CatSynth Pic: Saroo and Modular

Saroo inspects a patch on a Eurorack modular system. By Ricardo Verschut via Facebook.

Identification of the modules left as an exercise to the reader.

NAMM 2019: Qu-Bit Electronix

One of our first stops at NAMM 2019 was to visit our friends at Qu-Bit Electronix. This year they had three new modules to share.

The first of the three was the Prism (center in the picture above). It combines three audio processors that are mapped to a three-dimension “prism” control space. One axis controls a comb filter, another a bit crusher, and the third is time/speed control. The audio processors operate on a buffer, which can either be continuously updated from audio input or “frozen” in time and looped. Finally, there is a multi-state filter that can either operate at the beginning or end of the signal chain. Of the three, this one perhaps intrigued me the most with the possibilities of mapping these different functions to CV input (e.g., from a Maths or a sequencer) in ways that push traditional music. You can hear a bit of it, along with the other two modules, in our video which features all three modules.

The second module was the Chord, or rather the new incarnation of the chord. It’s a four-voice polyphonic oscillator with both traditional waveforms (continuously morphable) and a new set of wavetables. The oscillators can be stacked into chords, or in this new version each controlled separately for polyphony in the music-theory sense of the word – yes, with the right sequencer, this module can do four-voice counterpoint. The chord mode includes a variety of standard western four-voice chords (i.e., with a seventh degree), but also the ability to add custom chords that include microtones or dense tone clusters. It’s also more compact than the original, slimmed down to just 14hp.

The final module was the Bloom, a sequencer that could generate variations on the fly using a proprietary fractal algorithm. The amount of variation, from none to completely random, can be controlled dynamically via CV, as can the number of steps in the sequence, for quite a range of variety. And with two channels, it would seem to pair nicely the Chord.

As always, it’s fun to visit with Qu-Bit and see what they up to, especially as they are CatSynth superfans. And we look forward to seeing these modules out in the wild over the course of the year. The Prism is due in March, the Chord in late spring, and the Bloom in the fall.

CatSynth Video: Polyend Seq & Poly and Eurorack modular

From Polyend on YouTube, via matrixsynth.

“Another piece of sonic adventure from Alna and his helper. Polyend Seq & Poly couple ruling the Eurorack modular and DSI Prophet. Enjoy!”

Here is another video of the Polyend sequencer, sans cat

“Equipped with a wide array of Ins and Outs, allowing you to communicate freely with other devices of every era and genre. You can also feed tracks with MIDI notes using your favorite MIDI controller. Every track can be recorded step by step or in real time and then quantized independently”

CatSynth Pic: Trix and Modular Synth

Trix returns, this time with a rather impressive tower of synth modules!

By PJay Nyex via Facebook.

CatSynth Pic: Trix

Meet Trix, who has quite a collection of modular and other synthesizers.  By PJay Nyex via Facebook.

Identification of the synths left as an exercise to the reader 😺🎹

CatSynth Pic: Maine Coon and Modular

Cute maine coon kitten with modular synthesizer.  I see a Make Noise Rene peeking out from under her, next to Harvestman and Serge modules.

From chichi_response on Instagram.

chichi_response
I will make the sounds for you

You can see a previous post from chichi_response here.

UnPopular Electronics (Robair + Djll), Lx Rudis, Franck Martin at Robotspeak

It’s been a little while since we last attended Church of Thee Super Serge at Robotspeak in San Francisco, but we made a point of going this past weekend.  For those who have not been there or read our past reviews, it’s an almost-ever-month show on a Saturday afternoon with live hardware-synthesizer performances.  As the name suggests, some acts do include Serge synthesizers, but it is not required, and a wide variety of instruments are used.  All three sets are featured in our most recent CatSynth TV episode.

The first set featured Lx Rudis performing on an Oberheim Xpander, a somewhat underappreciated instrument from the 1980s.

Lx Rudis on Oberheim Xpander

At its heart, the Xpander is a 6 voice analog synthesizer, but with a complex array of digital controls that can be programmed and applied independently to each voice.  Lx Rudis took full advantage of these, especially the LFOs and lag generators, to create subtle and minimal metric patterns.  He constantly moved voices in and out, configuring them on the fly, in a way that was very expressive and musical.  I particularly liked the sections which had staccato rhythmic textures against slowly moving timbres deliberately out of sync with one another.

Next up was Franck Martin, who performed a solo set on a modular synthesizer with several standalone instruments.

Franck Martin

Martin’s setup included a Moog Subharmonicon, which he built while attending Moogfest this year (we at CatSynth are a bit envious), as well as a DFAM (Drummer From Another Mother).  There were also additional voices provided by Braids and Plaits modules from Mutable Instruments that he could bring in and out using a touch-plate interface.  The result was a slowly changing beat pattern with an eerie inharmonic voicing and gentle undulation.

The final set featured our friends Gino Robair and Tom Djll teaming up as the brilliantly named Unpopular Electronics.

They had a wide variety of gear, including Serge panels in addition to Eurorack modules and standalone instruments from Bugbrand and others.  In addition, Gino had an interesting small case that included touchpads.

The music was frenetic and intense, an avalanche of pops and hits and loud cloudlike tone clusters.  And there were trumpet sounds entering into the mix at various points.  But there was an exquisite detail to the madness with changes among the different instruments and sounds, and musical pauses and rests before the pair dived back into the frenzy.  There were also many moments of humor and not just Djll’s book about why there aren’t any Zeppelin-style airships in the United States.

In between sets, it’s fun to browse around Robotspeak and see what’s for sale, or on display in the big glass case.

It’s also quite dangerous, as I am often tempted to leave with another module or instrument.  On this occasion, I exercised restraint, but probably not next time…

CatSynth Pic: New Eurorack From ALM

Via matrixsynth, we have this announcement from ALM of a new module that was revealed at Superbooth 18.

Sadly, we were not able to attend Superbooth – hopefully next year.  But we did find this video about that included an overview of ALM’s new offerings, including the Quaid Megaslope.


NAMM 2018: Strymon Magneto

At NAMM, one tries out a lot of instruments and walks away wanting to have a good number of them.  The novelty fades quickly, but some you find that you continue to really want.  The Magneto module from Strymon is in the latter category.

Strymon Magneto

The Magneto is a four-head tape delay simulator.  Its controls are very intuitive and playable, with enough flexibility to be used to generate spring-reverb-like sounds as well as function as a looping device via a mode switch.  You can see our first attempts with the Magneto in this video.

Strymon put a lot of attention to detail both in terms of sound design and usability into this device.  And as one would expect from a Eurorack module, just about every function can receive external CV input, making it more of a musical instrument in its own right than it would be in a studio rack or even a guitar pedalboard.  We were able to observe the delay and looping functions in great detail, but it was more challenging to discern the tape-effect functions, such as “wow-flutter” and “crinkle”.  Part of that is just the chaotic environment of NAMM (even in the more calm depth of Hall E).  Hopefully, we will get a chance to try those out in more detail in the near future.

For more information, please check out https://www.strymon.net/products/magneto/

NAMM 2018: Arturia MiniBrute 2 and RackBrute

We continue to work our way through our experiences from NAMM 2018 with the Arturia MiniBrute 2.

Arturia MiniBrute 2 and RackBrute

The original MiniBrute made quite a splash a few years ago with its all-analog signal path, usability, and low price.  It also had a sound that was distinct from other low-cost analog synths, in part because of the “Brute Factor” knob.  That knob is back in the MiniBrute 2 along with a Steiner-Parker filter that together with the Brute oscillator gives the instrument its sound.  But there is now a second oscillator, and, perhaps more significantly, a modulation matrix and patch bay.

The built-in synthesizer topology includes a lot more modulation than the original, and the patch bay allows for reconfiguration and expansion with the RackBrute Eurorack cases that integrate 3U or 6U or modules with the MiniBrute in a single case.  This does seem to be a trend we are seeing with built-in patch bays to full analog mono synths (the Moog Mother-32 being the prime example).  One can also interpret the MiniBrute 2 as incorporating ideas from the flagship MatrixBrute writ small.  The ecosystem also includes an alternate form-factor, the 2S, which has drum pads reminiscent of the BeatStep Pro instead of the keyboard.

We were only able to scratch the surface at NAMM, and also had a bit of difficulty with our video.  So we are hoping to provide a more in-depth look at this instrument both here and on CatSynth TV in the not too distant future.