{"title":"Modular Synth Cables and Accessories","description":null,"products":[{"product_id":"make-noise-pressure-points","title":"Make Noise Pressure Points","description":"\u003cp\u003eTouching the gold plated copper wires (aka Touch Plates) on the \u003cstrong\u003eMake Noise Pressure Points\u003c\/strong\u003e, you become part of the circuit, generating a gate signal (Gate OUT), a control signal proportional to the amount of pressure applied (Press OUT) and the 3 Tuned Voltages for the activated Stage.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003c\/p\u003e\u003ch3\u003eSpecifications:\u003c\/h3\u003e\r\n\u003cul\u003e\r\n\u003cli\u003eWidth: 20hp\u003c\/li\u003e\r\n\u003cli\u003eMax Depth: 24mm\u003c\/li\u003e\r\n\u003cli\u003ePower: 20mA@ +12V, 0mA @ -12V\u003c\/li\u003e\r\n\u003c\/ul\u003e\r\n\u003cul\u003e\r\n\u003c\/ul\u003e","brand":"Make Noise","offers":[{"title":"Default Title","offer_id":44449731838055,"sku":"48431","price":215.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/make_noise_pressure_points_98e3acea-d963-4d26-978c-d0db359d2e02.jpg?v=1787090175"},{"product_id":"make-noise-modular-synth-mono-patch-cables-20-pack","title":"Make Noise Modular Synth Mono Patch Cables - 20 Pack","description":"\u003cp\u003e20 pack of Eurorack cables including purple 6\", white 12\", blue 12\", and black 24\" patch cables with 3.5mm mono jack connectors.\u003c\/p\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ePlease note: Specific cable lengths and colors may vary from pack to pack.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Make Noise","offers":[{"title":"Default Title","offer_id":44449731903591,"sku":"48456","price":36.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/make-noise-cables-20pk_180f27b3-ac86-4ad8-a39d-97ed1119d9cf.jpg?v=1787090175"},{"product_id":"make-noise-1hp-blank-eurorack-modular-synth-panel","title":"Make Noise 1HP Blank Eurorack Modular Synth Panel","description":"\u003cp\u003eFill open gaps and protect your Eurorack system against dust with the black colored PCB material \u003cstrong\u003eMake Noise 1HP Blank Panel\u003c\/strong\u003e. 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Several techniques have been developed for physical modeling, and two variants of them are available in this cartridge: waveguide (or Karplus- Strong based) modeling, and a spring model that could be considered as a “state space model” as defined in the Julius O. Smith III classification.\u003c\/p\u003e  \u003ch3\u003eWaveguide:\u003c\/h3\u003e  \u003cp\u003eThe term “digital waveguide synthesis” was coined by Julius O. Smith III, one of the great contributors to this type of synthesis, and describes a set of different techniques utilizing the Karplus–Strong algorithm. Invented by Alexander Strong and Kevin Karplus, this algorithm is based on a small delay line where an impulse (or short sound impact) is provided as input and the output is fed back to the input after being filtered by a low pass filter. The circulation of the impulse in the delay line is very similar to the circulation of a wave on a string. The pitch is then controlled by the length of the delay line. The “digital waveguides” are based on a set of such algorithms connected together in different manners.\u003c\/p\u003e  \u003ch3\u003eSpring model:\u003c\/h3\u003e  \u003cp\u003eThe \u003cstrong\u003eTiptop Audio Spring Waves\u003c\/strong\u003e cartridge also features two unique Spring models. This model calculates at the sampling rate all of the Newtonian forces controlling the behavior of a mass-spring system, and takes into account the following factors: the spring itself and its return force (with a potentially non linear behavior), a point where one side of the spring is attached, a mass attached on the other side, fluid friction (potentially non linear) depending on the speed of the mobile mass, mechanical limits (a physical spring can’t stretch out infinitely) and static and dynamic frictions (friction due to the contact with a rough surface). The audio input is used either to “move” the point where one side of the spring is attached, or as force directly applied to the moving mass on the other side. The audio output is directly provided by the motion of the moving mass.\u003c\/p\u003e  \u003ch3\u003eHow it works:\u003c\/h3\u003e  \u003cp\u003eIn the context of the Z-DSP, the FV1 chip (its brain) computes these physical modeling algorithms. Physical modeling is known to have heavy CPU consumption, but, despite its limited power, the nice design of the chip allows running up to four waveguide lines or one spring model, with optimized code.\u003c\/p\u003e  \u003cp\u003eFor waveguides, the one second delay line is split in 2 to 4 parts and necessary lowpass and DC-cut filters are inserted in each feedback loop. The rest of the code manages the connections between the waveguide lines and the controls. When used as effects, as it is the case for Z-DSP, waveguides can be used in different ways:\u003c\/p\u003e  \u003cul\u003e \u003cli\u003e\u003cp\u003einput very short sound burst or impulse and let the waveguide ring, with low damping (controlling the tuning and additional parameters). A variant is of course to use drum sounds as input. Very interesting results can also be obtained using sequences. For drums and sequences, the damping needs to be lowered to fit the BPM.\u003c\/p\u003e\u003c\/li\u003e \u003cli\u003e\u003cp\u003einput a continuous sound (with a not too high level to avoid clipping) and use the wave guide as a resonator. This can even give very nice results processing an instrument track or even a voice. In this case the damping needs to be quite high.\u003c\/p\u003e\u003c\/li\u003e \u003c\/ul\u003e   \u003cp\u003eFor the spring model, the whole program is dedicated to arithmetics to calculate all the newtonian forces and their consequences on the motion (and resulting sound). As only one spring can be run by the FV-1, the more spontaneous way to use it as a filter, but, like the waveguide, you can also input a short audio burst to make it ring or use it as a resonator.\u003c\/p\u003e  \u003ch3\u003eControls:\u003c\/h3\u003e  \u003cp\u003eFor the waveguide models, the first six programs have common controls:\u003c\/p\u003e  \u003cul\u003e \u003cli\u003eLeft and right inputs can be used the same way\u003c\/li\u003e \u003cli\u003eControl 1 is defining the pitch of the waveguide (low frequencies on the right). Note that for programs 1 and 2, control 3 is also for pitch since control 1 sets the pitch for one half of the waveguide lines and control 3 the other half.\u003c\/li\u003e \u003cli\u003eControl 2 is damping (low damping, meaning longer ringing, is clockwise).\u003c\/li\u003e \u003c\/ul\u003e   \u003cp\u003eFor the spring models, the last two programs have common controls:\u003c\/p\u003e  \u003cul\u003e \u003cli\u003eThe Left input is the “regular” input and is moving the point the spring is attached to (the output will be the resulting end position of the spring where le “Mass” is attached)\u003c\/li\u003e \u003cli\u003eThe Right input is an “alternate” input that is going to be used as a force directly applied to the moving mass (be careful with low frequencies ....). This input needs to remain at a very low level.\u003c\/li\u003e \u003cli\u003eControl 1 is always the hardness of the spring (thus determining the force that will bring the mass to the center point). You can compare its behavior a bit to the frequency control of a regular filter.\u003c\/li\u003e \u003cli\u003eControl 3 is always the Fluid Friction, that will slow the moving mass (the friction depends on speed). You can compare its behavior a bit to the resonance control of a regular filter, but here low friction means high resonance.\u003c\/li\u003e \u003c\/ul\u003e","brand":"Tiptop Audio","offers":[{"title":"Default Title","offer_id":44449953742951,"sku":"59594","price":55.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0658\/8848\/5479\/files\/tiptop-audio-spring-waves_59594_1_79e19838-41b7-4a21-bd24-6e29891f10d1.jpg?v=1787091085"},{"product_id":"tiptop-audio-clocked-delays-cartridge-for-zdsp","title":"Tiptop Audio Clocked Delays Cartridge for ZDSP","description":"\u003cp\u003eThe \u003cstrong\u003eTiptop Audio Clocked Delay Cartidge for Z-DSP\u003c\/strong\u003e is a collection of programs that uses an external clock source to set the delay times for easy synchronization. The delay programs include mono and dual delay lines for a variety of classic effects.\u003c\/p\u003e  \u003ch3\u003eQuick Start with Trigger Riot or Circadian Rhythms:\u003c\/h3\u003e  \u003cp\u003eNote: the Clock control knob has to be set to 0 (full counter clockwise) in order for tracking to work!\u003c\/p\u003e  \u003ch3\u003eTrigger Riot:\u003c\/h3\u003e  \u003cp\u003eThe Clock output from the Trigger Riot cannot be used with these programs, so connect output 1 to the VC-P2 CV input on the Z-DSP.\u003c\/p\u003e  \u003cp\u003eStart with a blank Preset, set the BPM to 120BPM, and start by adjusting the Pulse Width on all division knobs to between 25 and 50%. You can save that into a preset as a template you can easily recall later. Switch back to Divide and set a division of 4 on one output for the quarter note clock into the Z-DSP.\u003c\/p\u003e  \u003cp\u003eIn the range of 60 to 180 BPM, divisions from 3 to 7 can be used if the Speed setting is 16ths (the default). Above 120 BPM, a division of 8 will provide much longer times which is particularly useful on the Dual programs.\u003c\/p\u003e  \u003cp\u003eAdjusting the pulse width to 50% on shorter divisions may also work for slower tempos.\u003c\/p\u003e  \u003ch3\u003eCircadian Rhythms:\u003c\/h3\u003e  \u003cp\u003eThe Clock output from the Circadian Rhythms cannot be used with these programs, so connect output of channel 1 to the VC-P2 CV input on the Z-DSP.\u003c\/p\u003e  \u003cp\u003eUse consistent 4th note intervals on the CR for the best sync. The output needs to be a GATE with at least 2 steps length for the Z-DSP to track. Try a Gate on steps 1+2 (hold steps 1 and 2 until they turn Red) and 5+6 to send 4th notes. 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