haven.

There were more booth babes than ever at the 2007 NAMM show, but the Nicest Rack Award would have go to Analogue Haven, who had stacks of racked modular synth gear on display.

“Here’s the 2007 photo of me pointing at some synth modules,” says Paul Schreiber, displaying his Eurorack-sized MOTM modules. (Last year’s photo).While Paul’s MOTM modules got the place of honor in the top modular rack, if you look closely, you’ll see that Analogue Haven also had modules from Cwejman, Doepfer, Blacet and others on display.

Last, but not least, Moog introduced its FreqBox, a audio-modulated synthesizer VCO disguised as a guitar pedal.

The FreqBox is one bad Moogerfooger. According to Moog product development engineer Steve Dunnington, “This effect is so over the top that we had a hard time naming it.”

It’s also got a healthy collection of jacks across the top to allow for modular weirdness.

This was only part of the multi-synthgasmic goodness that was on display at the 2007 Winter NAMM show. Check out our other coverage for info on the virtual synths and more!

The original Arturia Moog Modular was a virtual simulation of the massive Moog synthesizers pioneered by Dr. Bob Moog. Version 2 builds on that and adds several features:

New ergonomics:

• One unique scrollable view to overlook the entire synth.
• Some modules are now interchangeable, allowing to configure – to a certain extent – the Modular the desired way.

New audio possibilities:

• Improvements on the oscillators (new free running), on the filters (better response to modulations), on the envelopes (faster and even closer to true analogical behaviour).
• New Unison mode
• New Audio-In possibilities
• The Soft-clipping emulation is now done on each mixer and not systematically on all of them, which saves on CPU load.

New modules

• 1630 Bode Frequency Shifter. Developed under the Moog license by Harold Bode in 1964, it is extremely rare (a dozen Worldwide).
• 928 Sample and hold is also very rare. Originally assembled in a separate cabinet, it was adapted on the last modular series, in the late 70’s.
• 912 Envelope follower (or Schmit Trigger). One of the most popular modules on the Moog systems, it was often added to original configuration to create complex modulation through the use of an output signal.
• 12 stage phaser. The Moog 12 Stage Phaser was very well known, and originally conceived as an external rack to the Modular systems.
• Formant Filter. A new module developed by Arturia, which did not exist on the original Moog systems. It allows the filtering of sounds according to the formants a, e, i, o, u.
• Ring Modulator. Also a new module developed by Arturia, it creates very metallic sounds.

New presets

• 200 new presets to provide optimal use of the new modules.

This upgrade is free to all registered users. Shipment is planned for the 2nd half of August 2004.