Transcripción completa de Superbooth Special! New Buchla, Make Noise, Xaoc & much, much more

00:02:09.919 But it's basically a pair of all pass filter networks and which can also be switched into workers band pass filters. 00:02:10.000 --> 00:02:10.159 Yeah. 00:02:10.319 --> 00:02:14.639 There are two of them and they can interact and feedback on each other in various ways, and the same inbuilt modulation. 00:02:14.960 --> 00:02:26.879 So it's it's sort of adjacent to the smoothie audio smear, or like you know, it's a similar kind of sounds and territories, but the the interaction of the two sides and the sort of feedback network seems to put it into a different area. 00:02:27.120 --> 00:02:27.360 Yeah. 00:02:27.439 --> 00:02:29.280 Um yeah, it's got that kind of comb filter. 00:02:29.360 --> 00:02:35.919 I mean, comb filtering is kind of it's the main heart of it, I guess, and it's about how those two sides of comb filtering interact with each other. 00:02:36.159 --> 00:02:40.159 I I also had a shot of it and I thought it was it was really nice, really interesting. 00:02:40.240 --> 00:02:45.280 I was kind of getting some quite weird tones that I kind of couldn't imagine other ways of getting. 00:02:45.360 --> 00:02:47.919 I think it would be quite difficult to kind of like do that sort of stuff. 00:02:48.000 --> 00:02:52.240 There feels like a bit of a unique take, or certainly within the Euroact space of that sort of. 00:02:52.560 --> 00:02:58.240 Yeah, it's quite hard to find truly unique tone-shaping things these days, but it seems to be one of them. 00:02:58.400 --> 00:03:03.680 Uh, we've recorded a little bit of uh audio from it that Lucas was kind enough to set up earlier, so we'll drop that in here so you can have a listen. 00:03:03.919 --> 00:03:04.240 Yeah. 00:03:34.639 --> 00:03:36.560 So I'm gonna turn the tables back on you. 00:03:36.879 --> 00:03:38.800 Now, what's the best thing you've seen so far? 00:03:39.280 --> 00:03:46.960 The best new thing, um I feel like the best new thing that I saw was I I I think the Bucla Ziggy is very good. 00:03:47.360 --> 00:03:53.840 Um I we we kind of we knew about it a couple of days beforehand coming over. 00:03:54.000 --> 00:04:05.199 Um but some of the sort of sound examples that we'd seen in like the teaser videos that we had access to, I wasn't all that impressed with, and I was a little bit like the I was just not a hundred percent sure. 00:04:05.360 --> 00:04:07.680 I kind of thought this sounds a little bit weird. 00:04:08.000 --> 00:04:13.199 Not weird in like an explorative way, just sort of like a little bit weak, and I was like, not not so sure about that. 00:04:13.280 --> 00:04:18.160 But when I actually got into having a play with it, I was like, oh cool, this this sounds like a bookler. 00:04:18.319 --> 00:04:25.759 It's kind of a bit of a weird interaction, there's no patching on it, so it's uh just to kind of give a brief description of what you'd be looking at. 00:04:25.839 --> 00:04:30.639 It's kind of like a standalone mono synth um with some inbuilt effects. 00:04:30.800 --> 00:04:34.879 I I've kind of uh likened it a little bit to like the Instro Seashell. 00:04:35.199 --> 00:04:37.279 Um small, compact, with the idea. 00:04:37.600 --> 00:04:38.959 Not as small and compact as the Instroom. 00:04:42.079 --> 00:04:56.639 Um but I think the the thing for me that is interesting about it is it's sort of like complex oscillator tones and like bigger than its form factor implies uh levels of tone, uh, but in a slightly easier form factor with presets and that kind of thing. 00:04:56.720 --> 00:05:05.040 So it's sort of like a whole music easel is a bit rich for my blood, but um a sub-1,000 pound bookla might tickle my fancy kind of thing. 00:05:05.279 --> 00:05:14.240 Yeah, I think it's kind of aimed at people that want a bit of that bookla heritage and that classic complex oscillator and LPG sound, but don't want to necessarily remortgage their house to get into modular. 00:05:14.879 --> 00:05:20.639 Yeah, yeah, because the the bookla modular which they did have at the the booth was delightful. 00:05:20.800 --> 00:05:20.959 Yeah. 00:05:21.120 --> 00:05:22.399 And I was like, oh, this is great. 00:05:22.480 --> 00:05:24.800 And then I remember how expensive it is. 00:05:24.879 --> 00:05:25.040 Yeah. 00:05:25.199 --> 00:05:28.319 Because it's in the you know, the five figures. 00:05:28.800 --> 00:05:31.040 I mean, yeah, for a big system, you're easily looking at that. 00:05:31.120 --> 00:05:39.839 And um one thing they did have there as well, which is quite nice to see, which is a little bit more affordable if you're into DIY, is the MEMS project reissues of the 200 series stuff. 00:05:40.079 --> 00:05:42.720 We were looking at that as well, I think, in the in the back part of that room. 00:05:42.959 --> 00:05:48.800 So a bit more details on that, like what what because I I'm actually quite a bit of a Luddite when it comes to the boot club modular side of things. 00:05:49.600 --> 00:05:57.040 So the MEMS project is a team that have been looking at original 200 series modules and recreating them and kind of documenting it all properly. 00:05:57.199 --> 00:06:07.600 So there's there's an online sort of resource where they've looked at the original PCBs and they've kind of very, very, very faithfully recreated them in the original style with the kind of hand-drawn etching on the PCB and stuff. 00:06:07.759 --> 00:06:11.439 So they are now available as kits with panels and PCBs if you want to build build your own. 00:06:11.680 --> 00:06:15.199 And is that is that actually direct from Booker or is it like a sort of third-party? 00:06:15.759 --> 00:06:19.040 It's through a Booker affiliated separate website, the electric music store. 00:06:19.199 --> 00:06:20.160 So that's quite cool. 00:06:20.240 --> 00:06:20.800 Yeah, yeah. 00:06:21.120 --> 00:06:29.439 Um, so that's my next probably inevitable uh for 4U DIY rabbit hole to go down when I've I always say you don't have enough for you. 00:06:29.519 -->

00:06:30.959 I'm just just not enough. 00:06:31.040 --> 00:06:31.680 You need more. 00:06:32.000 --> 00:06:36.399 Yeah, it's um I'm I'm disbracing myself for for that, but that's that's that's probably gonna happen at some point. 00:06:36.560 --> 00:06:40.399 Yeah, maybe after you've moved house, you can treat yourself to a new DIY project. 00:06:40.639 --> 00:06:49.439 Yeah, but yeah, I was quite impressed with the Ziggy as well, actually, because I think um I was quite impressed with the range of tones and the you know the the presets were quite good. 00:06:49.680 --> 00:06:50.000 Yeah. 00:06:50.160 --> 00:06:51.600 Um and the effects are good. 00:06:51.839 --> 00:06:53.040 Yes, the effects were good. 00:06:53.120 --> 00:06:58.959 Um I all of the effects um he did mention were sort of going to change or going to be tweaked. 00:06:59.040 --> 00:07:08.399 There's gonna be more effects in there, and um uh it was the the we've got a sound clip that will pop in just here, um, so you can have a little listen, but it's not a finalized product. 00:07:08.480 --> 00:07:13.600 They were they're pretty keen to let us know whether it's gonna be between the two algorithms, but yeah, have a listen to this. 00:07:50.240 --> 00:07:54.720 What would you say has been your the most surprising release? 00:07:54.879 --> 00:07:57.519 What was the one that took you by surprise the most? 00:07:58.079 --> 00:08:02.399 It's funny this because working in the shop we tend to get advanced notice of most things. 00:08:02.480 --> 00:08:09.920 So there weren't there weren't many things I didn't know about, but the one that I didn't know about until I arrived, and maybe just because I hadn't been looking online that day either was the polyendrum machine. 00:08:10.079 --> 00:08:11.439 That was that was gonna be my answer as well. 00:08:11.600 --> 00:08:12.720 Yeah, yeah, sorry, I've stolen you. 00:08:12.959 --> 00:08:14.160 No, no, it's good it's it's good. 00:08:14.319 --> 00:08:17.360 Uh so uh it quite a big, bold move. 00:08:17.680 --> 00:08:18.800 Does it have an does it have a name? 00:08:18.879 --> 00:08:19.360 I've forgotten. 00:08:19.439 --> 00:08:20.879 Is it just called drum or drum? 00:08:21.199 --> 00:08:22.000 I think it's just drum. 00:08:22.240 --> 00:08:26.639 I mean it's kind of in line with their sort of like four-letter name maybe convention. 00:08:26.720 --> 00:08:28.160 Um does what it says on the tin. 00:08:28.399 --> 00:08:29.279 Does what it says on the tin. 00:08:29.680 --> 00:08:30.959 But I really I like the look. 00:08:31.040 --> 00:08:32.320 I thought it was nice and sleek. 00:08:32.480 --> 00:08:35.840 Um I am a big fan of drum machines being big. 00:08:36.000 --> 00:08:36.159 Yeah. 00:08:36.320 --> 00:08:38.000 Like, don't give me a small drum machine. 00:08:38.080 --> 00:08:41.919 Like, I want I want it to be absolutely massive and I want to kind of be able to interact with it. 00:08:42.159 --> 00:08:49.600 Um Ala, Pulsar 23, uh, Erica Perkons, they're all really fantastic for just being like quite hands-on and very large and immediate. 00:08:49.840 --> 00:08:59.120 Um it is analog as well, it's like an analogue digital hybrid, which is Yeah, so there's four analog voices which are all based on 2130 VCO chips and stuff. 00:08:59.200 --> 00:09:03.039 So it's yeah, it's got a good quality analogue signal path and and then it's digital voices too. 00:09:03.120 --> 00:09:04.000 But yeah, it looks looks good. 00:09:04.080 --> 00:09:06.320 I mean it's in the same price bracket as the TR1000. 00:09:06.720 --> 00:09:08.159 Which is a tough sell, I think. 00:09:08.559 --> 00:09:12.960 I think that's maybe the only thing is just sort of like is there is there room for two two and a half grand drum machines? 00:09:13.200 --> 00:09:19.440 Especially when one's like has the the rich history of like an 808 and a 909 analogue circuits being in there. 00:09:19.519 --> 00:09:23.360 It's it's it's gonna be tough to prize those hands away from the TR1000. 00:09:24.000 --> 00:09:34.080 Although I guess if you're they're going for people that maybe aren't quite so uh conscious of the heritage or looking, you know, don't necessarily care about those classic, you know, or having faithful recreations of those classics. 00:09:34.240 --> 00:09:35.200 Maybe they've been over overused. 00:09:35.679 --> 00:09:38.879 And the other thing I guess would be that the sequencer will be very poly-end as well. 00:09:39.039 --> 00:09:42.320 It's a very different way of working than say the the Roland um style. 00:09:43.440 --> 00:09:43.600 Yeah. 00:09:43.840 --> 00:09:51.279 Um so yeah, that that was also probably one of the biggest surprises for me, I think, as well, because I I I wasn't really expecting a sort of big massive flagship drum machine. 00:09:51.519 --> 00:09:51.679 Yeah. 00:09:51.840 --> 00:09:53.519 But we're always we're always a fan of drum machines. 00:09:53.840 --> 00:09:54.399 Full of surprises. 00:09:55.039 --> 00:09:57.360 Um I mean, yeah, what else has caught your eye then? 00:09:57.519 --> 00:09:58.879 Anything else you want to flag up? 00:09:59.039 --> 00:10:02.159 There's the make noise um, yeah, the complexophone, yeah. 00:10:02.399 --> 00:10:12.480 Um which it always feels like a recipe success for success when you have uh Tom Herb and Make Noise do a collab because they just don't really miss who makes very interesting sounding stuff. 00:10:12.799 --> 00:10:19.519 So it's a delay network or delay feedback network that can enter into reverb territory, enter into delay territory. 00:10:19.679 --> 00:10:19.919 Yeah. 00:10:20.159 --> 00:10:29.279 Um which uh we we didn't really get a chance to have like a bit of a closer demo, funnily enough, because uh the make noise booth was quite small and constantly round the entire time. 00:10:29.840 --> 00:10:33.200 Always full of people and poor poor walkers there fighting. 00:10:33.759 --> 00:10:35.840 I don't think I saw him take a break the entire time.

00:10:36.159 --> 00:10:37.519 Every time I walk past, he was there. 00:10:37.759 --> 00:10:39.840 He looked he looked like a bit of a shell of a man by the way. 00:10:40.000 --> 00:10:40.879 I've got to say at 6 p.m. 00:10:41.039 --> 00:10:41.600 It's always impressive. 00:10:41.840 --> 00:10:49.759 Yeah, I've got to say as a general thing, anyone running these um stands here at Superbook, they've got to say props because it is a it's a a long day of standing up and talking. 00:10:50.000 --> 00:10:54.639 Yeah, I have a I get I get exhausted just walking around talking to people and you know literally about to say the exact same thing. 00:10:54.720 --> 00:11:02.480 Like I get exhausted choosing the conversations, let alone sort of being like stuck in a place and like you know, going into demo mode and going back over. 00:11:02.559 --> 00:11:04.080 It's it it's pretty tough going. 00:11:04.159 --> 00:11:06.879 Yeah, so they should all get some kind of special prize at the end. 00:11:07.120 --> 00:11:07.519 Yeah, yeah. 00:11:08.480 --> 00:11:09.279 Especially on day three. 00:11:09.360 --> 00:11:10.720 Three days of that is quite intense. 00:11:10.879 --> 00:11:11.039 Yeah. 00:11:11.279 --> 00:11:13.519 Um so yeah, that that sounded really good. 00:11:13.759 --> 00:11:17.279 Um, and there's kind of no surprise there uh that it will sound really good. 00:11:17.360 --> 00:11:26.399 Uh pretty excited to get that in um a personal favourite of mine that wasn't something that was new this show, but I haven't seen it because of the availability. 00:11:26.480 --> 00:11:32.799 It's just like at the um at last year when it was launched, they were just selling direct, is the uh Whimsical Raps Atrium. 00:11:33.200 --> 00:11:33.679 Oh yeah, yeah. 00:11:33.840 --> 00:11:34.960 You're you you love this thing. 00:11:35.360 --> 00:11:36.080 I do love this thing. 00:11:36.240 --> 00:11:40.960 Yeah, uh it's uh quite a uh weird looking device. 00:11:41.039 --> 00:11:44.559 We'll put up a pop a photo up for you to have a little look at if you're watching the pod. 00:11:44.960 --> 00:11:56.399 Um it's an odd shape, but it's sort of a little bit uh omnicord adjacent in that you have gestural controls and you're kind of the whole point is that you're touching and interacting with it. 00:11:56.720 --> 00:12:02.159 And there's choices for notes and chords, so you can stick to things being musically relevant. 00:12:02.480 --> 00:12:20.480 Um but where it differs is it's almost like an omnicord that's taken acid because it's very weird, it's very odd in the way that you can interact, and it's sort of a little bit like the gestural aspect is how you interact with the instrument, but the sound engine is almost like the greatest hits of all the whimsical rap stuff. 00:12:20.720 --> 00:12:26.320 So it's like kind of got a mangrove oscillator in there, it's kind of got the just friends envelope thing that you can do. 00:12:26.559 --> 00:12:29.519 Um and so I was in the Three Sisters filter. 00:12:30.000 --> 00:12:31.919 It just it just sounded really, really good. 00:12:32.000 --> 00:12:36.639 Um, and I found it very compelling to interact with, and the gesture recording was so easy to do. 00:12:36.879 --> 00:12:44.080 Um so yeah, I I was like quite annoyed at how much I liked it because I really I don't need another thing, but I I need that now. 00:12:44.799 --> 00:12:51.519 That's that's the of all the things I tried, that was the one that spoke to me most where I was like, oh, I would actually definitely put my money where my mouth was on that one. 00:12:51.679 --> 00:12:52.799 And yeah, yeah. 00:12:52.960 --> 00:12:53.200 Yeah. 00:12:53.440 --> 00:13:02.320 Yeah, it's good to see that like production's ramped up and that's you know, all that stuff's all the mannequins whimsical raps stuff is going to be more readily available in the not too distant future as well, so that's great. 00:13:02.879 --> 00:13:06.720 Um yeah, I could see that you were uh your your little face was lighting up when you were playing with that. 00:13:06.960 --> 00:13:07.120 Yeah. 00:13:07.360 --> 00:13:07.759 Which is good. 00:13:08.000 --> 00:13:09.679 There was a couple of moments where I was like, oh no. 00:13:09.840 --> 00:13:13.919 You know when you let play you might be watching a demo video or you're like playing with something in a store. 00:13:15.120 --> 00:13:15.919 I must own this. 00:13:16.159 --> 00:13:18.879 No, I really didn't want this to happen. 00:13:19.039 --> 00:13:19.679 Yeah, yeah, yeah. 00:13:19.919 --> 00:13:21.600 Um so yeah, that was that was really good. 00:13:21.759 --> 00:13:24.399 I I really like the body instruments uh laboratory as well. 00:13:24.639 --> 00:13:25.519 Oh yeah, yeah, that's great. 00:13:25.679 --> 00:13:27.440 That's a noisy, noisy bit of kit. 00:13:27.600 --> 00:13:29.200 That's that's really fun. 00:13:29.279 --> 00:13:30.320 So feedback. 00:13:30.639 --> 00:13:39.120 It's like, yeah, it's kind of two sort of filters and delays, isn't it, with with feedback, cross feedback between them, you can sort of mix, and there's a function generator in the middle that you can kind of loop and use for modulation. 00:13:39.360 --> 00:13:40.799 Yeah, we actually got a clip of this one as well. 00:13:40.879 --> 00:13:45.200 So you can pop a little clip of some absolutely noisy bollocks that's happening. 00:14:20.639 --> 00:14:22.240 It does have two audio inputs. 00:14:22.480 --> 00:14:32.240 He was sort of explaining that you can use uh, you know, essentially create another feedback loop with the fact that you've got two ins and two outs and you can feedback stuff, put a pedal in between the chains and all that sort of stuff. 00:14:32.480 --> 00:14:32.879 Yeah, yeah. 00:14:33.039 --> 00:14:35.120 Um and yeah, his his stuff is excellent. 00:14:35.200 --> 00:14:41.440 Uh he made the metal fetishist, which uh a lot of people know as the sort of crazy accompaniment to any drum machine. 00:14:41.600 -->

00:14:44.320 It's it's a mad percussion box. 00:14:44.720 --> 00:14:45.200 Instant fun. 00:14:45.360 --> 00:14:47.039 And we've yeah, that's been a big hit, hasn't it? 00:14:47.120 --> 00:14:47.200 Yeah. 00:14:47.440 --> 00:14:48.159 Since since then. 00:14:48.240 --> 00:14:49.600 And um yeah, great to see that. 00:14:49.759 --> 00:14:53.200 Looking forward, I'm looking forward to actually playing with that um laboratory with external sources. 00:14:53.360 --> 00:14:53.600 Yeah. 00:14:53.759 --> 00:14:59.440 Because I think it's a really fun, hands-on kind of way to get into you know, some interesting feedback-y kind of territory. 00:14:59.600 --> 00:14:59.840 Yeah. 00:14:59.919 --> 00:15:04.720 So other modules that I thought were really good, because I feel like there's almost like been quite a lot of module releases this year. 00:15:04.960 --> 00:15:05.120 Yeah. 00:15:05.279 --> 00:15:11.279 Um I really like the random eight, um the Mylar Melodies and the fact that Mylar. 00:15:14.480 --> 00:15:34.720 Um he has made uh a clever little device which uh takes the ethos of Turing machine workflows of random that can be locked uh and given it uh a very easy instant workflow of you putting your your uh signal in and then anything below can cascade down. 00:15:34.799 --> 00:15:40.799 So you've got eight channels of random that can then be scaled and quantized, locked and unlocked with it just pressing buttons. 00:15:41.279 --> 00:15:47.519 And and slowly iterated, but you could you can kind of re-randomize once you've locked it gradually and iterate on stuff. 00:15:47.679 --> 00:15:52.240 So it's like having yeah, eight powerful Jura machines in one small compact thing. 00:15:52.399 --> 00:15:53.919 Great for live cases, I think. 00:15:54.240 --> 00:16:00.960 I think it's one of those things as well where um I can imagine so many different modules just sort of benefiting from it. 00:16:01.039 --> 00:16:04.799 So one of the other things that I enjoyed trying was the new algorithms in the VicX. 00:16:04.879 --> 00:16:05.200 Yes. 00:16:05.360 --> 00:16:07.840 Um, which I made in a hilarious sound. 00:16:07.919 --> 00:16:15.440 This is unfortunately I didn't have the direct audio of this, so this is me sandwiching uh the left and the right earphone into my camera and then holding it. 00:16:15.519 --> 00:16:17.039 So the audio's a little crispy. 00:16:17.120 --> 00:16:20.720 Um, but I made it sound like a Formula One car with a joystick. 00:16:40.799 --> 00:16:48.799 And as I was using the joystick with the Vic X, I was like, oh, this is actually like a great way to interact with a VicX because having two dimensions in one. 00:16:49.360 --> 00:16:54.559 Yeah, so I think it was like I ended up using about six or seven, because it was the Erica joystick with no two outputs. 00:16:55.039 --> 00:17:00.000 Um and I ended up using that in a sort of just to macro control absolutely everything. 00:17:00.320 --> 00:17:02.960 Uh because I don't really know what I'm

doing with a Vicx anyway. 00:17:03.039 --> 00:17:08.960 It's kind of interacting with it, and so having like really big broad brush strokes and gestures, it was really fun. 00:17:09.279 --> 00:17:21.680 The the Formula One sound that you'll hear is is objectively a bit stupid, but that there were other algorithms where it was like I could use the joystick to like uh just get into like a particular drone and a note, and it was actually really musical, it was really good. 00:17:21.759 --> 00:17:22.079 Yeah, yeah. 00:17:22.240 --> 00:17:24.319 The random eight, I think, could pair quite nicely as well. 00:17:24.480 --> 00:17:24.720 Yeah, yeah. 00:17:24.960 --> 00:17:28.880 Because it's almost like you can lock all of these little gestures around something that's a bit wilder. 00:17:29.119 --> 00:17:32.319 I mean, it's sounding increasingly like I'm gonna need to give the VicX a second chance, isn't it? 00:17:32.400 --> 00:17:33.920 And uh and and you heard it here first. 00:17:34.319 --> 00:17:35.039 Heard it here first. 00:17:35.200 --> 00:17:37.039 Maybe maybe maybe it really is for me. 00:17:37.599 --> 00:17:43.839 If I if I can uh shout out to Fletcher from Vicx because we've always been uh nice to hang out with uh Fletcher. 00:17:44.319 --> 00:17:50.640 There's there's there's no beef whatsoever after I was maybe gave us give a slightly controversial opinion in the first podcast. 00:17:50.799 --> 00:17:52.799 But um no, we went out for dinner, we're all friends again. 00:17:52.880 --> 00:17:53.599 It's all it's all good. 00:17:53.680 --> 00:17:54.799 We were never we were never not friends. 00:17:55.039 --> 00:17:55.839 All smoothied over. 00:17:56.079 --> 00:17:56.319 All good. 00:17:56.559 --> 00:17:56.960 Yeah, yeah. 00:17:57.359 --> 00:18:03.519 So yeah, I am gonna I I am actually very curious about the new algorithms and what you've just described with a joystick sounds like a fun way to interact with it as well. 00:18:03.599 --> 00:18:06.319 So I'm gonna I'm gonna revisit when we get one in stock again. 00:18:06.559 --> 00:18:06.960 Yeah, yeah. 00:18:07.119 --> 00:18:08.000 Which should be pretty soon. 00:18:08.079 --> 00:18:09.279 They are they're not too far away. 00:18:09.920 --> 00:18:18.640 I was speaking to the guys from the Glasgow Synth Guild earlier and they're they're um yeah talking about how how many Vic X's they've made and how it's just like a a real conveyor belt for them. 00:18:18.960 --> 00:18:19.920 Yeah, just never ending. 00:18:20.640 --> 00:18:28.079 Um but yeah, um I'm gonna a module I saw that I was quite impressed with or two actually, the two new from um two new ones from Fairy Island modular. 00:18:28.160 --> 00:18:28.400 Oh yeah. 00:18:28.559 --> 00:18:32.960 Who make the four C's wavetable oscillator from Finland, um, friends of the store. 00:18:33.200 --> 00:18:34.799 Um nice to hang out with them again today. 00:18:34.880 --> 00:18:36.640 And they showed their two new ones. 00:18:36.720 --> 00:18:48.640 One's

called Undertow, uh-huh, and it is a dual um kind of dual oscillator-based uh module with 15 outputs, which is um you can use it as a modulation source or as an oscillator. 00:18:48.720 --> 00:18:48.880 Yeah. 00:18:49.039 --> 00:19:09.359 So the idea is you have a wavetable oscillator on each side, and um the the bank of outputs across the middle are differently weighted interpolations of those two waveforms, which you can then tune independently, or you can stick to each other, you have end-of-cycle outputs, um, and you have a modulation control, which can be either like a wave folder or you know various other things. 00:19:09.599 --> 00:19:13.119 You've got a little bit of audio of this as well, which you can drop in here, which we captured at the booth. 00:19:13.279 --> 00:19:13.680 Yeah. 00:19:28.079 --> 00:19:33.440 Um, but I think this is a really interesting potential modulation source and oscillator. 00:19:33.519 --> 00:19:37.200 It can do both you know audio rate stuff and lower rate stuff pretty well. 00:19:37.519 --> 00:19:57.599 Uh and their other one, which I've temporarily forgotten the name of, is gonna be a stereo BCA slash LPG with very meticulously modelled LPG like vactory emulations in circuit form with a few different response types that you can flip between, and a nice, a really nice distortion um kind of overload with two different modes as well. 00:19:57.759 --> 00:19:57.839 Yeah. 00:19:58.000 --> 00:19:59.039 Um, which I think will do really well. 00:19:59.119 --> 00:20:05.119 It's gonna be really well priced and it's gonna be um I mean it sounded kind of like it's gonna be in the same territory as Natural Gate or something like that. 00:20:05.359 --> 00:20:05.839 It's so funny. 00:20:05.920 --> 00:20:18.720 I was actually I think I was talking to Fletcher about this, but the uh the RRHS compliant vactoral thing is so funny to me because we uh the tip top one that the EU version, they so tip top were doing the Bookler classic low pass gate. 00:20:18.880 --> 00:20:19.440 The 292. 00:20:19.680 --> 00:20:26.160 Uh and in America they could do the vaccural version, and in the UK and EU you can't sell vaccals, so it had the vaccural-free version. 00:20:26.400 --> 00:20:32.160 Um, and apparently, as far as we could tell, the the vactoral-free version was deeply unpopular online. 00:20:32.720 --> 00:20:39.440 Um yet the the one low pass gate that we seemingly could never get enough of is the natural gate, which has no vaccals whatsoever. 00:20:40.240 --> 00:20:41.599 No one seems to be bothered about that one. 00:20:42.079 --> 00:20:42.799 No, no, it's funny. 00:20:42.880 --> 00:20:44.880 Yeah, yeah, the cult of vaccals is a weird one. 00:20:44.960 --> 00:20:51.839 Yeah, you know, no two vaccils sound the same, so the double, you know, like my Optimix doesn't sound anything like the one that I've seen Ben use in his DivKid videos, you know. 00:20:51.920 --> 00:20:55.200 Like my mine rings on for about three seconds, and this is

really, really tight and blocky. 00:20:55.359 --> 00:20:57.680 And it's just the it's just the luck of the drawer with the parts, you know. 00:20:57.839 --> 00:20:59.119 So um, so yeah. 00:20:59.200 --> 00:21:00.400 So that yeah, that was a good one. 00:21:00.480 --> 00:21:01.920 They um looking forward to hearing that. 00:21:02.160 --> 00:21:03.359 Any other honourable mentions? 00:21:03.440 --> 00:21:05.359 Anything else that you caught caught your eye? 00:21:05.599 --> 00:21:15.680 Um off the top of my head, oh Vostok um Jose showed a prototype of a new thing that he's working on, which is at the booth, um, which I think it's okay to talk about. 00:21:15.839 --> 00:21:16.880 He had it out on display. 00:21:16.960 --> 00:21:17.119 Yeah. 00:21:17.359 --> 00:21:18.640 So I'm just gonna talk about it. 00:21:19.119 --> 00:21:21.440 We could edit it out if it doesn't want to do it. 00:21:22.000 --> 00:21:34.480 Um but he's got he's got his new module Halo, which is the uh the sort of multi-output LFO with logic stuff built in, and the new module, which I don't think it does have a name, but I'm not gonna mention the name yet because it's it's quite early. 00:21:34.559 --> 00:21:34.640 Yeah. 00:21:34.799 --> 00:21:56.319 But it's um it's a four-input kind of uh uh trigger to gate processor with logic outputs, and you can basically use it to turn four uh triggers into it's got twenty-three outputs basically, so for creating rhythmically related events from it's sort of almost like a little bit like Halo, but for gate like processing gates, because the logic circuit is almost like where all of the magic happens. 00:21:56.559 --> 00:21:56.720 Yeah. 00:21:56.960 --> 00:21:59.759 You've almost got like the you can take an incoming trigger. 00:22:00.160 --> 00:22:02.559 And then decide how long that gate signal will be. 00:22:03.119 --> 00:22:10.400 But the interesting stuff is when you have multiple triggers and then all of the logic stuff at the bottom will then generate much more interesting rhythms. 00:22:10.720 --> 00:22:11.680 And it's similar to the Halo. 00:22:11.759 --> 00:22:16.960 It's like an LFO is not tremendously interesting, but get four and then apply some logic and you get some really cool shapes. 00:22:17.440 --> 00:22:21.039 It's quite a nice way of doing minimal input, quite interesting output. 00:22:21.440 --> 00:22:34.480 Yeah, and the real magic of it is that you can edit, you can adjust and modulate the gate length that's generated from the trigger, and that's when you start getting interesting rhythmic stuff happening as some gates end, and that causes a logic gate to switch down below. 00:22:34.640 --> 00:22:38.480 So you can start getting really interesting kind of shuffle-y off-grid rhythms and stuff like that. 00:22:38.799 --> 00:22:42.240 And with some self-patching as well, I think it could get pretty uh pretty fun as well. 00:22:42.799 --> 00:22:46.960 Certain modules, I think I'm just immediately like my first instinct is

to just start patching it with itself. 00:22:47.039 --> 00:22:49.440 And that one was like, oh, this this could be quite fun, I think. 00:22:49.680 --> 00:22:49.920 Yeah. 00:22:50.160 --> 00:23:00.160 Um another thing that we both enjoyed yesterday, I think, which is not super new and it was it was announced last year in prototype form but is now shipping, is the Frap Tools Magnolia PolySynth. 00:23:00.319 --> 00:23:01.039 You were loving that. 00:23:01.279 --> 00:23:11.359 I I was I didn't really know what to expect because I've like the Frap Tools modules are are one of those brands where it's never quite I don't really love the the cryptic displays. 00:23:11.440 --> 00:23:13.279 Like it's it's quite iconographic. 00:23:13.440 --> 00:23:17.680 Like it's like there's little icons that mean certain things and there's quite colour coordination. 00:23:18.000 --> 00:23:21.759 And if you're into that and you kind of know what you're doing, I think it's excellent. 00:23:21.839 --> 00:23:28.880 But as someone who sometimes just gets a module and I have to like someone wants a demo of something and I've not used it before, I'm in the showroom and it's like, yeah, can I try it? 00:23:28.960 --> 00:23:31.759 I'm like looking at this thing being like nothing is labelled. 00:23:31.839 --> 00:23:33.359 I don't really know what it does. 00:23:33.680 --> 00:23:40.160 Um so I didn't really have like any major or high expectations, given that it's also a total curveball. 00:23:40.319 --> 00:23:52.640 It's a polysynth, an eight voice through zero FM polysynth from a company who've historically only made like quite noisy, slightly weird Eurorack modules with quite in-depth, you know, they've got massive sequences and quite complicated. 00:23:52.720 --> 00:23:54.960 The CGM mixer is pretty cool. 00:23:55.200 --> 00:23:56.559 It's all quite high-end stuff though, isn't it? 00:23:56.640 --> 00:24:01.039 So yeah, they've they've got a real attention to detail and high build quality and all that kind of stuff. 00:24:01.359 --> 00:24:05.039 But as soon as I played like the first notes on the preset, I was like, oh god, this sounds good. 00:24:05.119 --> 00:24:07.200 And then I went to the next preset, I was like, this sounds amazing. 00:24:07.279 --> 00:24:13.119 And it was part of that is probably also just some fantastic sound design, but it's also that you know it can only sound as good as the synth. 00:24:13.359 --> 00:24:19.839 But yeah, I I I think sometimes synths uh synth manufacturers actually forget how important it is to make presets sound really good. 00:24:20.079 --> 00:24:20.559 Yeah, yeah. 00:24:20.799 --> 00:24:24.160 Uh because the first interaction needs to be like, whoa, whoa. 00:24:24.319 --> 00:24:25.839 Yeah, it needs to blow you away straight away, doesn't it? 00:24:25.920 --> 00:24:42.000 Yeah, and I think one thing I thought compared to how it the form it was in last year, where the sounds were much more the sounds I was hearing anyway, and you

know, from from the booth when I played with it, they were they were a bit more uh about the um through zero FM capabilities and the wavefolding and that that kind of stuff, that kind of West Coast stuff. 00:24:42.079 --> 00:24:42.240 Yeah. 00:24:42.400 --> 00:24:45.359 Which when you actually play those tones polyphonically can be a bit much. 00:24:45.519 --> 00:24:45.680 Yeah. 00:24:45.839 --> 00:24:53.920 And it feels like they've kind of leaned a bit more into the the low pass filtering and stuff, so you can it's got that real nice mix of it sounded like a beautiful classic, like a profit vibe or something. 00:24:54.240 --> 00:24:54.960 It was it reminded me. 00:24:55.200 --> 00:25:00.559 But then you can also get into that more West Coast weird booklery territory with the the FM and the you know the wavefolding. 00:25:00.720 --> 00:25:05.920 It actually sort of almost reminded me a little bit of um my first interaction with like the Udo stuff. 00:25:06.240 --> 00:25:16.880 Um because every time I've ever played like a new a new Udo thing like the Super Six or the Gemini or the the Domino, um it's very high-end, it sounds excellent, it's like really, really good, and it just kind of reminded me of that. 00:25:16.960 --> 00:25:20.880 I was just like immediately drawn in by the sound and thought it just sounded amazing. 00:25:21.039 --> 00:25:26.960 So that that and the atrium were my two glad I finally got a chance to see it from last year kind of thing. 00:25:27.200 --> 00:25:28.559 They were they were really, really good. 00:25:28.960 --> 00:25:34.720 Um and I another honourable mention, uh is it big time, the Chase Bliss delay? 00:25:34.880 --> 00:25:35.680 I think it's called Big Time. 00:25:36.079 --> 00:25:38.559 Yeah, um, which is Yeah, that's another one you were quite. 00:25:39.039 --> 00:25:40.960 I was really annoyed at how good that sounded. 00:25:41.039 --> 00:25:47.440 I I don't need an 1100 euro uh delay pedal, but my god, it sounded good. 00:25:47.759 --> 00:25:59.759 It just had like a really lovely character that there that it's kind of like a bit of a weird one in that the delay is actually digital, but there's quite a lot of analog circuitry that they've put in that r really does a good job of warming that up. 00:25:59.920 --> 00:26:18.640 And the limiter, it was basically like you could get these like really lovely, crunchy, um quite slightly distorted and warm tones out of it that I don't know, it just it just really had a lot of character, and it was sort of almost like adjacent to other delays that I've heard, but quite unique. 00:26:18.880 --> 00:26:25.599 I was kind of hoping that it would just be like uh I could sell all of my delay pedals and just get that because it looked really good. 00:26:25.680 --> 00:26:34.960 But I think it's almost like it doesn't do the things that I like about the Thermay, uh, and so I would still want a BBD delay, so I can't sell that and get the big time, which is annoying. 00:26:35.039

--> 00:26:37.599 But yeah, but yeah, it did look nice, I've got to say. 00:26:37.680 --> 00:26:39.839 I mean, I I definitely do not need any more delays. 00:26:40.000 --> 00:26:41.759 I've got them delayed at my nut. 00:26:41.920 --> 00:26:49.519 Um so uh but it did look, I mean, I like I love the interface with the big chunky sliders and the motorised stuff. 00:26:49.839 --> 00:26:52.000 The chunky, they're so satisfying to push as well. 00:26:52.319 --> 00:26:53.680 It's very, very pleasurable to use. 00:26:53.920 --> 00:26:56.319 Um but yeah, I haven't I don't have any Chase Bliss stuff actually. 00:26:56.400 --> 00:26:59.920 But um I've always I've been tempted for a while, but I don't think that's gonna be my first one. 00:27:00.000 --> 00:27:08.880 Unfortunately, I just can't quite justify dropping a grand on a but look for for the people who have uh that kind of money and want to spend it, it's objectively great. 00:27:09.039 --> 00:27:10.160 Like it was so good. 00:27:10.240 --> 00:27:15.839 Uh but I I just yeah, for me personally, it's probably not something I would would be buying anytime soon. 00:27:16.079 --> 00:27:16.720 Yeah, yeah, yeah. 00:27:17.039 --> 00:27:19.680 Anything else catch your eye that you want to flag? 00:27:20.480 --> 00:27:22.480 I'm just trying to think if there was anything else. 00:27:22.720 --> 00:27:32.480 I feel like there's definitely been uh the new Giranologue filter, um the Flow 3, which is a nice addition to their lineup. 00:27:32.640 --> 00:27:35.200 Not a not a complete game changer of any kind, I would say. 00:27:35.279 --> 00:27:37.119 I don't think they're claiming it to be that either. 00:27:37.440 --> 00:27:47.599 But it's um it's a nice filter with uh um it's pingable and it has a kind of built-in decay envelope, which can also be driven by the input signal as you know, like an envelope follower style. 00:27:47.680 --> 00:27:47.759 Yeah. 00:27:47.920 --> 00:27:49.359 So quite good for patching kick drums. 00:27:49.440 --> 00:27:56.319 You can use it to kind of generate a you can ping a generate little decay envelope which you can then modulate the cutoff with when it's self-oscillating and make make nice. 00:27:56.880 --> 00:27:57.680 It sounded really good. 00:27:57.920 --> 00:28:03.680 It had kind of like quite a bit more of a a pointed and a slightly more aggressive sound than I remember Filter 8 having. 00:28:03.759 --> 00:28:04.480 It was a little bit narrow. 00:28:04.720 --> 00:28:06.559 It's got a bit more resonance kind of character, isn't it? 00:28:06.720 --> 00:28:09.920 Um but yeah, I think you know it's another another compact winner from them. 00:28:10.079 --> 00:28:10.319 Yeah. 00:28:10.480 --> 00:28:16.079 You know, you could I'm I'm definitely a fan of everything they do, and you know, I like I like their stuff as a full system as well. 00:28:16.240 --> 00:28:16.559 Yeah. 00:28:16.799 --> 00:28:21.920 Honourable mention time, um now that I've remembered, the the Doom Scroll synth.

00:28:22.240 --> 00:28:23.119 Oh, yeah, yeah, yeah. 00:28:23.359 --> 00:28:24.720 The TikTok button synth. 00:28:25.119 --> 00:28:29.359 Yeah, so the whole concept of this is ridiculous and fun in a way. 00:28:29.440 --> 00:28:30.400 Uh is it Simon? 00:28:31.759 --> 00:28:36.319 Sumaforma, um, who make a really beautiful pin matrix synth that we really liked. 00:28:36.880 --> 00:28:38.720 The the alt that was lovely. 00:28:38.960 --> 00:28:42.400 Um but their new thing is essentially a single button. 00:28:42.720 --> 00:28:43.680 Is it called RD? 00:28:43.839 --> 00:28:45.359 RN I think it's R D, yeah. 00:28:45.519 --> 00:28:48.640 I think it should have been called Doom Scroll, but like RND is cool. 00:28:48.799 --> 00:28:58.160 Um and you press a button and it generates a new sequence and a new sound, and it's entirely random, and you have no controls whatsoever once that's happened. 00:28:58.240 --> 00:29:01.759 Uh you press the button again, a new sound comes up. 00:29:02.240 --> 00:29:06.240 And having played with some synths that have a sort of a randomized option. 00:29:06.480 --> 00:29:08.079 Uh I'm feeling lucky button. 00:29:08.240 --> 00:29:13.519 Um most of the time I spent I'd like, I'll press that button and then be instantly disappointed by the output. 00:29:13.599 --> 00:29:15.359 I'm like, oh yeah, this is why I don't do this. 00:29:15.680 --> 00:29:16.960 Oh, you're not feeling lucky anymore. 00:29:17.119 --> 00:29:18.480 No, I'm feeling very unlucky. 00:29:18.640 --> 00:29:19.839 I'm feeling really unlucky. 00:29:20.960 --> 00:29:31.759 Um but I was quite surprised at how the thing that m impressed me most was that the sequence would change as well as the sound, and the the pair was always quite complementary. 00:29:32.160 --> 00:29:35.839 I was like, oh, this isn't this this sound and this sequence go together quite well. 00:29:36.000 --> 00:29:44.240 I'm almost like impressed that the the parameter choices that they must have allowed into that randomness were quite tight. 00:29:44.720 --> 00:29:47.440 But it was quite you know dramatically different every time you pressed. 00:29:47.519 --> 00:29:57.519 But yeah, I must admit, I I'm not sure I actually liked my interaction with it because it did quite literally feel like I was like on TikTok or on Instagram reels and I was just swiping. 00:29:58.079 --> 00:30:02.559 It was it was a little bit, I'm not sure I actually enjoyed using it, but I was quite impressed how it sounded. 00:30:02.720 --> 00:30:04.160 I think it's very yeah, it's impressive. 00:30:04.240 --> 00:30:10.640 I I can see zero use for it in my music musical uh setup, you know, but I think it's it's kind of it's a bit fun. 00:30:10.720 --> 00:30:10.799 Yeah. 00:30:11.039 --> 00:30:15.759 And I think they, you know, by their admission, it's like the polar opposite of their main, you know, kind of serious big desktop synth. 00:30:16.079 --> 00:30:19.039 Which is very hands-on, loads of parameters, a pin matrix, that that was good. 00:30:19.599 --> 00:30:20.640 Yeah, yeah, a big fan of that alt. 00:30:20.960 --> 00:30:25.920 Um and it's yeah, it's fun to see, you know, it's a it's kind of a it's a bit of a gimmicky thing, but it's but it actually does sound good. 00:30:26.079 --> 00:30:27.519 Yeah, it I was I was quite impressed. 00:30:27.599 --> 00:30:42.160 And I I could imagine a scenario in which um like I'm almost like I using that as a starting point for a song, maybe through some weird effects pedals, and I'm like, I'm just gonna keep pressing this until something speaks to me, and that's my jumping off point. 00:30:42.240 --> 00:30:42.400 Yeah. 00:30:42.640 --> 00:30:45.359 It's not necessarily like maybe I'm a bit a bit hasty to discount it. 00:30:45.440 --> 00:30:47.119 Maybe it could be useful in that kind of sense, I guess. 00:30:47.279 --> 00:30:49.680 I think it depends on how playful you want to be with all that sort of stuff. 00:30:50.000 --> 00:30:50.640 I'm not very playful. 00:30:50.720 --> 00:30:51.359 Not playful at all. 00:30:51.599 --> 00:30:52.079 Very, very serious. 00:30:52.319 --> 00:30:53.359 Straight to business. 00:30:54.000 --> 00:30:54.319 Mr. 00:30:54.480 --> 00:30:55.119 Business, we're called. 00:30:55.359 --> 00:30:55.440 Mr. 00:30:55.599 --> 00:30:56.400 Business, yeah. 00:30:56.640 --> 00:31:05.039 Um but yeah, I feel like the only other thing that we wanted to talk about was just sort of general trends in Eurorack, I guess, from coming here and having a little look at the layer of the land. 00:31:05.119 --> 00:31:07.119 It's like I thought one more honourable mention. 00:31:07.359 --> 00:31:07.839 No, too late. 00:31:07.920 --> 00:31:08.559 No, you can do it. 00:31:08.880 --> 00:31:10.640 Um which is also maybe a trend. 00:31:10.799 --> 00:31:12.880 Um the board brain mixer, the Exelon. 00:31:13.200 --> 00:31:15.440 Oh, yeah, so um tons of mixers now. 00:31:15.680 --> 00:31:20.160 Yeah, because there's a new there's a new Korg NTS4, small compact performance mixer. 00:31:20.240 --> 00:31:22.160 And they had a And you spotted a big Korg mixer? 00:31:22.400 --> 00:31:25.279 Yeah, that looked a little bit more closer to like a live sound mixer. 00:31:25.359 --> 00:31:27.119 The form factor was quite it was like a big as well. 00:31:27.440 --> 00:31:28.640 The more traditional deep big one. 00:31:28.720 --> 00:31:29.119 Yeah, yeah. 00:31:29.359 --> 00:31:35.119 Yeah, the uh board brain Exelon SL is um yeah, pretty impressive, I would say. 00:31:35.200 --> 00:31:37.119 It's um it's built very, very well. 00:31:37.279 --> 00:31:40.400 It kind of feels just as premium as their Euroite module, if not more so. 00:31:40.480 --> 00:31:40.559 Yeah. 00:31:40.799 --> 00:31:43.119 But it's got that extra depth and the you know physicality. 00:31:43.359 --> 00:31:43.920 It was very nice. 00:31:44.160 --> 00:31:46.240 Everything's really well chosen, everything feels good. 00:31:46.400 --> 00:31:50.880 You know, the the feel, I

mean, this is really nerdy, but like the actual feel of the fader caps is really pleasing. 00:31:52.640 --> 00:31:53.519 No, it was good. 00:31:53.599 --> 00:31:54.480 It was very, very good. 00:31:54.559 --> 00:31:55.279 I liked it a lot. 00:31:55.359 --> 00:31:58.400 Um the build on their stuff's always good, but I uh are you alright? 00:31:58.480 --> 00:31:59.839 It's definitely like a bit more premium. 00:31:59.920 --> 00:32:09.359 Um they've definitely like gone up a notch for that, which I think is needed because it's like you know, a premium product, it's a higher price point than you would expect for like versus the Eurorack equivalent. 00:32:09.599 --> 00:32:19.359 Yeah, and it's built with no compromises, you know, and you sort of pay for that, which is you know, but you want something like that for a live use where you're yeah, you don't want anything like that to go wrong to you in a in a sweaty club. 00:32:19.599 --> 00:32:21.279 So that yeah, that's a very good honourable mention. 00:32:21.359 --> 00:32:32.079 I I think that like in terms of that, we have seen a lot more mixers now, which is weird because there was this barren landscape a few years ago where like there wasn't really that many mixer options that were small or relatively compact. 00:32:32.319 --> 00:32:34.880 Well, yeah, or just mixers that were geared towards electronic music performance. 00:32:35.119 --> 00:32:41.279 Because you know, so many mics still uh some so many mixers still just come with mic preamps, yeah, which are never used by electronic musicians at all. 00:32:41.359 --> 00:32:42.160 They're just a waste, you know. 00:32:42.240 --> 00:32:45.039 Like I've I've had mixers for years which have had mic preamps built in them. 00:32:45.200 --> 00:32:48.799 I've I've maybe plugged one mic in to sample something or you know, yeah. 00:32:49.039 --> 00:32:54.000 It sort of felt like the Arturia 16 rig was like almost because that's been out for a fair wee while now. 00:32:54.079 --> 00:32:56.160 It was almost like that was Oh, the audio interface. 00:32:56.319 --> 00:33:03.359 Yeah, the audio I wonder if that was sort of a bit of an impetus for like some designers to sort of take another look and be like, yeah, what why do we need all these microphone preamps? 00:33:03.440 --> 00:33:03.920 No one no one is. 00:33:07.759 --> 00:33:08.559 They're just used synths. 00:33:08.720 --> 00:33:09.680 It's like, why are we still making this? 00:33:09.759 --> 00:33:11.759 It's always because it appeals, you know, appeals to everyone. 00:33:11.920 --> 00:33:18.640 But there is a yeah, it's taken a little while for the industry to cut on onto the fact that there's maybe a market for electronic music producers to have their own mixer. 00:33:18.799 --> 00:33:24.559 Yeah, with features, with other features that are more geared to them, like you know, filters on each channel and sidechain compression and you know things like that. 00:33:24.720 --> 00:33:26.880 But yeah, so the so

mixers is one trend, I think. 00:33:26.960 --> 00:33:30.400 Um well, I don't know if we can call it a trend yet, but certainly one thing there's a few of. 00:33:30.559 --> 00:33:30.640 Yeah. 00:33:30.880 --> 00:33:36.960 I would say another one is maybe just stuff that is broadly speaking a kind of spectral processor of some kind. 00:33:37.440 --> 00:33:38.319 Spectral is in. 00:33:38.559 --> 00:33:39.680 Spectral's hot right now. 00:33:39.920 --> 00:33:49.680 So whether that's stuff that's based around all-pass filtering and comb filtering um and sort of phase manipulation, or whether it's stuff that's also in that kind of reverb and delay sort of space. 00:33:49.759 --> 00:34:04.640 There's things like the cosmic debris from WMD, there's the plexifon from Mate Noise, the new chaos devices thing, you know, lots of these things that are kind of interesting stereo effects that aren't reverbs, they're not delays, they're not phases, they're not choruses, but they occupy space somewhere in between all those things. 00:34:04.880 --> 00:34:12.480 Yeah, and and I quite like I, you know, I all of those sounds are all like I've yet to hear one of those things and kind of as yet be bored with it. 00:34:12.559 --> 00:34:14.480 Because I feel like I'm a bit granulared out. 00:34:14.639 --> 00:34:17.920 You know, it feels like granular was probably the big thing for. 00:34:18.400 --> 00:34:24.079 Having said that, I need to give an honourable mention to the Zeruin Ahazi granular module from uh SBRK devices. 00:34:24.320 --> 00:34:24.880 Oh, yeah, okay. 00:34:25.440 --> 00:34:37.039 Who's like uh um from Barcelona, um, friends with Jose from Vostok, and um I met him here last year and he showed me his prototype, and um, I made a little video just before Superbooth of the production model, which will be coming out um later this year. 00:34:37.199 --> 00:34:41.679 And I have never previously been that interested in granular stuff. 00:34:41.840 --> 00:34:46.000 Like I've never owned an arbor, I've never owned any kind of dedicated granular hardware. 00:34:46.079 --> 00:34:50.559 Yeah, um, but he kind of sold it to me pretty well last year, and I've really, really enjoyed playing with it. 00:34:50.639 --> 00:34:51.840 It's a really powerful machine. 00:34:51.920 --> 00:34:53.840 He's been showing you, I think the reaction's been really good. 00:34:54.000 --> 00:34:58.480 It's a big 30 HP silver panel, nicely spacious layout. 00:34:58.719 --> 00:35:00.079 But there's four layers, right? 00:35:00.320 --> 00:35:01.280 Because that's like the big thing with it. 00:35:01.440 --> 00:35:06.400 Yeah, so it's fully polyphonic, you've got four layers which you can trigger independently or you know, um, you know, let play independently. 00:35:06.559 --> 00:35:11.440 It's got a built-in convolution reverb, which you can also run the input signal through. 00:35:11.599 --> 00:35:15.519 Uh, it does real-time processing, it does processing samples on a card, you can record into

it. 00:35:15.599 --> 00:35:22.159 Yeah, and the convolution reverb comes with impulse responses for real spaces in Barcelona, but you can also load your own from the SD card. 00:35:22.480 --> 00:35:23.440 Which is quite a nice touch as well. 00:35:23.679 --> 00:35:28.480 So like and ends up with like imparting the sound of the location that it was designed in in amongst everything. 00:35:28.719 --> 00:35:29.440 Exactly, it's nice. 00:35:29.519 --> 00:35:33.920 So um, so that is that is the granular module that has finally made me sit up and take notice of granular, I would say. 00:35:34.079 --> 00:35:45.360 Yeah, but I I could tell that you were really into it because you really excitedly showed me a clip of the video that you'd made, and I was like, alright, I I usually I can tell when Tom's in at something, he's like Look, look, look at look at the thing I made. 00:35:45.760 --> 00:35:46.559 We'll put it to this. 00:35:46.800 --> 00:35:48.000 We'll put it right on the fridge, Tom. 00:35:48.239 --> 00:35:48.719 Yeah, yeah, yeah. 00:35:50.400 --> 00:35:53.679 Yeah, like a toddler that's just uh drawn a house with crayons. 00:35:54.159 --> 00:35:59.599 No, it it sounded amazing in that in that clip, and uh I I'm not like a super granular person at this point. 00:35:59.679 --> 00:36:01.840 I kind of went through like the S4 and I used the. 00:36:02.000 --> 00:36:03.679 I was gonna say you had the torso S4, didn't you? 00:36:03.840 --> 00:36:13.199 Um but to be honest, the main thing I loved about the S4 was the uh the essentially the using the filters and then pinging the filters uh and tuning that to like musical resonances. 00:36:13.360 --> 00:36:14.639 I love that aspect of it. 00:36:14.719 --> 00:36:18.159 I thought that like I I didn't actually really use the granular aspect all that much. 00:36:18.239 --> 00:36:21.679 I was kind of mainly just pinging the filter with like weird drum loops and stuff like that. 00:36:21.920 --> 00:36:26.159 Um but yeah, I I I've I'm not super granular uh in my in my taste. 00:36:26.559 --> 00:36:27.519 Just not a granular guy. 00:36:27.760 --> 00:36:29.760 I'm just not a granular guy, you know. 00:36:30.079 --> 00:36:33.920 Um but yeah, spectrals definitely felt like a bit of a an in thing this year. 00:36:34.159 --> 00:36:43.360 Um and then I don't know if there's any other it's not like some years where like everyone started doing stereo filters and everyone started, you know, there are there are there are there are certain trends that pop up. 00:36:43.519 --> 00:36:51.360 Um quite a lot of brands have been releasing stuff that are kind of like what I would call gap fillers in their ranges in a way. 00:36:51.440 --> 00:37:05.119 So like Insta have a new mic, you know, that they're incorporated I thing, which is you know, a lot they're they're at the point now where their range is so rich and full of interesting stuff that I get the sense that Jason is just filling in the things that he needs for his performance case, which is you know, which is great, you know. 00:37:05.360 --> 00:37:09.519 Yeah, because the thing is like if he needs to use it, there will be other people who will need to use it. 00:37:09.599 --> 00:37:12.000 And it is, it's got a comparator and an envoy follower. 00:37:12.079 --> 00:37:13.599 It's a good, it's a it's a nice addition. 00:37:13.760 --> 00:37:14.000 Yeah. 00:37:14.159 --> 00:37:16.320 Um, there was the quantizer from Chaos Device. 00:37:16.639 --> 00:37:23.199 Oh, yeah, they have a new quantizer which is um got a few trucks up its sleeve as well, but it's also just a really great kind of you know, that was something that's missing from their lineup. 00:37:23.280 --> 00:37:26.159 Yeah, one of the few things that they don't they don't have a dedicated module for. 00:37:26.239 --> 00:37:29.119 Yeah, um, so I've actually got one of them in my bag to take home in. 00:37:29.360 --> 00:37:34.400 And I guess in it just in in the in general, really, the there's been quite a lot of Euro releases. 00:37:34.639 --> 00:37:40.960 Like it was quite like quite hard to keep up with all of the different new Eurorack modules, um, which is which is good. 00:37:41.039 --> 00:37:44.159 It's quite uh, you know, it's nice to see the stuff I've not even had time to check out yet. 00:37:44.239 --> 00:37:45.679 Like this new 4MS things. 00:37:45.840 --> 00:37:50.960 Um I noticed they got announced very late in the day, and I've you know we've we've only been here for a day and a half, so we still haven't seen everything. 00:37:51.360 --> 00:37:52.719 And there's so much to see here. 00:37:53.280 --> 00:37:54.960 It is impossible to see it all. 00:37:55.199 --> 00:37:58.800 Like it's so and everything's quite late, you know, far apart and stuff like that. 00:37:58.880 --> 00:38:02.079 So yeah, it's been it's been a difficult keeping up with everything. 00:38:02.400 --> 00:38:02.880 Yeah, yeah. 00:38:03.119 --> 00:38:08.800 I'm trying to think who else we should probably shout out um expert sleepers, has a couple of new things as well. 00:38:09.039 --> 00:38:12.400 Yeah, I mean the the NTX8CV? 00:38:12.719 --> 00:38:27.440 Yes, which is uh either an expander for an a disting NT or will work entirely standalone to do eight channels of USB um audio or um B to CV conversion in a tiny little form factor at well well reasonable price. 00:38:27.599 --> 00:38:27.679 Yeah. 00:38:27.920 --> 00:38:31.760 He's got forever, which is uh the spectral freeze algorithm from the disting. 00:38:31.920 --> 00:38:32.480 Back to the spectral. 00:38:32.719 --> 00:38:33.440 Back to the spectral thing. 00:38:33.519 --> 00:38:34.000 Yeah, yeah, yeah. 00:38:34.079 --> 00:38:34.960 That ties in with the theme. 00:38:35.039 --> 00:38:35.199 Yeah. 00:38:35.679 --> 00:38:44.239 Um and that's really good because that's a that's a really good algorithm in the the disting NT, but it's kind of nice to see him sort of break some of those things out and just kind of make something standalone. 00:38:44.320 --> 00:38:49.440 Um it's a really good um algorithm, and I'm sure people will get a lot of value out of that. 00:38:49.519 --> 00:38:55.119 And again, he's priced that really well for the kind of feature set that it has and the kind of sounds you'll be able to get out of it. 00:38:55.280 --> 00:38:57.599 So um a lot too much stuff. 00:38:57.679 --> 00:38:57.840 Yes. 00:38:58.000 --> 00:38:58.639 Too much huts. 00:38:58.800 --> 00:38:59.039 Yes. 00:38:59.199 --> 00:39:04.639 Uh uh, I think about six o'clock, all of us just turn to each other and start saying, Don't talk to me about synthesizers. 00:39:04.880 --> 00:39:07.519 And then it gets to six, and we're like, I'd I'd I'm done. 00:39:07.679 --> 00:39:08.079 I'm done. 00:39:08.239 --> 00:39:08.639 Yeah, yeah, yeah. 00:39:09.280 --> 00:39:09.679 Cool. 00:39:09.840 --> 00:39:11.920 Um, well, maybe we'll wrap it up there then. 00:39:12.079 --> 00:39:13.440 Yeah, don't talk to me about synthesizers. 00:39:13.679 --> 00:39:15.360 I've had enough synthesizer chat for one day. 00:39:15.679 --> 00:39:20.000 So we are gonna go and check out um a couple more things this afternoon, then you're flying off to Copenhagen. 00:39:20.079 --> 00:39:30.639 I'm gonna fly back to sunny Glasgow and get this edited up, and then we'll be back um with a regularly scheduled episode after the Superbooth special at some point in late May, hopefully. 00:39:30.800 --> 00:39:31.119 Yeah. 00:39:31.360 --> 00:39:36.559 Um as always, you can send your feedback to signalflow at signalsounds.com. 00:39:36.639 --> 00:39:37.039 Yep. 00:39:37.280 --> 00:39:39.119 And uh we love hearing your comments. 00:39:39.280 --> 00:39:41.199 It's been one thing actually, it's been really nice. 00:39:41.360 --> 00:39:47.119 Shout out to everyone that's come up and said hello to us at Superbooth, because we've had a few people run up and say they how much they enjoy the podcast. 00:39:47.440 --> 00:39:49.039 Yeah, it's been crazy, actually. 00:39:49.119 --> 00:39:49.679 It's been really lovely. 00:39:50.320 --> 00:39:50.880 Really made my day. 00:39:50.960 --> 00:39:53.039 So um, yeah, thanks for that, everyone, for watching. 00:39:53.360 --> 00:39:54.960 So um yeah, catch you soon. 00:39:55.199 --> 00:39:55.440 Bye. 00:39:55.840 --> 00:39:56.239 Cheers.