What do Roland’s “Cross Mod” or “Metal Sync” really do? There are quite few people asking this question on the internet, but no-one has much of an answer. Here’s a few forum discussions I found about it: https://www.harmonycentral.com/forum/forum/Keyboards/acapella-18/330134- http://forums.rolandclan.com/viewtopic.php?f=59&t=54410 https://music.stackexchange.com/questions/57210/what-exactly-is-the-cross-modulation-on-roland-jupiter-and-jx-analog-synthesiz/71048 Ok, so Harmony Central was never going to provide a solid technical answer, but the Roland Clan forums or (even better) Stack Exchange might have turned up someone who actually knew what they where talking about. No luck this time. So what’s… Read more »
The Electric Druid range of chips now includes four noise generators, so the table below summarises the differences between them to help you select the best chip for your application. White Noise Outputs Pink Noise Outputs Digital Control? MN5837 replacement? NOISE1B 1 0 No Yes NOISE 2 1 1 No No PENTANOISE 5 0 No No KIJIMI NOISE 3 (1 at once) 0 Yes No The original NOISE 1B generator provides a single white noise output and was… Read more »
It’s been around ten years since I developed the original Druid NOISE 1B chip to produce good quality white noise. Finally it gets an update, and the new NOISE2 chip can produce pink noise as well as white noise, so there’s no need for external “pinking” filters. Here’s what it sounds like, white noise and pink noise: Here’s the spectrums for the two outputs. Note the scales on these two graphs are different, so you can’t compare one to the… Read more »
The FilterFX project uses the Druid STOMPLFO to control a 12dB/oct state variable filter. A state variable filter (SVF) is chosen because this filter design offers highpass, bandpass, and lowpass outputs which gives us the greatest range of different effects. The LFO offers eight waveforms, including two random waveforms (one does those crazy sample-and-hold effects like the Maestro FSH-1). Furthermore, the PCB provides for addition of an expression pedal to allow the filter to be used like a wah pedal… Read more »
Replacing the LM3914/LM3915/LM3916 with a PIC Most designs you see for audio level LED bargraph displays use the LM3914/LM3915/LM3916 series chips that are no longer made. However, the chips are simple, so we can replace them with a PIC and build a nice LED bargraph driver on a single chip. So why do you need this thing? You need this if you want to display an audio level and make sure it doesn’t go above some well-defined threshold, usually the level at… Read more »
For this post, I’d like to take you through the process of designing a pedal, from initial idea to completed PCB and pedal. Everyone has their own way of doing this, so I thought it might be interesting for people to see the way that I work on something like this. Pedal (or Synth) design is a combination of engineering decisions and aesthetic choices, and engineering in the service of those aesthetic choices. That’s what makes it so fascinating to… Read more »
The Digitech DOD PDS-1550 was a member of the 1980’s Digitech “Dual pedal” range. It’s a pretty weird thing, and that’s partly why I’d like to take a closer look at it here. During my analysis of this pedal, I’ve discovered its dirty secret. Let’s get one thing out of the way early on though – despite being called a “programmable distortion”, it’s not programmable in any sense we’d understand today. “Tweakable” is more like it. You can open up… Read more »
Or how to get a vintage 1980’s drum machine sound without selling your kidneys! There was a discussion on the SynthDIY mailing list recently about how the early digital drum machines like the LinnDrum or the Oberheim DMX used to change the pitch of drum sounds by simply changing the sample rate. They literally just played the samples back faster or slower, exactly like speeding up or slowing down a tape recording. At the time, this was relatively easy because… Read more »
Here’s something slightly different! Is it an LFO? Is it an envelope generator? Well, it’s a bit of both. It produces a one-off event like an envelope generator, but it has a selection of waves more like an LFO. It works by producing a single “ping” when triggered. A ping is like a mini-envelope. The rate and waveshape of that ping are variable (from 55 msecs to 2.5 seconds, and eight different shapes), and the single ping can be augmented… Read more »
We’ve recently discovered a bug in the recently-released TAPLFO 3 code (how embarrassing!). The problem only affects the tap tempo feature of the TAPLFO3. Other chips like the VCLFO or STOMPLFO aren’t affected. We’ve fixed the code, and while we were working on it, we also improved the switch debouncing routine to be more tolerant of bouncy switches. We’re offering anyone who has an affected chip (a TAPLFO 3) a free replacement with the TAPLFO 3C. Please get in touch and send us your… Read more »
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