Can we talk about modular synths?

[Muse FTW]

Behndy you're a bad influence on me.

[MrNovember]

Anyone want to trade their Mother 32 for my DFAM?

[behndy]

Behndy you're a bad influence on me.

i'm HELPING!

[Dark Barn]

been shuffling some modules around and just got in the Synthtech e440, it’s a lovely lowpass filter! Also Tides 2018 is so baller, I love the PLL aspect of it and am addicted to using it this way lately, as a weird harmonic oscillator.

[greyscales]

Anyone want to trade their Mother 32 for my DFAM?

I'm really tempted by this but I just promised a friend that he could borrow my M32 for a while. If you're still interested after that, I'll probably be up for that. Haven't actually used it at all in probably a month or so.

[yeatsvisitslincoln]

Industrial Music Electronics posted a long thing about the Hertz Donut MKiii yesterday with some samples on Facebook. I'm so excited for this thing. It's probably a tie between this and WMD's Metron for what I've been looking forward to most. Facebook link: http://www.facebook.com/industrialmusic ... __tn__=K-R

Long ass blurb for the non facebook inclined:

NSFW: show

COMING LATE DECEMBER/EARLY JANUARY - HERTZ DONUT MARK III

Complex digital oscillator with unison detune, programmable 3x4 modulation matrix mixer and external audio modulation input. Intricate arrangements of phase distortion, thru-zero frequency modulation, and complex oscillation are instantly morphable and recallable through a voltage-controlled preset manager. Suitable for genre-targeted sequenced basslines, synthesis of stone, glass, and steel tones, and simulation of the acoustic properties of industrial machinery.

The Hertz Donut Mark III’s main oscillator shapes its timbre by distorting the phase of a waveform lookup ramp, offering a linear growth of brass overtones from a simple sine wave whilst performing with exceptional clarity under heavy frequency modulation. The simulated resonance peak familiar to enthusiasts of phase distortion is also present and continuously controllable. The beloved “fractal” distortion from previous iterations of Hertz Donut is simultaneously available. The three waveform parameters operate in a modeless timbre space fully morphable under preset and shared manual/CV control, exhibiting stunning spectral evolutions that are intensified through the module’s internal modulation bus. The fold knob is assignable to control one of the three parameters at a time, with the CV input also assignable to any of the three.

Two sinusoidal modulation operators are mixed to four modulation destinations with an external audio input. The operators may be locked to several precise frequency ratios of the main oscillator, or set to be otherwise subordinate. The three sources may modulate each other’s frequencies, or the amount of phase or fractal distortion. A plethora of control voltage inputs allow full control of the patch, reacting within a +/- 10V range. The first operator has a calibrated 1v/oct control voltage input and fine tune control, for use as an independent oscillator augmented by the modulation bus. The modulation mix is placed under the influence of a master control, so that a single knob and CV input control the degree of modulation in the entire module. Each sound that you design will have a unique and intense behavior of this modulation control.

The preset manager stores 8 entire panel/menu states for instant recall under manual or voltage control. The control can also cause the creation of elegantly randomized preset data. The preset manager can be placed into a morphing mode where it assumes control of the various parameters, smoothly fading between entire panel states and generating very complicated sounds that are not easily described.

The unison detune function mixes in a nearly identical copy of the sound with slightly offset frequency, or optionally in octave or fifth intervals. The Hertz Donut operates at 96khz for a minimum of sampling byproducts, able to consistently and competently generate ornate digital beauty and jagged swaths of sonic mayhem. The auxiliary output presents the output of one or both modulation operators, also with optional unison applied. The nearby mix output is an analog sum of the Main and Aux outputs, facilitating parallel FM algorithm construction. 17 HP panel size. Perfect, genuine, complete, crystalline, pure.

SOUND EXAMPLES:
Normal velocity-sensitive FM bass notes: http://soundcloud.com/industrialmusicel ... -note-test?
Heavy sounds from random preset generator: http://soundcloud.com/industrialmusicel ... rator-test
Live performance with Piston Honda mk3 and Stillson Hammer: http://soundcloud.com/industrialmusicel ... tz-donut-3?

[mr. sound boy king]

Industrial Music Electronics posted a long thing about the Hertz Donut MKiii yesterday with some samples on Facebook. I'm so excited for this thing. It's probably a tie between this and WMD's Metron for what I've been looking forward to most. Facebook link: http://www.facebook.com/industrialmusic ... __tn__=K-R

Long ass blurb for the non facebook inclined:

NSFW: show

COMING LATE DECEMBER/EARLY JANUARY - HERTZ DONUT MARK III

Complex digital oscillator with unison detune, programmable 3x4 modulation matrix mixer and external audio modulation input. Intricate arrangements of phase distortion, thru-zero frequency modulation, and complex oscillation are instantly morphable and recallable through a voltage-controlled preset manager. Suitable for genre-targeted sequenced basslines, synthesis of stone, glass, and steel tones, and simulation of the acoustic properties of industrial machinery.

The Hertz Donut Mark III’s main oscillator shapes its timbre by distorting the phase of a waveform lookup ramp, offering a linear growth of brass overtones from a simple sine wave whilst performing with exceptional clarity under heavy frequency modulation. The simulated resonance peak familiar to enthusiasts of phase distortion is also present and continuously controllable. The beloved “fractal” distortion from previous iterations of Hertz Donut is simultaneously available. The three waveform parameters operate in a modeless timbre space fully morphable under preset and shared manual/CV control, exhibiting stunning spectral evolutions that are intensified through the module’s internal modulation bus. The fold knob is assignable to control one of the three parameters at a time, with the CV input also assignable to any of the three.

Two sinusoidal modulation operators are mixed to four modulation destinations with an external audio input. The operators may be locked to several precise frequency ratios of the main oscillator, or set to be otherwise subordinate. The three sources may modulate each other’s frequencies, or the amount of phase or fractal distortion. A plethora of control voltage inputs allow full control of the patch, reacting within a +/- 10V range. The first operator has a calibrated 1v/oct control voltage input and fine tune control, for use as an independent oscillator augmented by the modulation bus. The modulation mix is placed under the influence of a master control, so that a single knob and CV input control the degree of modulation in the entire module. Each sound that you design will have a unique and intense behavior of this modulation control.

The preset manager stores 8 entire panel/menu states for instant recall under manual or voltage control. The control can also cause the creation of elegantly randomized preset data. The preset manager can be placed into a morphing mode where it assumes control of the various parameters, smoothly fading between entire panel states and generating very complicated sounds that are not easily described.

The unison detune function mixes in a nearly identical copy of the sound with slightly offset frequency, or optionally in octave or fifth intervals. The Hertz Donut operates at 96khz for a minimum of sampling byproducts, able to consistently and competently generate ornate digital beauty and jagged swaths of sonic mayhem. The auxiliary output presents the output of one or both modulation operators, also with optional unison applied. The nearby mix output is an analog sum of the Main and Aux outputs, facilitating parallel FM algorithm construction. 17 HP panel size. Perfect, genuine, complete, crystalline, pure.

SOUND EXAMPLES:
Normal velocity-sensitive FM bass notes: http://soundcloud.com/industrialmusicel ... -note-test?
Heavy sounds from random preset generator: http://soundcloud.com/industrialmusicel ... rator-test
Live performance with Piston Honda mk3 and Stillson Hammer: http://soundcloud.com/industrialmusicel ... tz-donut-3?

Whoa, this thing sounds dope as hell. I could see it possibly unseating the Piston Honda mk2 as my main osc.

[yeatsvisitslincoln]

Industrial Music Electronics posted a long thing about the Hertz Donut MKiii yesterday with some samples on Facebook. I'm so excited for this thing. It's probably a tie between this and WMD's Metron for what I've been looking forward to most. Facebook link: http://www.facebook.com/industrialmusic ... __tn__=K-R

Long ass blurb for the non facebook inclined:

NSFW: show

COMING LATE DECEMBER/EARLY JANUARY - HERTZ DONUT MARK III

Complex digital oscillator with unison detune, programmable 3x4 modulation matrix mixer and external audio modulation input. Intricate arrangements of phase distortion, thru-zero frequency modulation, and complex oscillation are instantly morphable and recallable through a voltage-controlled preset manager. Suitable for genre-targeted sequenced basslines, synthesis of stone, glass, and steel tones, and simulation of the acoustic properties of industrial machinery.

The Hertz Donut Mark III’s main oscillator shapes its timbre by distorting the phase of a waveform lookup ramp, offering a linear growth of brass overtones from a simple sine wave whilst performing with exceptional clarity under heavy frequency modulation. The simulated resonance peak familiar to enthusiasts of phase distortion is also present and continuously controllable. The beloved “fractal” distortion from previous iterations of Hertz Donut is simultaneously available. The three waveform parameters operate in a modeless timbre space fully morphable under preset and shared manual/CV control, exhibiting stunning spectral evolutions that are intensified through the module’s internal modulation bus. The fold knob is assignable to control one of the three parameters at a time, with the CV input also assignable to any of the three.

Two sinusoidal modulation operators are mixed to four modulation destinations with an external audio input. The operators may be locked to several precise frequency ratios of the main oscillator, or set to be otherwise subordinate. The three sources may modulate each other’s frequencies, or the amount of phase or fractal distortion. A plethora of control voltage inputs allow full control of the patch, reacting within a +/- 10V range. The first operator has a calibrated 1v/oct control voltage input and fine tune control, for use as an independent oscillator augmented by the modulation bus. The modulation mix is placed under the influence of a master control, so that a single knob and CV input control the degree of modulation in the entire module. Each sound that you design will have a unique and intense behavior of this modulation control.

The preset manager stores 8 entire panel/menu states for instant recall under manual or voltage control. The control can also cause the creation of elegantly randomized preset data. The preset manager can be placed into a morphing mode where it assumes control of the various parameters, smoothly fading between entire panel states and generating very complicated sounds that are not easily described.

The unison detune function mixes in a nearly identical copy of the sound with slightly offset frequency, or optionally in octave or fifth intervals. The Hertz Donut operates at 96khz for a minimum of sampling byproducts, able to consistently and competently generate ornate digital beauty and jagged swaths of sonic mayhem. The auxiliary output presents the output of one or both modulation operators, also with optional unison applied. The nearby mix output is an analog sum of the Main and Aux outputs, facilitating parallel FM algorithm construction. 17 HP panel size. Perfect, genuine, complete, crystalline, pure.

SOUND EXAMPLES:
Normal velocity-sensitive FM bass notes: http://soundcloud.com/industrialmusicel ... -note-test?
Heavy sounds from random preset generator: http://soundcloud.com/industrialmusicel ... rator-test
Live performance with Piston Honda mk3 and Stillson Hammer: http://soundcloud.com/industrialmusicel ... tz-donut-3?

Whoa, this thing sounds dope as hell. I could see it possibly unseating the Piston Honda mk2 as my main osc.

The last track where he's using both the PH mk3 and the HD mk3 together really makes me want both... I want my PHHD!! (Also, how good is that track??)

[MrNovember]

Anyone want to trade their Mother 32 for my DFAM?

I'm really tempted by this but I just promised a friend that he could borrow my M32 for a while. If you're still interested after that, I'll probably be up for that. Haven't actually used it at all in probably a month or so.

I've already got two deals pending, but if those fall through and you get yours back from your friend, then we can work something out!

[behndy]

also, had pre-ordered a Chronoblobner v2 from DetMod, with saved points and the Holiday discount code ended up $250. and they now say should ship "Early December".

WOOTERBUTTER.

lol. which gives me room to put another effects module or two in the Efx/Mixer skiff.

question - since there's so few ports on the MN skiff power bus, does using a flying bus cable cause problems? just be careful not to exceed the total power rating? can you overdraw on one psu connector?

[yeatsvisitslincoln]

We're back!! Just be careful not to over draw on the power. Flying bus isn't ideal, but it works. I would try to but the lowest drawing modules on it, though.

[behndy]

gotcha. 's mostly that those 2hp' s are so. damn. IRRESISTIBLE.

fucking around with the VG8, BIA, Fracture, 2Hp Hats, ER-301 and Rings -

[youtube][/youtube]

[behndy]

also, anybody have success using Pam's to control the VG8? the timing is fine and VG listens to the clock in all sexy like, but the reset is BUGGERED.

the thread on Muffs just says, "play with the width settings", but i've tried every width on gate and trigger out. never starts when i hit play, always a beat or two behind, and resets a beat or two behind.

i tried the last non-beta FW, same issue. the beta has some neat stuff, but word on the street is it's not the most stable.

[Muse FTW]

@Behndy I love Pamela's to death but I cannot get it to play nicely with other sequencers specifically because RESET never works as intended. Bugs the ever living shit out of me every time I use it in a patch. I've used it with the Varigate/Voltage Block combo, too, and could never find a way to get them to sync together. I had more success using the grounded clock between VG/VB than trying to sync them with Pamela's. It's one of the biggest mysteries to me. I've used it with: Metropolis, Eloquencer (this one couldn't even read the tempo correctly no matter what PPN thingy was used), Tirana, and Trigger Riot and it has never worked consistently.

[behndy]

murrrrrrrrrr. yeah. i've had Big Success using Pam's to sync everything from my Deluge through FLXS or Batumi or.... anything really. sometimes i have to adjust the strength of the gate or trigger, but i just can NOT find the right settings to get VG resetting correctly.

going to try the beta firmware today i guess. i am curious about the Bouncing Ball mode, but everyone says it gets a bit slidey on time.

we'll see!