Posts Tagged electronic

GlitchDS on Nintendo DSlite

GlitchDS is an homebrew application  for composing/performing glitch music on the Nintendo DS.
It’s based on samples , that are played by masks and that can be altered with modulations and distortion.
The result is really interesting and is like having a micro laptop for your glitch needs that can travel in your pocket!

I made this video demo during a composing session, so it can sound not so  “groovy” or complitely logic in some parts, but can be interesting to show some of the power of this software and how it works.

I forgot to say that it’s sample based, but you can load your own samples with one shot sounds but even loops and then experimentation starts!

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Korg MS-20 review (Part-1)

Korg MS 20

The Korg MS-20 is one of the most famous vintage synths ever.
It stands up there with the Minimoog, ARP 2600, EMS Synthi, Jupiters, TB-303, etc.
When it was produced , Korg marketed it as a low cost “baby 2600” , it was the semimodular synth for the masses.
The look is somehow  inspired by the big Moog modulars, with the front panel that stads upright the keyboard, that is attached to the body, to be the most compact and portable, all in a typical japanese way.

The synth is divided into two parts : the left side , prepatched with the knobs and the right side , the patchable with the patchbay and external signal processor.

The synth has:

  • 2 VCO (with different waves)
  • VCO MIXER
  • 2 VCF (HPF and LPF 12 dB/oct, both resonant)
  • VCA
  • MODULATION GENERATOR (LFO)
  • 2 ENVELOPES

VCOs
The 2 VCOs have different settings capabilities and different functions.
VCO1 has:

WAVE SELECTOR:

  • TRIANGLE
  • SAW
  • PULSE WAVE (with  manual pw)
  • NOISE

PW KNOB

SCALE (32-16-8-4)

VCO2 has :

WAVE SELECTOR:

  • SAW
  • SQUARE
  • PULSE
  • RINGMOD

PITCH KNOB (fine tuning)

SCALE (16-8-4-2)

The two vcos sounds very warm and fat with a classic japanese sound.
The saw waves are quite “smoothed” and not really ripping (as the classic american saw of moog , sequentials, etc.)
The pulse/square wave is really fat and smooth too.
The smoothness of the oscillators maybe also produced by a particular “cut” of the VCFs and VCA that are not bypassable.

VCFs

The filters are the most carachteristic element of this synth, the trademark of the MS20′ sound is the dual filter with resonance (PEAK).
Both the HPF that the LPF have the same controls, the FREQUENCY CUTOFF and the PEAK (that’s the RESONANCE!).
The slope of the filters is 12dB/oct and though they are resonant they are not self oscillating.
The use of the filters makes this synth anhighly versatile machine, because they are not strightly “multimode”, but can be used in combo to obtain particular combinations mantaining two indipendent peaks of resonance.
A famous use of the HPF is to boost the low frequencies oto saturate the sound.
Thanks to the resonant HPF , turning up the peak  creates a gain of level at the cutoff frequencies  that results in awesome sub basses or highly saturated sounds.
The behaviour of the filter is also particular because when the peaks are up the frequency of the cutoff tends to oscillate producing highly harmonic and saturated timbres.
The MS20 was produced with two different components , the first (older) series has the famous  Korg35 that is considered less “muddy” , while the following series use common components.
Both the HPF that the LPF have a smooth behaviour and a rounded sound with the peaks at minimum, while raising up the peaks leads to the aggressive and distorted side of the synth.

ENVELOPES

Env 1 is a simple Attack -Release with  Delay,useful for modulations and harpached to the VCO pitch modulation.
ENV2 is a HADSR, it works like an ADSR but has a hold for that lovely drones the MS20 is so great at, or to use the synth as a efx/filter processor for external signals.
ENV2 is prepatched to VCA and VCFs modulations.
Both the envs are punchy with fast attack and decay, and work very well for every type of sound, from percussive to ethereal.

MODULATION GENERATOR

MG is how Korg labelled the LFO.
The MG consist of a low frequency oscillator that produces morphable square and saw waves .
The saw can morph from saw to tri to ramp.
The square goes from imp to square to inverted imp.

The two row of knobs under the filter and vcos sections are dedicated to the modulations.
The higher row has the MG as modulation source,and the pitch, and cutoff of the filters as destinations, while the lower row has as source the ENVs, env 1 to pitch and env2 to filters.
Every parameter has its own amount knob.

On the left there are two keyboard controls, PORTAMENTO and tune.

This is a description of the “prepatched” part of the synth, but using the patchbay almost everything can be routed to every target, the flexibility is one of the most important carachteristic of the MS 20, a compact synth , highly versatile and awesome sounding.

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Roland TR 606 videos

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Roland MC 202 waveforms

The waveforms of the Roland MC202 at the oscilloscope.
The background noise / aliasing is generated by the youtube compression.

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Eurorack modular vs Roland System100 Mod-102 (Part 1)

Roland System100 Mod-102

Roland System100 Mod-102

As I described some days ago , I’m building a little modular in eurorack format to have a little versatile synth to make modular sounds easy, and to expand my system of vintage semimodular synths:

  • Roland System100 MOD-102
  • Korg MS-20
  • Korg MS-50
  • Korg PS-3100

The Korgs work well altogether as they use the same korg “standars” as 1/4″ plugs, hz/volt , etc.
The system is well balanced and is very versatile , there are no tuning problems and connections between one module and the other has no need of attenuators and result open to every use.

Eurorack and Roland System 100 patched togheter

Eurorack and Roland System 100 patched togheter

The Roland System 100 is quite different, it uses 3,5mm plugs, 1volt/oct and is quite difficult to make it interact with the Korgs even because the sound of the Roland is “stronger”.
After analizing different solutions (the first was to buy the other parts : mod 101 the keyboard, the sequencer and the mixer, while the second was to buy a System100m…) I decided to buy an eurorack to have a synth easier to control with computers and midi devices , more stability and however the freedom to build a synth choosing every part.
The result is, as I described, a synth with basic elements that are quite different from the “new analog” I own (DSI Evolver desktop and Studio Electronics ATC1 and SE1), but quite versaatile for a wide range of sound including FM modulations.

The first thing I tried is the interfacing between the Eurorack and the Roland and I was surprised they interact very well .
The Midi-CV interface works very well with the System100 too (I use a Kenton Pro 2000 for it, usually..).

MFB VCO (OSC-02)

MFB VCO (OSC-02)

The first thing I tried was to compare the Roland VCO with the MFB VCOs and I was quite surprised.
The Roland is really thick on the lower frequencies, and the square waves are awesome , but the MFB is really good too and they have a similar sound in many ways.
The MFB is less deep , especially when you hear in A->B comparison , and a little darker on the highest frequencies, but does a really a well job fattening the System100 sound without sounding different.

Roland System100 filter section

Roland System100 filter section

What makes the BIG difference is the Roland Filter.
Using only the MFB VCO in the roland path , with the roland VCO with zero volume, the result is amazing.
The VCO sound smooth and rich, really fat on the lower range and really harmonic and “creamy” in the higher register.
The big difference is evident in the lead sounds, they sound smooth with big carachter and warm sound without being harsh or disturbing but always rich of mid and high harmonics.
As the resonance grows the sound became quite acid (the typical roland filter carachter) but with growing harmonics, and a massive warm sound.

Then I tried to use the MFB dual ADSR to compare the behaviour of the two type of env and even here the different is evident.The Roland one is FAST and SNAPPY but always “rounded”, more musical, and gives the synth the classic Roland touch.
The MFB ENV is really fast, maybe faster than the Roland, but also more angular, with the attacks at zero makes a “ping” sound at the trig of the note.
Maybe the voltage that this env produce is higher and should be attenuated to get more musical results, even if  the different behaviour is really interesting to get different result.
The first thing done was a sequenced upright bass that sounded really awesome.

Eurorack and Roland System100 patched togheter

Eurorack and Roland System100 patched togheter

I did the same sound using only the eurorack and the sound was similar but more enarmonic, the reason is without any doubt the different between the two filters.

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Roland MC-202 MicroComposer

Roland MC-202

Roland MC-202

It all started with the Roland TB-303, the first cheap alternative to the bassplayer for the pub guitar player…
After the 303 Roland decided to create a more versatile and not limited only to basslines, a micro composer!
The MC-202 is like to instruments in a little plastic box.
The synth is derived from the Roland SH-101 and the sequencer is like a little MC-4 but only with 2 track (against the 4 of the MC-4) , its name could be MC-2… that’s why MC-202!
The synth itself its quite simple but really versatile for the task of making arpeggios, basslines, sequencered blips and blops, and sequenced leads.
There is a single VCO with SUB that can produce a saw and a pulse (with modulation)and the SUB (a square wave 1 or 2 ocyave lower or a pulse 2 octv lower).
The three wave are mixed by the MIXER section , than filtered and after the the filter we have the VCA (amplification) and the ENV.
The FILTER section has Cutoff, Resonance, Env (env amount) , Mod (LFO amount) , KYBD (keyboard tracking).
The filter is a 24dB with resonance with the classic analog roland carachter and sound, it can act quite rounded and smooth and get acid when you turn up the resonance.
With the reso at max  the filter prduce a SINE wave that can be played by the keyboard using the KYBD at max.
The VCA is quite simple and has only a switch, ENVor GATE.
With the Env is switched the env shape the sound and the accent controls the volume, while when switched to gate the synth plays only when the key  is pressed and loose the accent on volume, but ois useful for sequenced sounds when you want the ENV to control the filter only.
The ENV is a simple adsr that acts really snappy and with a fast attack, really great for bass and percussive timbres.
The LFO is quite simple, has only triangle wave with delay, to let the vibrato grows after a while.
The sound of the machine is a cross between a TB-303 and an SH-101, maybe the MC-202 can get more aggressive /acid than the 101 while the 101 has a just a little more sub on the bass end when used to generate sub basses, but the sound is more or less the same.
Maybe the only differences are made by trimpots regulations and not by any difference in electronic design.

The other part of the machine is the SEQUENCER.
The seq is different from the 303, is not a pattern style but a linear sequencer (just like the MC-4).
This difference let the MC-202 creates longer and more complex sequences , as it has a deeper editing on note durations, gates etc, while it mantains the ACCENT (for FILTER and AMP, and it can be choosen individually, so 2 accent!) and the GLIDE (here named PORTAMENTO) with its time knob (on the 303 the time is fixed).
Making a sequence on the MC-202 is harder than on the 303 if you want to get exactly what you have in mind.
Vince Clarke (former member of Depeche mode, Yazoo and Erasure and famous user of old Roland sequencers as MC-8, MC4 and MC-202) is described as one of more trained user as he could compose all the song without hearing the music, just pressing the buttons and than pressed play and BaaaM! the song was perfect!!
Indeed the programming of the sequencer is not the easiest, and it takes time to get into it, but it can create really great results , difficult to get with other gear.
The fact that there is a little LCD display on such a cheap old intrument means something…
I forgot to say that the sequencer has 2 identical tracks with CV-GATE outs to play external analog synths and a DIN SYNC IN and 2 DYN  SYNC OUTs and tape in and out to be syncronized to other machines or tape recorders or DAW.
A classic touch of the 80’s is that the MC has no memory for the sequencer so you have to save and load your seqnces with the TAPE DUMP (you can use a cassette recorder or you can record the data sound directly into your computer to have a far more practical collection of sequences to load..)

The MC-202 has been used mainly by all the electronic producers of the last 25 years, even if it’s not as famous or hyped as the 303.
From Aphex Twin to Autechre, Human League, Sabres of Paradise, 808 STATE, KID606 etc…
This is a great machine, and its sequencer is really a part of the strong carachter of the MC but there is also a software that can generate the data sound to load into your MC to program the sequence on your computer and than load it into the MC to get the best of both worlds.

Here is the link :

MC-202 HACK

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Nanoloop composition on Gameboy Advance

An amazing song on the Nintendo Gameboy Advance.

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