Erica Synths announces its latest breakthrough desktop device: Matrix Mixer. As Eurorack users may know, it can be challenging to change a patch radically during a performance, therefore diverse performances often require large systems or end up being extremely experimental. What if you could repatch your system with the push of a single button?
The new Erica Synths Matrix Mixer is a 16 I/O desktop patch matrix that can route and mix signals with high precision, create buffered multiples and random patches. It can also interface external instruments with your Eurorack system, yet is not limited to Eurorack.
The Matrix Mixer can be used with semi-modular synthesizers, as well as through adapter cards with the EMS Synthi and Buchla Music Easel. Thanks to simple patch changes via panel buttons or MIDI program change messages, the Matrix Mixer will be particularly useful in performances that combine Eurorack and other performance instruments — such as drums, guitars, wind instruments, and much more. This presents a new and elegant way to make your modular performance stand out.
Matrix Mixer Features:
All analogue signal path
16 buffered, DC coupled inputs
16 independent, buffered, DC coupled outputs
256 connections, each with 3 attenuation levels
Random pattern mode with definable randomization area and density
254 pattern memory
Pattern change via MIDI program change messages
32 3,5mm jack sockets
4 6,3mm jack sockets
The Matrix Mixer will begin shipping late this month and is priced at €490 or $599 USD. For more information or to pre-order, please visit the Erica Synths webshop.
Electronic Musician and Modular Synth Maestro Richard Devine Pushes the Boundaries of Live Performance and Studio Recording with Solid State Logic SiXDevine achieves ‘brutally beautiful, polished sounds’ with his modular system, along with SSL SiX mixer, 500-series Bus Compressor and E Series EQ modulesAtlanta, GA, June 2020 — Modular synthesist Richard Devine is a modern-day pioneer in the world of electronic music. As a musical artist, he has six albums under his belt and has headlined international tours; as a sound designer, he has created patches for legendary musical instrument brands such as Moog Music and Native Instruments; as a composer he has scored advertisements for Nike, Touchstone Pictures and others; and as a futurist and thought leader, he has coded his own applications in SuperCollider, a programming language for real-time audio synthesis. Recently, Solid State Logic has become an integral part of his creative workflow — both live and in the studio. “I was fascinated with SSL for a long time,” says Devine. “Down here in Atlanta, you go to any of the top studios and there will be SSL mixing desks. It is an industry standard and I wanted to understand why. So I invested in a few key pieces including SSL’s 500-Series format G Series Bus Compressor and a pair of E-Series (611) EQs. Once I ran my mix through the master bus, I thought, ‘Oh my God, this is the real deal.’ It just made such a huge difference.” Devine subsequently acquired a SSL SiX mixer, which features two SuperAnalogue™ recording channels equipped console grade mic pres, two-band EQ and channel dynamics, in addition to two stereo inputs, inserts and 100mm faders and a two knob version of the legendary SSL Bus Compressor. After trying SiX in the studio, he took it out on the road and never looked back: “I’m now using it for all my live shows,” he states. “The main thing that I noticed immediately is that you can feed the SiX a super-hot signal and it just eats it up — there is a massive amount of headroom. Now my entire modular rig hits the SiX as its last stop before I hit the PA.”Love at first patch
In the studio, Devine’s Eurorack-based modular system consists of several ‘floater’ cases he uses to help him navigate through the different parts of each composition, before ultimately going through the SSL SiX. “Generally, I like to start with rhythms and tempos with sequencers, and then I move to more tonal based modules using oscillators and envelopes. And then I have racks that are just effects. I link all these cases together so they share the same clock — between five and seven cases — and play the entire patch, working my way through each ‘movement’ in my composition.Devine used to compose directly in the DAW, but he says working directly in his modular system was more conducive to his creative output. “It felt natural and organic compared to how I was used to working in a DAW on a timeline. When you are working with the modular, the system is always running. You are deciding in real time when things are going to change, when things are going to get less complex or more subtle. This way of working is based on emotion and on what you are hearing and seeing. Working in the DAW you are getting a lot of visual feedback, but with modular, I feel like I am using my ears and responding to the music more.”SSL G Series compressor and E Series EQ: The dynamic duo
When multi-tracking, Devine will send up to 32 outputs from his system via nw2s I/O modules which are connected by four DB 25 snakes. These are then sent into a pair of 16 channel interfaces before hitting the DAW, whose primary function is as a ‘tape machine.’ Drums and sequences are often the foundational element in Devine’s compositions — these are all sub-mixed together before finding their way through a pair of 500-series format SSL E-Series (611) EQs: “I use the E Series EQs to shape the dynamics for all my drums. They impart an expensive hi-fi sound that I like — completely different from a 1073. They are good for snares and midrangey stuff that I want to poke through the mix a bit more. I also use them to reshape my kick drums and bring out the transients.”Along with the E Series EQ, Devine had been using his G Series Bus Compressor across the drum bus. More recently however, the G Series compressor has been promoted to handling final mix duties across the master bus: “I use it a lot for drum buss processing — particularly on kick and snare. But lately I’ve been using it as the final ‘polish’ of my master output, because it just does such a nice job. I prefer the SSL for ‘my sound’ over other compressors – I’ve done shoot outs with all of them and the SSL just works better for my music.” Devine describes the G Series compressor as imparting a ‘final polishing’ effect: “Everything I put through this compressor just has this very beautiful rounded weight to it, but is also very direct and forward. It is a brilliant design and I can see why countless hit records have used this compressor at the final end game.”Richard Devine and ‘Days of future patched’ Despite having achieved fame in the modular world as a futurist and thought leader, Devine considers himself a student: “I always tell people I am just a student in a class, constantly learning new things all the time, and I still feel that way today.” Devine’s most recent extra-curricular learnings include live coding, programming and AI: “The live coding thing is really interesting to be because there are no rules. You can create what I call these impossible scenarios that would be really difficult to do with a conventional DAW or Eurorack system. At the same time, I’ve been researching AI generative machine learning systems that develop and make sound. You tell the machine learning algorithm ‘Hey, these are my favorite eight patches,’ and it will analyze these and give you more than 1024 new variations based on the ones you picked. Then you can trajectory map over these regions and snapshot them. It’s a great way to create new sounds to generate new content as a sound designer.”Summing up his experience with the SSL SiX, Devine says that the SiX has been one of the best investments he’s made in the last year. “It’s crazy how well engineered SSL’s equipment is, and the SiX is now my permanent live mixer. It has been a revelation for me.”
ADDAC System 805 Eurorack Module Offers Four-Quadrant Mixing
Inspired by its renowned 701 VCO waveform mixing section, the 805 VC Signal Router employs three X-faders for advanced morphing and sweeping of signals
Lisbon, Portugal, December 20, 2019 — ADDAC System has announced availability of its new 805 VC Signal Router. While taking up just 8hp of space and priced at €160, the VC Signal Router is an economical way to add significant dimension and new signal flow options to just about any modular set up.
Inspired by ADDAC System’s 701 VCO waveform mixing section, the new VC Signal Router also updates the company’s legacy X-Fade/Panner to a stereo configuration that also allows four quadrant mixing. This feature is achieved by using the stereo Master knob as an X-fader between the left and right channels. By plugging in the four audio sources and sweep/crossfade between any of them using the three combined X-faders, users can plug any four sources (for instance, four waveforms of a VCO, four LFOs, four envelopes) — then sweep, morph or mix them to their heart’s content.
“Our VC Signal Router builds on some basic mixing principles derived from our 701 VCO waveform mixing section, while bringing in a new dimension of sound placement possibilities,” said André Gonçalves, founder of ADDAC System. “Even though the 805 requires a relatively small investment. four quadrant mixing can add a glacial effect to just about any soundscape.”
A peculiar signal flow meant to inspire The VC Signal Router features two dedicated X-faders and a stereo VCA that can also be used as a third X-Fader. All controls have their own CV inputs and dedicated Attenuverters for precision control. Left and Right X-fader channels can also be routed through the Master stereo VCA or sent directly to the outputs. Further, a stereo Direct input can also be routed through the Master VCA or sent straight to the outputs.
The Mono Sum output always mixes Left and Right outputs together, allowing users with the possibility of using the module as a peculiar six channel mono mixer. It can be used for both Audio or CV Signals.
6 mono inputs
2 dedicated X-faders with Control knob + CV Input and Attenuverter Each X-fader can be routed through the Master mix or straight into the outputs.
Master channel can be used as a stereo VCA or an X-fader Stereo direct inputs can be routed through the Master mix or straight into the outputs.
Fully analog audio path with high quality/low noise VCAs.
About ADDAC System ADDAC System develops advanced instruments for sonic expression. The company began in 2009 with an ambition to explore the potential crossover between analog synthesizers and computers. Today, ADDAC System’s product line is focused on a new breed of hybrid synths that utilize the best of both the digital and analog worlds. We’ve grown to be able to reach thousands of enthusiastic clients, friends and collaborators. ADDAC System’s solutions — which are used in many musical genres — can be found in many personal studio throughout the world and routinely used by musicians in several planes of stardom.
Allen & Heath Announces Third Installment in 96kHz Mixer Trilogy: Avantis
Allen & Heath has revealed its new 96kHz digital mixer, Avantis, the third to be based on the company’s XCVI FPGA engine. Avantis puts Allen & Heath’s next-generation technology in a 64 channel/42 configurable bus console, with twin Full HD touchscreens, extensive I/O options and processing from the company’s flagship dLive mixing system.
“Joining dLive and SQ, Avantis completes our trilogy of next-gen 96kHz consoles,” says Rob Clark, Allen & Heath’s Managing Director. “Avantis takes many of the features that have made SQ and dLive so popular, putting them in a standalone 64-channel mixer that offers a new UI experience, connectivity with our Everything I/O ecosystem, and the dPack option which gives you access to our advanced dLive processing options if and when you need them.
“On top of that,” adds Rob, “we’ve taken a new approach with the industrial design, coming up with a full metal chassis that’s super-strong, lightweight and looks fantastic.”
Encased in its alloy shell and tubular frame, the Avantis control surface is centered on the two Full HD touchscreens and their corresponding rotary controls. “Having two touchscreens isn’t a new concept, but we realized we could use it to unlock exciting new possibilities, which led us to develop Continuity UI,” says Andy Bell, Allen & Heath’s R&D Director.
“Within seconds of getting hands-on with Avantis, engineers are going to appreciate the seamless flow between the physical controls and the on-screen software. You can work gains and pans on the rotaries, then at the touch of a soft key switch to EQ or dynamics across the whole strip. The console also provides a highly configurable FastGrab tab on the right-hand side of each screen, offering another way to quickly and easily access control of aux sends, EQ, compressor and FX on the currently selected channel or spot channel. “Ultimately, with Continuity UI, the engineer decides how they’d like to work, not the mixer.”
While many users will choose to pair Avantis with the 48 in / 16 out GX4816 audio expander, Avantis is part of Allen & Heath’s Everything I/O ecosystem, which means whether you’re an owner/operator looking to build a compact system, or a rental company with existing Allen & Heath stock, Avantis allows true flexibility by connecting to a huge range of audio expander hardware. Avantis is also compatible with Allen & Heath’s range of ME Personal Mixers and IP hardware remote controllers.
For local I/O, Avantis is well equipped with 12 XLR analog inputs, 12 XLR analog outputs, plus AES (Stereo in, 2x Stereo Out). Two additional I/O Ports allow Avantis to benefit from the full range of current dLive option cards, including Dante (64×64 and 128×128), Waves, gigaACE, MADI and more, expanding the scope for system integration, FoH/monitor splits and multitrack recording. Right out of the box, Avantis is loaded with processing tools designed to meet the demands of most users and applications, including compressors, EQs and Allen & Heath’s acclaimed RackExtra FX units (12 slots). Upgrading to dPack expands Avantis further with additional dLive processing including the Dyn8 dynamics engine (up to 16 instances), DEEP Compressors, and the Dual-Stage Valve preamp. dPack purchasers will automatically receive all future DEEP and FX updates free of charge, future-proofing their investment.
“In the gap between SQ and dLive, the mixer market is littered with 48kHz DSP-based ‘old-school’ consoles,” says Nic Beretta, Allen & Heath’s Head of Product. “Avantis brings next-generation performance across the board. Customers in venues, houses of worship, touring and the rental market are going to be seriously impressed by how well this ticks the boxes. It’s a really exciting mixer at a compelling price.”
VOGTLAND, GERMANY: electronic sound tools creator VERMONA is proud to announce availability of the quadroPOL polarizing mixer / ringmodulator — a four-channel polarizer module for the popular Eurorack small-format modular system, capable of attenuating any incoming signal, in-phase or out of phase, plus providing additional functionality for further flexibility — as of August 25…
Eurorack has been nicknamed ‘Eurocrack’… and for good reason. It’s certainly addictive! As any enlightened Eurorack small-format modular system user would surely say: you can never have enough modules that influence levels, be that for audio signals or control voltages. VERMONA’s quadroPOL polarizing mixer / ringmodulator helps fill that void — or, indeed, any empty Eurorack rack-space (assuming that potential purchasers have 10 HP to spare in their system) — as a four-channel polarizer module, capable of attenuating any incoming signal, in-phase or out of phase. Putting it ahead of the Eurorack pack, the way that each of those four channels work is one of its most distinguishing features. Fortunately, instead of only having one dedicated zero-point, it has a ‘dead-zone’ where the input signal will be completely suppressed, so users can easily locate the off position — even without a centre-click — while simultaneously being able to create extremely sensitive level increases.
Further flexibility abounds as the quadroPOL polarizing mixer / ringmodulator realises a number of other outstanding features. Firstly, any channel’s OUTPUT signal is optionally forwarded to the next one, allowing the quadroPOL polarizing mixer / ringmodulator to be used as a mixer module, as implied by its full appellation; as such, users can sum up to four signals. Secondly, the quadroPOL polarizing mixer / ringmodulator can also be controlled via control voltages, with each channel boasting a CV IN alongside its INPUT; so, setting the level manually apart, users can also use each channel as a VCA (Voltage-Controlled Amplifier)… and — Eurorack being ‘Eurocrack’ — you can never have enough VCAs in a modular system, now, can you? Yet more functionality comes courtesy of the fact that the quadroPOL polarizing mixer / ringmodulator has one four-quadrant multiplier per channel, allowing the module to also act as a ring modulator without any compromises — in fact, four ring modulators!
Mind the (10 HP-wide) gap. As flexible as it is functional, then, owners of any Eurorack small-format modular system should surely consider adding a quadroPOL polarizing mixer / ringmodulator to their setup. After all, once you’ve got your hands on one, it’s hard to live without it. Indeed, once you’ve got your hands on one, you might need to satisfy your addiction with another!
Shipping now, the quadroPOL polarizing mixer / ringmodulator is available to purchase through VERMONA’s growing global network of dealers (http://www.vermona.com/en/dealer/) with an RRP of €269.00 EUR (Europe) and $309.00 USD (USA).