VCV Rack 2 is just out.
How do you like that Korg SQ-64, George?
The little SQ-1 I have is quite nifty. There's an output for the Littlebits kit that has encoded CV and Gate. I'd like to decode that one day to make it a normal CV/Gate for another output. It mirrors Sequence A, but I don't mind.
There's someone selling a Keystep Pro for cheap nearby. The caveat is that there's an issue with the USB port. If it solely a soldering issue, that's easily fixable. Otherwise, it might be a tad more complex.
Actually, for my setup, I have been eyeing an Akai MPC with the CV/Gates out, but I could have that Arturia for 1/6th of the price.
How do you like that Korg SQ-64, George?
The little SQ-1 I have is quite nifty. There's an output for the Littlebits kit that has encoded CV and Gate. I'd like to decode that one day to make it a normal CV/Gate for another output. It mirrors Sequence A, but I don't mind.
There's someone selling a Keystep Pro for cheap nearby. The caveat is that there's an issue with the USB port. If it solely a soldering issue, that's easily fixable. Otherwise, it might be a tad more complex.
Actually, for my setup, I have been eyeing an Akai MPC with the CV/Gates out, but I could have that Arturia for 1/6th of the price.
Not really a modular synth, but a synth with modules; I have spent many hours cloning the PCB to the Transcendent T2000 synth and shipped the final gerber files to China yesterday.
The total cost för 5 boards is $100 (minus 3) and I cannot really decide - order now or a bit later (when I get my next pension).
And this one is so special that 5 boards may very well be four boards too many.
The total cost för 5 boards is $100 (minus 3) and I cannot really decide - order now or a bit later (when I get my next pension).
And this one is so special that 5 boards may very well be four boards too many.
I downloaded it last night. I look at this and the Voltage Modular as "playgrounds" to test ideas with the long term goal of integrating many of them in hardware. I have found that some things that work fine in the analog domain, like the positive feedback in a Moog ladder filter, do not work as expected in the digital world due to a few samples of latency. This is also true in the digital hardware world (software running in an ARM CPU).
I have one of the early Keysteps and would have preferred a Keystep Pro, but they are out of my budget for now. I got the SQ-64 as a "B stock" unit from Perfect Circuit for about $200 shipped in October so I haven't fully explored it yet. It has 3 independent CV/gate outputs, two MIDI outs and 8 independent trigger outs so there are lots of connection options. Long term it may find a home in a portable music making system, but for now it and the Keystep are sources for my synth design bench. A monster synth design breadboard is being built.
It took me about 10 minutes to wire the SQ-64 trigger outputs up to a Tsunami WAV player board for a simple sample player. I added the NDLR and a pair of DIY MIDI synths for a few days of fun but took it all apart because I wasn't getting anything useful done......it was too much fun just to play with.
Most of the Akai MPC stuff is beyond my budget for now. I do have an old Akai MAX49 for MIDI and CV/gate outs. I see all sorts of videos for cool stuff on YouTube, but before I even watch them, I google the price. Why watch a video for something you will never have?
I was a guitar player from a young age. I got into DIY synthesizers when I went to the first Emerson Lake and Palmer concert in 1970 or 71. It has been mostly a hobby ever since. I never really learned to play the keys. My favorite "controller" has six strings on it, and all of my DIY poly synths have 6 note polyphony....but that's a different and yet unfinished story.
The free version of VCV Rack, "RackFree-2.0.0-win.exe" that I downloaded last night has already been replaced by "RackFree-2.0.1-win.exe" sometime today, and I expect more minor bug fixes to follow.
The YouTube poster Venus Theory has issues with it crashing when you change the sample rate. I just picked "Focusrite" and everything worked. Arturia Keystep was a choice for MIDI input, and that worked too.
I find that dragging the rack between my small 1080 screen and my 40 inch Samsung 4K TV will sometimes scramble the rack leaving some modules with truncated text. The sound still plays fine. A restart is needed to restore proper screen scaling.
I know that I had V1.1.3 on my PC and it has not been used in at least a year, but I don't remember why I quit playing with it, but it does seem to coincide with when I got Voltage Modular.
The V2.0.1 does seem to work pretty well. It may take a few weeks for the gremlins to be worked out, but for a FREE look at the Eurorack synthesizer world, it is excellent.
You need to remember that the VCV Rack can do things that are not possible in a real Eurorack synth, like polyphony.
There is a library of "over 2000" modules, some of which are free, and some are paid. Some are also clones of popular Eurorack modules, and there are some knock off synths too. I guess that I wasn't the only person who stuck a Behringer model D and a Neutron in a Eurorack synth.
The paid version offers better integration with most of the popular DAWS, where the Rack can run as a VST. There is also a paid upgrade where the Rack can host VST's and control them with CV. The paid stuff is on sale through the rest of 2021, so I will make my decision as to purchase or not in late December.
Some unasked advice about sequencers.
Sequencers are expencive modules and once you have one, you're going to want more.
But with some simple much cheaper modules, you can get way more out of any sequencer.
The first extra module you want is a bipolar quantizer. The bipolar thing is important as we'll see later. (It just means you can also quantizise negative voltages).
One other important thing with quantizers is that it should be free of "stutter". What I mean by that is, that when an input voltage is right at the edge of outputing a C or a C# for instance, the output voltage will stutter between a C and a C# depending on the noise in the rest of the system. I hope this explanation is clear, if not let me know.
The next module is a waveshaper/folder.
Waveshapers are normaly used to change the spectrum of the input waveshape. It's also known as a reverse filter.
But why not shape the output CV of a sequencer? This gives you and extra row of output voltages for your sequencer.
(Now I hope you'll see why you need the bipolar quantizer). And with just one twist of one knob, you can radicaly change your sequence.
One other thing you can do with waveshapers/folders is: Start events a bit before the master clock. Iow you can make it groove like the old Roland TR-606 and TR-808's. Don't use the pulse output, but use a sine or triangle. Of filter the pulse.
Don't forget logic modules. These can add extra gate outputs for your sequencer.
Try the waveshaper with this!
And last but certainly not last: The often overlooked but most essential module of any modular synth, the mixer module.
With these you can add sequencer outputs to create extra rows of both CV and gate.
Try them before the waveshaper and logic modules.
Have fun.
Sequencers are expencive modules and once you have one, you're going to want more.
But with some simple much cheaper modules, you can get way more out of any sequencer.
The first extra module you want is a bipolar quantizer. The bipolar thing is important as we'll see later. (It just means you can also quantizise negative voltages).
One other important thing with quantizers is that it should be free of "stutter". What I mean by that is, that when an input voltage is right at the edge of outputing a C or a C# for instance, the output voltage will stutter between a C and a C# depending on the noise in the rest of the system. I hope this explanation is clear, if not let me know.
The next module is a waveshaper/folder.
Waveshapers are normaly used to change the spectrum of the input waveshape. It's also known as a reverse filter.
But why not shape the output CV of a sequencer? This gives you and extra row of output voltages for your sequencer.
(Now I hope you'll see why you need the bipolar quantizer). And with just one twist of one knob, you can radicaly change your sequence.
One other thing you can do with waveshapers/folders is: Start events a bit before the master clock. Iow you can make it groove like the old Roland TR-606 and TR-808's. Don't use the pulse output, but use a sine or triangle. Of filter the pulse.
Don't forget logic modules. These can add extra gate outputs for your sequencer.
Try the waveshaper with this!
And last but certainly not last: The often overlooked but most essential module of any modular synth, the mixer module.
With these you can add sequencer outputs to create extra rows of both CV and gate.
Try them before the waveshaper and logic modules.
Have fun.
Big Brother is watching! I opened this page, read this post, then went on to view several posts on other threads. When I returned here, I have a banner ad across the bottom trying to sell me some musical hardware, all of which have sequencing capability. I have never bought anything from Sweetwater, but I do own a Korg SQ-64 sequencer.
The term "modular synthesizer' means different things to different people. My particular build is somewhat different from most since some of my modules are the typical Eurorack fare with monophonic 1V/oct control. Some "modules" are Behringer clone mono synths which can accept MIDI in for note control, but also accept CV (Control Voltage) for modulation. There is also a Behringer Deepmind 12 in the bottom of the rack. it is a MIDI in device with up to 12 voices of Polyphony, but underneath the skin it is a true analog synth with CV/ gate control. I have not actually taken it apart yet to see how it works, so I am relying on the internet and Behringer for that statement.
CV/gate is by definition monophonic. Since there is only one voltage that is changed to control the pitch, only one musical tone can be produced from each CV. True polyphony requires duplication of most of the entire synth for each voice of polyphony. This can get large and expensive quickly in an old school modular where everything is gate/CV controlled.
I have designed and built a few modules, and a few complete synths. Most have both MIDI and CV control with two exceptions. "Blue" is a digital synth, but only accepts gate/CV. It has two gate/CV inputs so can be duophonic if needed. The little polyphonic micro synth I made is MIDI only primarily for size and portability reasons. It has three different synths inside, each with its own MIDI channel.
Sequencers are another thing with many definitions. The Super Sixteen sequencer in my modular synth is a gate/CV only device. It does have two CV's. One is calibrated for accurate pitch and the other is good for modulation. The Korg SQ-64 has three channels of gate /CV plus 8 independent gate/trigger outputs intended for drums, but can trigger anything like a Tsunami WAV player. All outputs also go to two MIDI outs so it can play nearly anything including my 30 year old Roland JV-880.
It's easy to sit down at the DAW and build patterns to feed any MIDI synth and with a MIDI to CV module (my first module build) the DAW can control anything. I have let Ableton and some of it's new randomization tools just run in the background while I capture its MIDI out. Then I'll search its output for those few nuggets of "good sounding differentness" that doesn't sound like the usual beeping and bonking flowing from the modular synths all over Youtube.
The PC and the modular synth are not very mobile, so dragging it all out on the beach in Florida (or anywhere else) is not an option. Long term I want to design and build a "one box" hardware solution (synths, sequencers and a controller) that works without a computer or DAW. I have several synths already designed, and some more hybrid (digital and analog in the same synth) stuff in the works. I have not yet sorted out what I want in the sequencer yet. Playing with the SQ-64 has opened up my eyes a bit, but the VCV Rack opens up a whole new very large pallet of colors to draw with at near zero cost. There are several killer sequencer modules in the VCV Rack, many of which I have never seen, so it's time to play around for a while to figure out what features I want. Random, stochastic, or algorithm based music generation is my main goal. I found several ways to crash V2.01, but the current V2.03 seems pretty stable.
The term "modular synthesizer' means different things to different people. My particular build is somewhat different from most since some of my modules are the typical Eurorack fare with monophonic 1V/oct control. Some "modules" are Behringer clone mono synths which can accept MIDI in for note control, but also accept CV (Control Voltage) for modulation. There is also a Behringer Deepmind 12 in the bottom of the rack. it is a MIDI in device with up to 12 voices of Polyphony, but underneath the skin it is a true analog synth with CV/ gate control. I have not actually taken it apart yet to see how it works, so I am relying on the internet and Behringer for that statement.
CV/gate is by definition monophonic. Since there is only one voltage that is changed to control the pitch, only one musical tone can be produced from each CV. True polyphony requires duplication of most of the entire synth for each voice of polyphony. This can get large and expensive quickly in an old school modular where everything is gate/CV controlled.
I have designed and built a few modules, and a few complete synths. Most have both MIDI and CV control with two exceptions. "Blue" is a digital synth, but only accepts gate/CV. It has two gate/CV inputs so can be duophonic if needed. The little polyphonic micro synth I made is MIDI only primarily for size and portability reasons. It has three different synths inside, each with its own MIDI channel.
Sequencers are another thing with many definitions. The Super Sixteen sequencer in my modular synth is a gate/CV only device. It does have two CV's. One is calibrated for accurate pitch and the other is good for modulation. The Korg SQ-64 has three channels of gate /CV plus 8 independent gate/trigger outputs intended for drums, but can trigger anything like a Tsunami WAV player. All outputs also go to two MIDI outs so it can play nearly anything including my 30 year old Roland JV-880.
It's easy to sit down at the DAW and build patterns to feed any MIDI synth and with a MIDI to CV module (my first module build) the DAW can control anything. I have let Ableton and some of it's new randomization tools just run in the background while I capture its MIDI out. Then I'll search its output for those few nuggets of "good sounding differentness" that doesn't sound like the usual beeping and bonking flowing from the modular synths all over Youtube.
The PC and the modular synth are not very mobile, so dragging it all out on the beach in Florida (or anywhere else) is not an option. Long term I want to design and build a "one box" hardware solution (synths, sequencers and a controller) that works without a computer or DAW. I have several synths already designed, and some more hybrid (digital and analog in the same synth) stuff in the works. I have not yet sorted out what I want in the sequencer yet. Playing with the SQ-64 has opened up my eyes a bit, but the VCV Rack opens up a whole new very large pallet of colors to draw with at near zero cost. There are several killer sequencer modules in the VCV Rack, many of which I have never seen, so it's time to play around for a while to figure out what features I want. Random, stochastic, or algorithm based music generation is my main goal. I found several ways to crash V2.01, but the current V2.03 seems pretty stable.
Attachments
$200 for the SQ-64 is a great deal. That Arturia disappeared before I had the time to search for it a second time, somebody got a great deal provided the USB issue can be fixed.
Another difficult thing for the computer emulation to do is the non-linearities. The only ones who managed to do that for hardware is Acustica Audio. I was a tester for their range of processing VSTs for a while. They nailed it. With their tech, the only thing a bit hard to do are compressors.
The elephant in the room is still that computer SMPS wreaking havoc on all the audio chain.
Things like VCV Rack allow you to easily multiply modules. Thus, a proper hybrid setup where part is analogue and part is virtual can bring a lot of benefits, provided some AC filtering and, if necessary, additional isolation is used.
My DIY analogue modular was purposefully made smallish so that I can use it on the couch or transport it. It could have been made even smaller had I done it with SMD. That would have made the case much thinner. I can power it with a small SLA battery or 3 to 4 Lithium Ion batteries. I can accompany it with the little Korg SQ-1 which is small enough to transport as well but in any case, most of the time I am using my rig indoors.
Sitting in front of my DAW kills my creativity. I prefer the immediate interactions with the hardware, knobs and patches, even editing if it requires some menu diving.
I did experiment a lot with the DAW and VSTis or what not. The Expert Sleepers rig here is quite interesting for integrating modulars with the DAW.
Check this out, George, and try their couple of modules (SilentWay) that go with it: siwaacencoder
These are very nice tips, Bill, BTW.
I definitely would like a second CV sequencer. Actually, you could have a lot of fun with 2 Korg SQ-1 seqs, one triggering the clock of the other on your custom specific sequence, etc...
Heard some recent updates on Behringer's Pro(phet)-16(!)...
Another difficult thing for the computer emulation to do is the non-linearities. The only ones who managed to do that for hardware is Acustica Audio. I was a tester for their range of processing VSTs for a while. They nailed it. With their tech, the only thing a bit hard to do are compressors.
The elephant in the room is still that computer SMPS wreaking havoc on all the audio chain.
Things like VCV Rack allow you to easily multiply modules. Thus, a proper hybrid setup where part is analogue and part is virtual can bring a lot of benefits, provided some AC filtering and, if necessary, additional isolation is used.
My DIY analogue modular was purposefully made smallish so that I can use it on the couch or transport it. It could have been made even smaller had I done it with SMD. That would have made the case much thinner. I can power it with a small SLA battery or 3 to 4 Lithium Ion batteries. I can accompany it with the little Korg SQ-1 which is small enough to transport as well but in any case, most of the time I am using my rig indoors.
Sitting in front of my DAW kills my creativity. I prefer the immediate interactions with the hardware, knobs and patches, even editing if it requires some menu diving.
I did experiment a lot with the DAW and VSTis or what not. The Expert Sleepers rig here is quite interesting for integrating modulars with the DAW.
Check this out, George, and try their couple of modules (SilentWay) that go with it: siwaacencoder
These are very nice tips, Bill, BTW.
I definitely would like a second CV sequencer. Actually, you could have a lot of fun with 2 Korg SQ-1 seqs, one triggering the clock of the other on your custom specific sequence, etc...
Heard some recent updates on Behringer's Pro(phet)-16(!)...
Polyphony with a modular synth.
Although for that kind of money you can get a great polysynth with a very extensive modulation matrix.
My favorite sequencer:
https://www.ericasynths.lv/shop/eurorack-modules/by-series/black-series/black-sequencer/
Two of these and you can make complete tunes.
Two more things about timing and have events take place before the masterclock goes high.
-The master clock is a pulse.
Filter the pulse and you get a sinusoid kind of wave.
Now add a dc voltage and the sinoid goes high earlyer than the masterclock. Subtracting the voltage, delay's the event and adding a random voltage creates a humankind of feel.
-The mighty PLL module. This is my favorite euro module and its relatively cheap, extremely versitile and amazing sound when used in the audio range.
https://doepfer.de/A196.htm
Here we use it in the sub audio range.
In this case we don't want less jitter, we want more jitter. Because more jitter is more human feel.
Patch:
Master clock into "in 2"
Your jittery output is the pulse out of the vco.
The setting of the lowpass filter determines the bandwith of the pll and therefore the amount of jitter.
The settings of the vco and what phase comperator determine the frequency of the output (what can be any harmonic or subharmonic of the masterclock) and the amount of jitter.
Have fun.
My favorite sequencer:
https://www.ericasynths.lv/shop/eurorack-modules/by-series/black-series/black-sequencer/
Two of these and you can make complete tunes.
Two more things about timing and have events take place before the masterclock goes high.
-The master clock is a pulse.
Filter the pulse and you get a sinusoid kind of wave.
Now add a dc voltage and the sinoid goes high earlyer than the masterclock. Subtracting the voltage, delay's the event and adding a random voltage creates a humankind of feel.
-The mighty PLL module. This is my favorite euro module and its relatively cheap, extremely versitile and amazing sound when used in the audio range.
https://doepfer.de/A196.htm
Here we use it in the sub audio range.
In this case we don't want less jitter, we want more jitter. Because more jitter is more human feel.
Patch:
Master clock into "in 2"
Your jittery output is the pulse out of the vco.
The setting of the lowpass filter determines the bandwith of the pll and therefore the amount of jitter.
The settings of the vco and what phase comperator determine the frequency of the output (what can be any harmonic or subharmonic of the masterclock) and the amount of jitter.
Have fun.
A friend of mine in Florida started down the DIY modular synth world almost 20 years ago. This was before Eurorack became the dominant format, so his stuff was mostly MOTM format. He built a DIY ARP 2600 in 2010. After that, what's next? How about a 2600 with 4 note Polyphony? It can be seen, and heard, here:
https://electro-music.com/forum/viewtopic.php?highlight=theff&t=59728
What you don't know from his forum posts is that in order to record these songs the machine must be left on for several hours and retuned before each song. A dozen or more old school analog VCO's works much like herding a dozen cats. you aren't keeping all of them in the same place for long.
https://electro-music.com/forum/viewtopic.php?highlight=theff&t=59728
What you don't know from his forum posts is that in order to record these songs the machine must be left on for several hours and retuned before each song. A dozen or more old school analog VCO's works much like herding a dozen cats. you aren't keeping all of them in the same place for long.
I looked up the Erica Synth Black sequencer, and it is indeed a very cool device, but at $619, it is beyond my budget. Most of the modules that I have bought were acquired in "board and panel" format since I have a 50+ year parts collection. I think that I have bought one or two complete kits, and zero finished modules. It looks like there are no DIY or kit options for the Black, so I won't get one unless I suddenly get rich (not going to happen). I did download the manual and will spend some time going over all of the features and watch a few videos of it in use.
I come from a 41 year career at Motorola as an RF design engineer often working with ultra high spec frequency synthesizers, I have a lot of experience with making PLL's work better. Purposefully screwing one up is easy. I don't know what chip the A196 uses, but I have a lot of experience with the old Motorola CMOS MC14046 chip. This oldie but goodie from the 1970's is still being made today by the old Motorola chip group now known as Onsemi. I used it back in the 70's to track guitar strings. Stick a divider in the feedback path and it becomes an octave doubler. Tap the divider chain and you have all the even number harmonics, add a divide by three chip..... The 14046 can be an asset in the clock source chain by adding some intentional jitter, either analog, with white or filtered noise injected into the loop filter, or digital with a "random" or not so random (locked to the tempo) digital stream injected into the loop filter. The PLL can also be an asset in the CV path. A slow loop can add glide to a CV source that was originally quantized, or MIDI generated. A fast loop can be used to add some small random errors to approximate analog VCO drift, although a very slow LFO into the CV input can do the same thing.
There is another PLL chip that works well up into the MHz range. I can't remember its number right now. There are also some clock dither chips that will intentionally randomize the clock of a fast digital chip (usually a CPU) to spread out the RF noise it generates. These can be used to add a bit of randomness to the master clock on a digital CPU based synth.
I come from a 41 year career at Motorola as an RF design engineer often working with ultra high spec frequency synthesizers, I have a lot of experience with making PLL's work better. Purposefully screwing one up is easy. I don't know what chip the A196 uses, but I have a lot of experience with the old Motorola CMOS MC14046 chip. This oldie but goodie from the 1970's is still being made today by the old Motorola chip group now known as Onsemi. I used it back in the 70's to track guitar strings. Stick a divider in the feedback path and it becomes an octave doubler. Tap the divider chain and you have all the even number harmonics, add a divide by three chip..... The 14046 can be an asset in the clock source chain by adding some intentional jitter, either analog, with white or filtered noise injected into the loop filter, or digital with a "random" or not so random (locked to the tempo) digital stream injected into the loop filter. The PLL can also be an asset in the CV path. A slow loop can add glide to a CV source that was originally quantized, or MIDI generated. A fast loop can be used to add some small random errors to approximate analog VCO drift, although a very slow LFO into the CV input can do the same thing.
There is another PLL chip that works well up into the MHz range. I can't remember its number right now. There are also some clock dither chips that will intentionally randomize the clock of a fast digital chip (usually a CPU) to spread out the RF noise it generates. These can be used to add a bit of randomness to the master clock on a digital CPU based synth.
The instability, troubleshooting and calibration requirements for old vintage synths after troubleshooting is a bit much for me nowadays. I might spend the last amount of dollars on them to repair my Korg Polysix, but after that, it will be solely Behringer clones or updates or other manufacturers competing with Big B. for the affordable poly analogue segment.
I don't see any reason nowadays to lust for the older synths apart perhaps for Through-Hole making things a bit easier for some of us. SMD isn't that hard when it's reasonably sized. Not the tiniest ones like in a Korg Volca though - I had a hard time with modifying one - found that too cramped and small.
I'd take the Behringer Poly-16 vs a new Sequential Prophet-10. Similarly, I'd take a new or even second-hand upcoming Jupiter 8 clone from Behringer rather than wait for an old Jupiter 8 to come down in price which will probably never happen. Same with a potential CS-80 or Oberheim.
With my current synths, I have a fairly good fill of them and various architectures and methods of synthesis.
For Analogue / Hybrid Mono, I have my DIY Analogue Modular which is extensible.
For Poly Analogue duties, I have the Roland JX-3P that I heavily hacked after restoring it, and the Roland JX-8P that I restored. They both sound great (the JX-3P only sounds great now that I modified it heavily, the JX-8P is great for pads and brasses, etc...).
For Virtual Analogue, I have the Alesis Micron (also restored as I bought it at a bargain since the main editing Encoder was broken) with multiple emulations of vintage filters (things like ARP, Oberheim, Jupiter, Moog, Roland TB, etc...).
For DSP-based Poly Digital Modular, I have the mighty Kurzweil K2500XS (with sampling option) + KDFX.
As a Hybrid, I have the excellent-sounding Korg DW-8000.
The last two can be combined in my setup with a custom audio input interface into the DW-8000's eight individual VCF + VCA sections. These can receive the K2500's 8 individual outs, so I can build all sorts of oscillator + processing sections there if necessary. Since the K2500's individual outs also double up as individual ins (they are send/return by default), I can route the 8 outs of the VCFs + VCAs from the Korg back tot he Kurz for further processing if I really want to (this just needs re-routing each of these before the DW-8000's mixer section back to the Kurz, but I haven't done that, preferring using the DW-8000's internal analogue outs and routing these where I want, e.g. to my mixer where I can EQ or send to FX on the AUXes).
Actually, there is also a Global Input to the Korg DW-8000 Filters, so I can route any of my synths in there too. The DW-8000 filter+VCA chip sounds fabulous, it's the NJM2069.
It has a possibility of using the VCF as 12dB on the chip but it's not in the synth. I have yet to add that capability. It's not difficult.
I once built an audio-to-cv circuit on breadboard. This meant I could use any of the Kurz's outputs to control CV. By default, I can easily use them as 8 independent clocks or triggers. With the circuit, I can build as complex CV waveforms as I want. The circuit offsets the audio and restricts it to 5V with op amps.
I can use the K2500 and split its keyboard so that I can control all the synths via MIDI simultaneously.
I also have countless virtual instruments, but I've hardly used them in many years.
I don't see any reason nowadays to lust for the older synths apart perhaps for Through-Hole making things a bit easier for some of us. SMD isn't that hard when it's reasonably sized. Not the tiniest ones like in a Korg Volca though - I had a hard time with modifying one - found that too cramped and small.
I'd take the Behringer Poly-16 vs a new Sequential Prophet-10. Similarly, I'd take a new or even second-hand upcoming Jupiter 8 clone from Behringer rather than wait for an old Jupiter 8 to come down in price which will probably never happen. Same with a potential CS-80 or Oberheim.
With my current synths, I have a fairly good fill of them and various architectures and methods of synthesis.
For Analogue / Hybrid Mono, I have my DIY Analogue Modular which is extensible.
For Poly Analogue duties, I have the Roland JX-3P that I heavily hacked after restoring it, and the Roland JX-8P that I restored. They both sound great (the JX-3P only sounds great now that I modified it heavily, the JX-8P is great for pads and brasses, etc...).
For Virtual Analogue, I have the Alesis Micron (also restored as I bought it at a bargain since the main editing Encoder was broken) with multiple emulations of vintage filters (things like ARP, Oberheim, Jupiter, Moog, Roland TB, etc...).
For DSP-based Poly Digital Modular, I have the mighty Kurzweil K2500XS (with sampling option) + KDFX.
As a Hybrid, I have the excellent-sounding Korg DW-8000.
The last two can be combined in my setup with a custom audio input interface into the DW-8000's eight individual VCF + VCA sections. These can receive the K2500's 8 individual outs, so I can build all sorts of oscillator + processing sections there if necessary. Since the K2500's individual outs also double up as individual ins (they are send/return by default), I can route the 8 outs of the VCFs + VCAs from the Korg back tot he Kurz for further processing if I really want to (this just needs re-routing each of these before the DW-8000's mixer section back to the Kurz, but I haven't done that, preferring using the DW-8000's internal analogue outs and routing these where I want, e.g. to my mixer where I can EQ or send to FX on the AUXes).
Actually, there is also a Global Input to the Korg DW-8000 Filters, so I can route any of my synths in there too. The DW-8000 filter+VCA chip sounds fabulous, it's the NJM2069.
It has a possibility of using the VCF as 12dB on the chip but it's not in the synth. I have yet to add that capability. It's not difficult.
I once built an audio-to-cv circuit on breadboard. This meant I could use any of the Kurz's outputs to control CV. By default, I can easily use them as 8 independent clocks or triggers. With the circuit, I can build as complex CV waveforms as I want. The circuit offsets the audio and restricts it to 5V with op amps.
I can use the K2500 and split its keyboard so that I can control all the synths via MIDI simultaneously.
I also have countless virtual instruments, but I've hardly used them in many years.
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With the increase in prices across the board for both components and full gear, there's not much I'd like to purchase right now. An exception could be made for either an affordable second-hand MPC One, or barring that, an Arturia Keystep Pro.
I have a fairly good idea of how I want my future setup to function at least for the composition activity. The same configuration doubles up as a jamming setup. The second activity, in free form, feeds the first.
The cost of DIY increasing if you need new components, I have been re-evaluating how much of synth DIY I really want to do. I didn't actually plan to do this initially as I am more of a composer, but I end up doing everything from pure Synthesis to final production.
So, along that line of thinking, late last night I was also re-evaluating whether I am going to keep my existing gear, or sell some of the small collection to raise funds for newer gear. It seems exciting, we'll see. For instance, I am quite tempted to sell some of the vintage poly analogues and raise funds to get a more modern one. The thing is, Big B. is taking its time releasing its clones of some of the iconic gear. We probably will have to wait much more for those.
The other thing that I am reflecting on is how much deep synthesis I want to do versus pure composition. I know my Kurzweil V.A.S.T. synth very well, but can't help thinking that some of the editing could be easier sometimes. That's the bane of such a deeply powerful synth - it's a form of digital modular actually. Last year I also devised and configured it to act as an ultra-powerful effects processor, combining KDFX (the internal modular multi-effects box) and V.A.S.T. (the internal modular synthesis-oriented DSP box). This in itself is quite amazing in what I can do when I then route these advanced combinations as AUX sends on my Soundcraft mixer. Hardly anyone knows these new combinations in either FX usage or synthesis usage. I can also build millions of new synth architectures with these special combinations. Crazy.
Another line of thought: VST/AU instruments: there are tons of great synths and effects, but I'd like to combine them all into a piece of hardware with a touch screen and many controls. Looks like a perfect assembly project using a laptop and a soundcard.
Speaking of soundcard, there's a thread here where some of us have hacked the cheap Behringer UMC202HD to make it better for use as FFT analyzer. I wrote about a mod for single-ended improvement and the results were quite good, so it's now a good base to perform spectral analysis on audio, including synth or acoustic sounds.
I have a fairly good idea of how I want my future setup to function at least for the composition activity. The same configuration doubles up as a jamming setup. The second activity, in free form, feeds the first.
The cost of DIY increasing if you need new components, I have been re-evaluating how much of synth DIY I really want to do. I didn't actually plan to do this initially as I am more of a composer, but I end up doing everything from pure Synthesis to final production.
So, along that line of thinking, late last night I was also re-evaluating whether I am going to keep my existing gear, or sell some of the small collection to raise funds for newer gear. It seems exciting, we'll see. For instance, I am quite tempted to sell some of the vintage poly analogues and raise funds to get a more modern one. The thing is, Big B. is taking its time releasing its clones of some of the iconic gear. We probably will have to wait much more for those.
The other thing that I am reflecting on is how much deep synthesis I want to do versus pure composition. I know my Kurzweil V.A.S.T. synth very well, but can't help thinking that some of the editing could be easier sometimes. That's the bane of such a deeply powerful synth - it's a form of digital modular actually. Last year I also devised and configured it to act as an ultra-powerful effects processor, combining KDFX (the internal modular multi-effects box) and V.A.S.T. (the internal modular synthesis-oriented DSP box). This in itself is quite amazing in what I can do when I then route these advanced combinations as AUX sends on my Soundcraft mixer. Hardly anyone knows these new combinations in either FX usage or synthesis usage. I can also build millions of new synth architectures with these special combinations. Crazy.
Another line of thought: VST/AU instruments: there are tons of great synths and effects, but I'd like to combine them all into a piece of hardware with a touch screen and many controls. Looks like a perfect assembly project using a laptop and a soundcard.
Speaking of soundcard, there's a thread here where some of us have hacked the cheap Behringer UMC202HD to make it better for use as FFT analyzer. I wrote about a mod for single-ended improvement and the results were quite good, so it's now a good base to perform spectral analysis on audio, including synth or acoustic sounds.
Modular is still way too expensive, even in mono IMO.
I have a few options for poly with extensive modulation matrix: Alesis Micron and Kurzweil K2500XS + KDFX.
The latter has a mod matrix on steroids. It's called FUN (for FUNctions). You have 4 FUNs. Each FUN can take as input two Control messages, a & b, from a long list on Controllers or decimal values, e.g. a = Mono Pressure (aftertouch) and b= ModWheel.
Once you select these, you can then select the actual mathematical function you are going to process these two Control messages at any time they are used from quite a list of functions, e.g. a*b, etc...
You can then route this FUN to almost any parameter(s) in the current synth architectures you have built inside the synth.
This, as you can see, goes much further as it is than the common Mod Matrix you find in all synths.
But it doesn't stop there....
You can actually chain these FUNs, i.e. FUN2 can take as one input, FUN1, etc... You can chain all 4 FUNs if you really want to.
Therefore, something like a really complex processing chain of new Control = f4( f3 ( f2 ( f1 ( Ctl1, Ctl2) ) ) ) can be created in various ways, and then routed to one or more parameters.
It's quite a rare thing in the hardware world. I think Kronos has something resembling it and maybe one or two other synths.
Now, I mentioned the KDFX which is like a really high-quality modular effects box in my synth. It too has its own set of FUNs, the FX FUNs. Here you can do all sort of complex processing chains for effects to affect them in real-time.
For analogue polys, I could take a Kiwi upgrade for either the JX-3P or the JX-8P or both. There's a new one for JX-3P. They're the price of a new piece of gear though, so debatable as a purchase for valule-for-money.
Most of my DIY digital and mixed mode synth stuff has used one or more Teensy boards since their drag and drop GUI Audio Library makes programming much easier. Recently, the old friend in Florida (post #89) and I have been tinkering with the Dasiy modules since they can be programmed with Max/MSP or Pure Data. The issue that we are currently dealing with is less than accurate or nonexistent documentation about the different Daisy revisions. We have found at least 3 different codecs used, probably in an effort to chase the vanishing parts supply. Their programming software will auto detect the codec on the board and create the proper code for the board being used, but that bin file may not work on an "identical" Daisy that has a different codec chip. Many bin files downloaded from the web only work on old Daisies which can't be found today.
Teensy boards:
https://www.pjrc.com/
Teensy audio library:
https://www.pjrc.com/teensy/td_libs_Audio.html
Daisy:
https://www.electro-smith.com/
Teensy boards:
https://www.pjrc.com/
Teensy audio library:
https://www.pjrc.com/teensy/td_libs_Audio.html
Daisy:
https://www.electro-smith.com/
Maybe my brain has stalled like the infamous colonn that was aproaching a majour East European capital. I am sitting with a bunch of (mostly) home-made modules and I fear many of my pcbs have minor and major faults.
I am seriously considering to go for Elby-Design's (Serge) BOG/SWAMP/MARSH modules, in order to get stuff that should work properly. As I am no musician the creation of random "music" is more my kind of teacup.
I am seriously considering to go for Elby-Design's (Serge) BOG/SWAMP/MARSH modules, in order to get stuff that should work properly. As I am no musician the creation of random "music" is more my kind of teacup.
Teensy is really a solid offering. Paul Stoffegren created a great platform. There's a firmware upgrade for the Prophet 600 which uses a Teensy. Docs, libraries and community are great for sure.
Daisy looks really promising, but I heard either this same criticism on documentation or another one. I think it's just growing pains though. I found the base board affordable, but the extras expensive. We can always build our own controls and so on.
I didn't set out to do DSP for synths, but I believe it was either last year or two years ago where I delved into some coding for effects.
From there, the thought of a DIY DSP synth and a DIY DSP effets box came to mind. This could be really interesting to do, especially if I think about what I can build to compensate some of the architectures that aren't available or easy to build inside the Kurzweil.
An eight-voice poly with a flexible architecture would be cool.
Here's that quandary again: balancing builds with concomitant R & D and composition.
If I were to go half way instead of doing almost everything, then I'd look at the Korg Prologue, Minilogue XD or nu:tekt synths.
These allow coding for the Oscillator / Filter sections but also for the Effects section. Korg has released the SDK so you can code your own objects, upload them and use them with the rest of the synth. Many third party contributions already exist.
Daisy looks really promising, but I heard either this same criticism on documentation or another one. I think it's just growing pains though. I found the base board affordable, but the extras expensive. We can always build our own controls and so on.
I didn't set out to do DSP for synths, but I believe it was either last year or two years ago where I delved into some coding for effects.
From there, the thought of a DIY DSP synth and a DIY DSP effets box came to mind. This could be really interesting to do, especially if I think about what I can build to compensate some of the architectures that aren't available or easy to build inside the Kurzweil.
An eight-voice poly with a flexible architecture would be cool.
Here's that quandary again: balancing builds with concomitant R & D and composition.
If I were to go half way instead of doing almost everything, then I'd look at the Korg Prologue, Minilogue XD or nu:tekt synths.
These allow coding for the Oscillator / Filter sections but also for the Effects section. Korg has released the SDK so you can code your own objects, upload them and use them with the rest of the synth. Many third party contributions already exist.
Going deeper in the balancing act thoughts:
Using a higher-level 'language' or environment like Max/MSP or PureData is well worth it if I compare to the Prologue SDK which requires lower level development.
On one hand, higher-level modeling but probably DIY for the rest: control, voice allocation, etc...
On the other hand, almost all the physical controls and voice alloc is already done, you just need to code the internals if necessary.
Using a higher-level 'language' or environment like Max/MSP or PureData is well worth it if I compare to the Prologue SDK which requires lower level development.
On one hand, higher-level modeling but probably DIY for the rest: control, voice allocation, etc...
On the other hand, almost all the physical controls and voice alloc is already done, you just need to code the internals if necessary.
That name sounded familiar, so I Googled it. It seems that I downloaded and experimented with SuperCollider some time ago without much success. Maybe it's time to try again if I can find a suitable way to get its output into some modern, powerful small CPU / DAC hardware, say an Rpi, a Teensy, or a Daisy.