Monday, 29 January 2018

Sly Grogan - NLC - Build notes

These are my build notes for the nonlinearcircuits Sly Grogan.
Its a envelope generator Eurorack module based on a design in Electronotes #86.

Some pick of the virgin PCB & panel

Get those ICs on first.

On Order:
Mouser No:
Mfr. No:
Mfr.: Taiwan Semiconductor
Zener Diodes 2.7 Volt

 The SMD version of the 4148
 Almost there, just waiting on some parts.
 Japanese slang term meaning "butt poke".

While waiting for those components do contemplate the ancient Japanese Art of Kancho.

The 2.7 V zener diode

The 100k trimmer

I used a 820 ohm resistor for the LED resistor. -----------------------------------------
+ NLC Wicki
+ NLC Build notes & BOM
+ NLC Template

Click here to return to the NLC Build Index:  

Saturday, 27 January 2018

Novation BassStation One

I dug this out of storage today with the intention of selling it.
I haven't used it in years.

This original Bass Station came out in 1992. 

It has that cheap black plastic look but I think it still sounds great.

Not too shabby in the TB 0303 emulation department.

Reckon I might just keep this one.

Friday, 26 January 2018

Tower of David - The Jerusalem Citadel - Israel

Some pics of the Citadel. This is just inside the Jaffa Gate.

The citadel dates back over 2000 years.
The name "Tower of David" was coined by Byzantine Christians who believed the site to be the palace of King David.

 A view of the Imperial hotel where I stayed from the Citadel.

 Part of the walls & moat of the citadel.

A view of the Church of the Holy Sepulchre.

For more travel links click here:

227r - System Interface

Some initial tests of a Buchla format 227r.
This is a early rev1 that uses vactrols. It's been many years since I first purchased the PCBs but finally it's working with the help of Dave Brown and his wonderful site ModularSynthesis.

A post shared by jono (@dj_jondent) on
Information on this module is rather scarce.

These days music is generally played in a stereo format but the 227r is all about Quad Sound.
It's quite a wonderful module. The 4 inputs can be assigned to 4 speakers (2 front, 2 rear at the four corners of your room). This is all voltage controllable.

All the sounds are patched out via the card.
I'm considering making a breakout cable so this card doesn't have to be left plugged into the patchbay.
I'm concerned the weight of too many cables could cause damage.

Another option is a make a preconfigured patch card:
This patches my chosen outputs through the Tape1/2 & Aux1/2 at the front of the module.

Monday, 8 January 2018

Roland Jam - 100m, Aria TR8, MX 1

A quick and fun jam.
I love Roland gear, new and old.

I'm using Aria gear TR-8 drum & a MX 1 mixer and some old Roland 100m modules.

Apologies for the neck cramps.Couldn't work out how to rotate the video.

Wednesday, 3 January 2018

Hyve Touch Synthesizer - Tonnetz keyboard

I'm exploring the Hyve's upper keyboard. This is not your familiar black/white piano.
Apart from it not having any moving parts, it's arranged in a lattice structure.
This is a network representing tonal space "first described by the mathematician Leonhard Euler in 1739.Various visual representations of the Tonnetz can be used to show traditional harmonic relationships in European classical music".

It's all about chords and harmonies. Each note is harmonically related to its adjacent notes.
Straight up is a perfect 5th (a interval spanning 7 semitones), up to the right is a major 3rd (a interval of 4 semitones), and up to the left is a minor 3rd (interval of 3 semitones).

So the way it's arranged is if you play any note in a straight line from top to bottom, or bottom to top, it will play in perfect 5ths.
If you play notes going up to the right you will have a augmented pattern (it will go up or down in Major 3rds).
And playing notes to the left will have a diminished pattern (Minor thirds).

This layout of neighbouring fifths and thirds also makes it easy to form major and minor seventh, ninth, 11th and 13th chords.

It seems that all the most important scales — major, minor, chromatic, whole‑tone, diminished, blues, etc — have logical and distinctive patterns that basically climb rightwards and up. 
How it forms chords is really interesting.

I'm starting by looking at how it groups the Major Triads.
These are the most common  chords and are built by adding the third and fifth notes in the scale above a starting note (root). For example, in C major, the triad built on C contains:
  • C (the root)
  • E (the third note above C; often called just "the third")
  • G (the fifth note above C; often called just "the fifth")
The 3 major white-white-white triads are: C Major, F Major, and G Major.
C major: C E G
  F Major : F A C
 G Major: G B D

Minor Triads
 In C minor, the triad on C is built the same way:
  • C (the root)
  • E♭ (the third note above C; often called just "the third")
  • G (the fifth note above C; often called just "the fifth")
This is called the C minor triad.

C Minor Triad : C Ef G
C-sharp Minor Triad : C# E G#
 D Minor Triad : D F A
As discussed earlier, this layout of neighbouring fifths and thirds also makes it easy to form major and minor seventh, ninth, 11th and 13th chords.

First the 7th & 9th chords.
The C Major 7th Chord is C E G B
The C Major 9th chord is C E G B D
The C major 11th chord is C E G B D F
The C major 13th chord (drawn in light green) is C E G B D F A
The minor chords now.

Below are just random examples.

The G-minor 7th chord interval is: G A# D F (G Bf D F)

The E-minor 9th chord interval is: E F# G B D

The C minor 13 chord contains C, E♭ , G, B♭, D, F and A♭ (C D# G A# D F G#) as on the diagram below: