Typical reverb types such as plate, room, hall, shimmer and others may be programmed by adjusting the knobs. The continuously variable algorithm allows for hybrid and unreal spaces to be found.
Traveling between spaces is possible by modulating the algorithm or manually sweeping parameters. More than an end-of-chain effects unit, it's a whole new building block for modular synthesis. Like the Echophon, it's coded by Tom Erbe of soundhack.
It is a small analog computer designed for solely musical purposes.
It has 9 inter-connected sockets that may be split into different group combinations depending upon how it is patched. The jacks circled in white will make or break the interconnects between the 3 groups of three, thus allowing for three 3-way, one 5-way/ one 3-way or one 7-way multiple.
The Multiple is passive, because the Make Noise system does not require Buffered Multiples since all critical control signals are already buffered in such a way as to provide a large fan-out capability.
Despite being completely digital, it is highly organic, displaying variation in outcome often seen only in nature. It is a formless blob of DSP that you grow, modulate and patch program into new sounds, some vaguely recognizable and others completely otherworldly.
The range of sounds possible is quite large. From pianissimo to fortissimo, short percussive bursts to bowed, sustaining pitches. The two waveguides can be pitched together or independently, mutated with harmonic or inharmonic waveforms and fed back into themselves or each other.
While the 0-COAST utilizes classic modular synthesis techniques, it's designed to operate with or without the use of patch cables. The necessary connections have been made from circuit to circuit so it operates as an expressive, musical MonoSynth. Using only the MIDI controller of your choice you could apply new timbres to your existing musical forms!
Using the included Patch Cables you could get more scientific, experimenting with new ways to wire up the circuits. You might even forgo MIDI altogether, disappearing into a cloud of analog FM induced Sidebands and harmonics scattered around a single fundamental drone that has nothing to do with any form of music you've ever known.
It is informed by the worlds of Musique Concrete where speed and direction variation were combined with creative tape splicing to pioneer new sounds, and Microsound where computers divide sound into pieces smaller then 1/10 of a second to be manipulated like sub-atomic particles.
Named for the French philosopher & mathematician Rene Descartes, it uses his Cartesian coordinate system to unlock the analog step sequencer from the shackles of linearity.
In 2009 Tony designed the first Skiff to complement the vertically oriented cases available at the time by providing an ergonomic enclosure for our Rene and Pressure Points touch controllers.
Today the Make Noise Skiff provides a smart way to build a small modular synthesizer. It is low cost, but extremely durable. The clean simple lines and matte black color place visual emphasis where the action is: the patch the artist has created. At one side there is a power button and the Make Noise logo is illuminated to show the power is ON.
Ships ready to use. Just add modules, patch cables, and inspiration.
A few of the Morphagene's most basic uses: Splice recorded audio and jumble it using ORGANIZE. Manipulate playback speed and direction with Vari-Speed. Granularize with Gene-Size and Slide. Layer or Stagger Genes using MORPH. Undertake iterative music processes by recording manipulations and overdubs into new Splices, like having two machines (one for Playback and modulations, one for Record). Process sound in real time using Time Lag Accumulation. Utilize envelope following CV OUT and EOSG Trigger to engage Morphagene in conversation with the rest of your modular system. Stretch and squash sound with Clock input.
Max Depth: 30mm
Power: 165mA @ +12V, 20mA @ -12V
This system is capable of Subtractive Synthesis, Additive Synthesis, FM Synthesis, Phase Modulation Synthesis, Ring Modulation, Amplitude Modulation and more... often simultaneously.
The tELHARMONIC's roots go back further than the advent of electronic music, as it also takes a new approach to handling music theory in the modular context. TONIC, INTERVAL, DEGREE and D-GATE, allow for patch-programming of complex chord progressions, scales, melodies and playing styles. This Voltage Controlled Music Theory guides the Algorithms in a unified way, whereas CENTROID, FLUX and H-LOCK sculpt the timbre of each Algorithm uniquely, allowing for complex sounds to be created around a unified melodic structure and pattern.
***FIND THE SPIRATONE INSIDE YOUR TELHARMONIC***
The Spiratone is a form of Shepard Tone generator. It is a sonic barber pole that creates the auditory illusion of a tone that continually ascends or descends in pitch, yet ultimately seems to get no higher or lower.
It occupies the same space as the tELHARMONIC. To find it, have nothing patched to D-Gate and HOLD H-LOCK for 5 seconds. The sound will dramatically change... you've found the Spiratone inside your tELHARMONIC.
Multi Voice Shepard Tone generator inspired by Jean-Claude Risset "Computer Suite from Little Boy: Fall," 1968 & James Tenney "For Ann (rising)," 1969
CENTROID sets spacing of the oscillators
INTERVAL allows for complete control of modulation depth and direction
FLUX adds random pitch fluctuations
8 octaves of continuous 1V/ Octave pitch control
8 octaves of quantized pitch control
DEGREE Modulation able to be synchronized by clock or gate via D-Gate input
Gate Out completes the conversation between Spiratone and rest of system!
Utilizes High performance DSP hardware with 24bit, 48kHz codec, 32 bit floating point processing
Reasonable power consumption
Pairs well with Optomix
Video demo - https://www.youtube.com/watch?t=1&v=Mz6n-tzX5Xk