Room of Wires - AutoBot

Over the mountain through the cloudy pass to the interior sunlight

Misty Mountain Pass

Window was recorded at the Wipsy House Stratford, London around 1981/2 on a TEAC 4 track tape machine.  Song, lead vocal, harp, acoustic guitar Mitt. Drums, bass, keys, electric guitar, techy stuff Jennifer. Backing vocals Sally Ann Triplett and Steve Fletcher
 

Window : Mitt Gamon, Jennifer Maidman, Sally Ann Triplett, Steve Fletcher

Jamuary 2023 Jam 13

The Korg MS-20 Retro Expansion is my heavily modded version of the Mini version, although the mods would also work on the original model. If you're interested in adding any of these mods to your own MS-20, I've described all details of the circuit changes and added more photos of my synth on my web site:  www.yewtreemagic.co.uk/soundworlds3.php

The Retro Expansion includes the following additional features:

1. MULTI-OUTPUTS: To supplement the existing choice of one of four OSC1 waveforms I added separate TRI, SAW and PULSE output sockets, all available simultaneously, plus a separate output for OSC2.

2. PWM: Next up was an additional input for OSC1 variable pulse width modulation, using the existing pulse width knob to control PWM level. 

3. SYNC & FM: A Sync toggle switch was added to OSC2, to lock it with OSC1 for those screaming lead sync FX.

4. An FM input was added to OSC2 with its own rotary level control, so it could be modulated at audio rates by OSC1 among other options.

5. VCO MIXER: I also expanded the existing mixer section, adding two extra input sockets, each with its own level control knob. These can be used to mix together several oscillator waveforms, or to mix in other patchbay or external audio signals.

6. I also added a more traditional transformer/schottky diode ring modulator circuit to achieve far more mellow ring mod options than the integral (XOR) option.

7. Final casework mods included a new top-mounting panel for all the new controls, a 1/4-inch jack output, and cherry hardwood side panels.

I'm well pleased with the results - enjoy!

Martin Walker

Sound Design Demos

While looking through photos albums an old man remembers past friends and loves

Reflections 1991 - 2020

Another experiment with the Hydrasynth. This time messing about with wavetable synthesis.

Not to be taken too seriously, just having a bit of fun!

ASM Hydrasynth - Soundtest 2

My contribution to the Sound On Sound One Synth Challenge (https://soundcloud.com/one-synth-challenge/sets/one-synth-challenge-4)

The piece was created while self-isolating in Amsterdam, using the open source Yoshimi (http://yoshimi.sourceforge.net/) softsynth running on a Raspberry Pi 4 driven by an Arturia Keystep. More information on the backstory is here: https://www.soundonsound.com/forum/viewtopic.php?f=23&t=70769&start=210#p661810

This track is available under the Creative Commons license and may be shared freely so long as I am attributed as the original composer and it is not represented as someone else's work.

One Synth Challenge 4

Yoshimisynthesis

Me messing about. I love the original of this song - another classic penned by Vince Clarke and achingly melancholy with an amazing vocals courtesy of Feargal Sharkey. This version is based on the 12" version as it build nicely.

I started breaking down the (quite complex) arrangement for fun and realised that, as much as I adored the original, I wondered what it would have sounded like if it used more analogue synths rather than the DX7/Fairlight sounds it had. So I programmed this using a Behringer Pro-1 (as VC is a famous user of the original Pro One) and a Sequential Prophet 6 as it is from the same sonic family and can happily be a modern replacement for Prophet 5. This is the result. Addictive drums supplied LinnDrum samples, Logic's ultrabeat a CR78 hat and Chromophone was used for a woodblock - I could have found another Linn sample but I liked a sound I had in Chromophone. Vocals were recorded using a Warm Audio WA-14 (which is an AKG 414 clone) that I had on loan to try out (Cheers Wonks). 

Hope you like it. It was fun to make.

NeverNever

The RATCHETEER generates MIDI note patterns working in sync with Ableton Live's transport with options for numerous time divisions and the ability to be performed using external MIDI controllers.

https://www.youtube.com/watch?v=kZWarI3AsLg

https://gumroad.com/l/ratcheteer

Assign a MIDI Note to ratchet and choose from 5 types of time division to hear the note re-triggered from a steady pace to rapid fire mayhem. Select an output velocity with fixed, random between a range or LFO controls.

Turn the knob or play your keyboard to play the ratcheteer at different speeds. It'll output expressive MIDI notes which can be recorded as clips and stored in your track.

The Ratcheteer is ideal for Trap Hi Hat petterns, but can be used on any drum or synth hit. It can also be used on multiple channels for entire rhythm track making.

Time divisions include triplets, whole notes, dotted notes, all combined and free (unclocked).

Use the MIDI Map function to change the ratchet using MIDI controller movements, from knobs, faders, mod wheels or pitchbend. You can also automate numerous elements to store within your track.

Send ratcheted MIDI notes to VSTs, Drum Racks or external MIDI Hardware using Ableton's extensive MIDI routings.  Say goodbye to meticulous MIDI finessing and start performing hi-octane hi-hat patterns!

Please Note: Ableton Live 10 Suite is required to run this device.

Ratcheteer - Semi-Automatic MIDI Pattern Generator

Sifting Thru Grey

Martin Walker is well known for his music and sound effects design on over a hundred game soundtracks, and for his columns and features on sound design in magazines such as Sound On Sound and Audio Technology.

Sound Design Demos

Yew Tree Magic

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