Elk Audio OS for everyone! – Elk releases open source version of award winning Audio Operating System and Development Kit for Raspberry Pi.
Elk Audio OS is the award-winning Audio Operating System from Elk (formerly known as MIND Music Labs) that allows you to run existing VST and other plugin formats on hardware instruments and audio devices in real time with ultra low latency. And this using only general purpose ARM and x86 CPUs, opening up for a new generation of digital instruments and remote 5G network experiences. In the upcoming weeks a beta version of the Elk Audio Operating System will be made available under a Dual licensing model (open-source & commercial), but already today, the Elk Audio OS SDK & documentation is available and is free for anyone to start using. Available on elk.audio is also an Elk Audio OS Development Kit for Raspberry Pi that includes a custom Elk Pi Audio Hat.The Elk Pi Hat alone is one of the most advanced pro Audio Hats in the markets with down to 1 ms latency, multichannel and support for Raspberry 4 coming up in the very near future. “The idea behind the Elk Audio OS is to make a whole new generation of connected musical instruments possible. Instruments that can connect people around the world and spur new kinds of musical creativity. We believe there are so many potential instrument makers out there who could create fantastic things if they just had the right tools, and it is for them we have created Elk. So today I’m very happy to announce that we have reached a major milestone in our company, when we can make Elk available to everyone through the open source release.”– Michele Beninicaso CEO at Elk (former MIND Music Labs) Elk Audio OS is officially endorsed by Steinberg, owners of the VST format, is supported in the VST3 SDK and is fully compatible with plugins written in JUCE, making Elk the perfect solution for companies and makers alike interested in developing new digital hardware instruments. With VST being the defacto standard for software instruments and effects there is already a vast library of existing world class plugins out there waiting for a new life as hardware. An example of this is theRetrologue desktop prototype synth built on the VST synth with the same name debuted earlier this year at SuperBooth in Berlin. “When working with Elk Audio OS on the Retrologue we immediately recognized something that could be a game changer. Running the same VST plugin on hardware as you do on desktop opens up for new possibilities and new ways of working. Getting Elk Audio OS available under open source is really exciting and I believe that this could make Elk a standard for digital hardware instruments.”– Florian Haack, Steinberg ADCIf you are one of the lucky ones to have grabbed a spot at the Elk workshop at this years ADC (Audio Developer Conference) this news should be even more exciting. Not only will you get a hands on workshop from the core team of developers behind the Elk Audio OS, but you are also the first ones out to get access to the full Elk Audio OS Development Kit, including the Elk Pi Audio Hat. For those of you who have not secured a spot, make sure not to miss the planned talk on Elk Audio OS!
Prism is a multidimensional signal processor that creates a framework for the spectral metamorphosis of any input signal. This stereo audio buffer can be navigated through on 3 axis, each of which provides a different sonic journey through its array of time based controls. The X and Z planes are home to a flexible delay line capable of long clocked delays, slapback echo, or comb filtered vocoder-esque timbres. On the Y axis is the decimate control. This sets the audio fidelity of the buffer by manipulating the sample rate and bit depth of the output. A state variable filter with configurable low pass, high pass, and band pass outputs can be enabled at the beginning or end of the signal chain providing yet another dimension of spectral transformation. And thanks to its digital architecture, the current buffer contents can be locked in place with the Freeze control, creating glitch and beat repeat effects which can be synced to an external clock source. The Prism blurs the lines between DSP effect, filter, and looper and transcends into a new realm of uncharted audio processing.
Multidimensional signal processor
Stereo inputs and outputs
Flexible delay line providing long delays, and comb filtering
Bit depth and sample rate manipulation
State variable filter with LPF, HPF, and BPF
Freeze control locks buffer in place for glitch and beat repeat effects
The Dual Looping Delay (DLD) is an advanced audio processor for creative synthesis. Not a tape or analog emulation but a modern crystal-clear digital delay, the DLD combines features of delay, looping, and sample-tight synchronization for powerful and dynamic sound capture and modification. The DLD is designed to integrate seamlessly with modular timebase and sequencing devices such as the 4ms Quad Clock Distributor (QCD), etc.
Two independent delay/loop channels, synchronized to a common time base
Maximum 88 seconds per channel (almost 3 minutes total recording time)
48kHz/16-bit sampling rate
Normaled connections of input and output for flexible use in mono, stereo, or dual mode
Tap tempo button and clock Ping input
Delay/loop time set as a number of musical beats (or fractions of beats) using the Time knob, switch, and CV jack
Sample-accurate clock output for perfect synchronization
Loop clock outputs for each channel
Time switches change range of Time knob from 1/8th notes up to 32 bars
Digital feedback, up to 110%
Delay Level control, independent of dry/wet signal mix
Infinite Hold mode disables recording input and fixes regeneration at exactly 100%
Reverse mode plays memory contents backwards
With an infinite loop locked, Time knob allows for “windowing” around memory
Triggered toggle inputs for Infinite Hold and Reverse
Send and Return on each channel for feedback with external modules
CV jacks to control Time, Level, and Feedback
As new features are developed, firmware can be updated by playing an audio file into the DLD
Pittsburgh Modular makes modular effects pedals dream come true at Musikmesse 2015
PITTSBURGH, PA, USA: modern, fully-patchable, modular synthesizers and accessories manufacturer Pittsburgh Modular is proud to launch its Patch Box line of modular effects pedals — redefining both modular synthesis and the venerable stomp box by creating unique patchable effects units for guitarists and keyboardists — at Musikmesse 2015, January 15-18 in Frankfurt, Germany…
In a seismic shift in the definition of what a modular synthesizer can be, Pittsburgh Modular’s Patch Box redefines modular synthesis around the venerable stomp box by creating a monster performance device for guitarists and keyboardists alike — a patchable, modular system designed to handle anything. As a playground for unrestricted creativity, the Patch Box is a fully-patchable, customisable performance pedal enclosure. Its open architecture allows users to create unique effects unattainable with standard, fixed-signal path guitar effects. The Patch Box is not just another empty Eurorack case, however. Rather it can be packed to the gills with the functionality of (up to) five highly-tuned modules integrated into a heavy-duty steel enclosure that’s as road-ready as it is ready to use.
To protect the tone of user instruments, thoughtfully the Patch Box features a true BYPASS and a unique preamp with extremely high headroom in addition to a pair of fully-buffered outputs. Custom-engineered soft-limiting circuitry built into the preamp adds character without unwanted noise at higher gain settings. Said preamp has dual, buffered outputs to allow for complex signal routing, but for patching a single modulation or audio source into two destinations, the patchable signal splitter is a perfect solution. Also known as a MULTIPLE, the signal splitter has one input and two outputs, allowing any signal to be routed to two destinations.
Dual, assignable expression pedal INPUTS allow the Patch Box to easily integrate third-party expression pedals anywhere into the signal path to allow for realtime foot control of any voltage-controllable parameter or split the signal from the foot controller to control two parameters at once. Dual, assignable A/B foot switches — SWITCH 1 and SWITCH 2 — expand signal routing options. Perfect for use as on/off switches or to flip between two signals, the foot switches can be patched up to enable/disable individual modules or route audio and control voltages. Try patching a modulation source, such as an LFO (Low Frequency Oscillator) or external expression pedal, through the foot switch to enable or disable the modulation while playing. Patch the outputs of two effects into one of the foot switches to bounce between effects. With two independent, patchable foot switches to play with, there are countless options for realtime signal routing. The last stage of the Patch Box signal path is a master OUTPUT level control. Adjust the output signal level to connect with a wide range of devices.
This circuit is actually very very simple to assemble and shouldn’t really take you more than a half hour tops to build.
It comprises of a board with pads for a few knobs and jacks, as well as a few extra parts so that you can play around and add modifications to the circuit. The PT2399 is a chip that is found in MANY guitar delay pedals. It is a digital chip that emulates the analog bucket brigade. As delay times get longer, the audio degrades. This can be used to great effect when you start to play with long delay times and feedback.
In this video I build the PT2399 Dev board, I do not show me building in any mods. The reason for this is I want you to feel free to experiment with the board. you won’t harm the chip its quite robust and is great fun to play with “circuit bending” it. just basically wire up a momentary switch (included with the kit) and touch the leads to any two points you find interested (by poking a piece of wire around you may find the chip behavior act interesting). For the final circuit I went with the suggested Feedblast the warp and the feedback as pictured below.
Now that we have established some basics it is time to take a look at what we are actually going to be doing in this series. I want to start off by giving a list of the Synthrotek Kits we will need in order to complete this series. You can purchase these kits as we go along or all of them upfront (getting them upfront is not a bad idea as we will likely have some live Q&A sessions and it will be nice for you to have the kits ready).