Industrial Music Electronics

Notes: Incredibly powerful two-channel filter module capable of much more than just filtering. State-variable digital filters with built-in VCAs designed to overdrive beautifully. Sounds great.

Supplier's notes:
BIONIC LESTER MARK III is a 2-channel 2-pole state-variable digital filter with an unusual amount of good sonic character. The filter mode is continuously variable under manual or CV control, smoothly fading from lowpass to bandpass to highpass to notch to allpass with a single motion. The resonance stops just short of self-oscillation. A digital VCA controls the amplitude and the distortion of the input signal pre-filter. The filters have independent inputs and outputs, and an additional Mix output with balance control. The filter design was initially inspired by the best of late-1990s "virtual analog" filters and has gone far beyond.

The audio input controls have dual behavior. When the control (or CV input) is turned from zero position to the center, it operates as a simple gain control for that input. When turned past the center position towards the maximum, the signal will begin to soft-clip, adding hard clipping as the maximum is approached. This smooth and subtle distortion adds violence to otherwise unremarkable input material, generating additional harmonic content for the filter to process. The digital VCA that controls the gain and distortion functions is aware of the input signal's zero crossing, eliminating "clicking" noises when the gain is modulated.

Each filter section has three CV inputs. The first is a high-speed input hardwired to the filter's cutoff frequency, appropriate for snappy envelopes and slow moving voltages alike. The other two inputs (one with attenuverter control) are freely assignable to any of the filter parameters (cutoff, resonance, mode, gain), storable in a preset. The Mark III preset system stores eight fully programmed panel setups, instantly recalling everything under the harshest demands of performance. The Morph mode allows smooth fading between all of these presets.

Activate Filter B's LINK control for patch-free routing of the filter's control or audio signal. You can achieve dual-peak resonance, cable-free series routing, cascaded 4-pole filtering (with two stages of distortion), and full stereo using only one set of filter controls. The input normalization, LINK settings, and parallel mix output further reduce cable clutter while rapidly patching an elaborate signal flow.

The controls are arranged for maximum tweakability and minimum cable interference, with metal-shaft potentiometers attached to the panel on the large knobs. The Mark III OLED display displays the cutoff frequency in Hertz, resonance amount, and filter type morph. The CV inputs process all input voltages between -10 to +10 volts. Panel size is 15HP.

Notes: Complex digital oscillator with unison detune, programmable 3x4 modulation matrix mixer and external 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. Perfect, genuine, complete, crystalline, pure.

Specs:

Main oscillator with resonant, phase, and fractal distortions (CV and manual knob destinations selectable)
8 octave tuned CV response (1V/octave)
2x sinusoidal modulation operators with frequency interval lock or free operation
External thru-zero FM input
4x3 modulation matrix mixer with master amount control
128x32 OLED display providing realtime note, frequency, and modulation information, as well as menu access to deep settings
All parameters may be placed under control of morphing preset manager with 8 onboard presets (nonvolatile)
96 kHz sampling rate

Notes: Kermit is a 4-channel programmable supermodulator with morphing wavetable generator and internal modulation matrix. Four channels operate as LFOs, audio rate oscillators (with 1v/octave response on two channels), 1-shot envelopes, random voltage generators, or sample-and-holds, all responding to manual control, external control voltages, or synchronization to the module's master tap tempo clock. Designed for maximum patching power in small systems, Kermit carries an unmatched functionality-per-HP factor with an easily readable display that shows parameters in their real-world units.

The module has a 16-bit DAC to accurately render subtle changes of voltage at extremely low frequencies. The oscillator mode is best suited for bass frequencies, and the waveform "character" modes restrict the morph behavior or degenerate the audio to a minimum of 8 bits with limited horizontal resolution, like the Konami SCC chip used with the MSX computer. The tap tempo facility features an input jack and a manual button. The tempo is shown on the OLED display in BPM. The relevant units (hertz, seconds, volts, etc) or selected waveform of each channel are contextually shown on the display as the user programs the module.

List of operating modes per channel:

LFO (1 volt/octave)
LFO (with reset)
Tap tempo LFO
Audio oscillator
Audio oscillator (unison)
Code scan
1-shot envelope
Gated repeat envelope
Tap tempo envelope
Smooth random
Stepped random
Tap tempo stepped random
Sample-and-hold
Track-and-hold
Tap Tempo sample-and-hold

Three parameters on each channel can be modulated: frequency, amplitude, or waveform. Both external CV input and internal cross modulation are programmable with hotkeys. For example: assign the output of Channel B to morph the waveform of Channel A by holding the Channel B button while turning the Channel A Waveform knob. All channels have manual control of frequency (coarse and fine), phase, wave bank, waveform morph, and amplitude. Channels A and B have full controls, C and D have single knob controls with deep parameters accessible by hotkey combinations. Still deeper functions are accessible through the Mark III menu system.

Kermit has a microSD card slot for loading custom waveforms, like its big brother Piston Honda. The SD card accepts one .WAV file in WaveEdit format (free software editor) containing 64 waveforms, also compatible with several other Eurorack modules. When loaded into Kermit, the waveforms are organized into 8 banks of 8 waveforms each. Each oscillator can select any of the 8 banks, and the 8 constituent waves can be smoothly morphed from one to another.

The Mark III morphing preset manager is in full effect on Kermit. The discrete preset mode quickly and reliably recalls all parameters in response to triggers or CV, accessing the true power of the module as detailed, carefully programmed settings are effortlessly loaded and changed. The morphing mode causes delightfully unexpected variations of the basis preset.

Insert a master clock signal and you're ready to go. Kermit is a reliable provider of endless rhythmically coherent modulation voltages and a reasonably competent "voice module" providing most common synthesis functions on each channel with an internal modulation matrix.

Notes: Synthesists beware, there's a new menace in towniand much to the chagrin of it's older sibling, this one doubles down on its Banzai Rush. The Piston Honda mk3 maintains the character of its previous incarnation, while incorporating some punishing new combos. Where the infamous Piston Honda mk2 features a single oscillator consisting of 4,096 8-bit waveforms organized across a 16x16x16 "cube", the mk3 houses 512 16-bit waveforms arranged in an 8x8x8 configuration. Just like its predecessor, the waveforms operate at full resolution and can be manipulated manually with sliders or remotely via CV. Unlike the mk2, which only accepts CV in the range of 0-5v, the mk3's CV inputs accept both positive and negative voltages. Another welcome upgrade is the module's preset manager, which is operable via CV. This enhancement pulls all the punches by allowing users to store and recall specific configurations then morph between those presets! Who knew the fourth dimension was so unabashedly infernal?

The Piston Honda Mark III is a dual morphing wavetable oscillator with waveshaping audio inputs and unison detune. The three axis sliders create a waveform for each selected oscillator to play from the internal "cube" of 8x8x8 16-bit waveforms, morphed at full resolution in all three dimensions (the oscillators may each play a different waveform). The voltage-controlled preset manager stores a bank of these settings to be recalled at any time, with a virtual fourth dimension of morphing when the manager is in "continuous" mode. An orange 128x32 OLED display displays the current waveform for the selected oscillator in realtime, its frequency, and the selected preset and wave selection. The rotary encoder changes system settings on the display, but it's not necessary to interact with the display menus for any performance purpose.

Every suggestion about the previous MK II generation has been taken on board, and the design has been fully modernised, now operating as a dual oscillator in the same 17HP space. The infamous aggressive character of the Piston Honda is fully present, with the added clarity of the 16-bit wavetable engine. The second oscillator's frequency controls can be slaved to the first. Each oscillator has its own unison detune function as well, for a maximum of four stacked oscillators sounding at once. The oscillator can alternatively run as a nonlinear waveshaper, processing a dedicated audio input through the selected wavetable with voltage-controlled drive. When running in its normal oscillator mode, this input instead provides thru-zero frequency modulation.

In terms of visual apprehension, the mk3 adds even more precision to its ilk's well-documented cruelty with the addition of a 128x32 OLED display. More than a mere window into Cocytus, the display provides immediate visual indication of the selected waveform and its frequency, as well as preset and wave selections. When used in tandem with something like Argos Bleak, tuning and executing become insidiously simple. Another malevolent modification is the inclusion of a micro-SD slot, which offers users a quick and effective means of loading their own 16-bit waveforms into the module (much more convenient than the esoteric ROM burning ritual). The module is compatible with files created via the Synthesis Technology WaveEdit program.

Specs:
2x Digital Oscillator - 8 octave tuning range (C0~C7)
512 16-bit waveforms (8 waveform collections)
Micro SD card slot for loading user waveforms.
Graphic OLED display (128x32 in size, orange in color)
CV inputs accept +/- 10V.
Colorblind-friendly interface. No color codes.
8 preset slots with nonvolatile storage of all parameters (morphable)

Waveforms are selected from the internal memory of 8 collections:
* additive harmonic structures
* harsh LFSR progressions
* restored waveforms inspired by classic synthesizers
* special content from my favorite modular artists

You can load user wave data (16-bit WAV format) using the front-panel microSD card slot.

Factory waveset instructions:

Equipment needed: MicroSDcard.