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Current development on Linux ARM Chromebook.

Version: RACK_VERSION.WORKING_MACHINES_COUNT.FIX_INCREMENT supplied in tags. Any commit not tagged is not a version for compile, although it may work it could also be quite dangerous. The index is numbered so that WORKING_MACHINES_COUNT makes sense given the development ordering of the index.

Current public version: here archives for older versions of the demos maybe available here.

Compiled with: gcc version 12.2.0 (Debian 12.2.0-14) or later. Any issues due to edge case optimizations of float may be corrected if they are problems.

Less technical: Captain's log for less detail and more of an overview.

KRTPluginJ might be an interesting idea. It must be GPL3 however due to licence restrictions.

The version number indicates the API build compatibility and feature use. So 1 is VCVRack V1 API. These will be changed as higher API number features are used and adapted to.

1. A - 2 - DA
2. μ - 2 - crisp
3. T - 2 - I shat the she riff
4. L - 2 - boring
5. ;D - 2 - DA
6. R - 2 - No demo required
7. Ω - 2 - Omicron
8. V - 2 - Omicron
9. F - 2 - morph
10. W - 2 - W
11. Y - 2 - Y
12. O - 2 - parabolic
13. S - 2 - SE
14. E - 2 - SE
15. X - 2 - wave
16. M - 2 - M
17. Q - 2 - Q
18. C - 2 - No demo required
19. U - 2
20. B - 2 - I seems to be adding to patch B
21. J - 2
22. K - 2
23. H - 2
24. I - 2
25. G - 2
26. Z - 2

Easy Access Demo Archive includes all the demos above as a .zip file for easy downloading and none of that cut, paste, save and rename business.

49% Transparent Module - Made with sexspex plastique

• Frequency (-12dB) FRQ
• Resonance REZ
• Frequency Modulation Gain MOD
• Relative Plate (-6 dB) OFF
• Plate Gain AM
• Plate Modulation Gain MAM

• -18 dB In (HP on XP12) IN1
• -18 dB Predictive (LP on XP12) LP1
• Frequency CV CV
• -12 dB In (No Plate) IN2
• -6 dB HP In (Plate Ring) HP1
• Modulation MOD

• -6 dB LP Out LP1
• Tracking Out CV
• -12/-18 dB Out LP12
• -6 dB HP Out HP1
• Plate Out AM
• -12/-18 dB Inverse Extended Filter Out XP12

A generic filter with some nice fun additions for a characteristic sound. How much fun can you have with 4 poles and some other DSP functions? Yes, it is by design digital, although it might be possible to make an analogue version of most if not all of the implied circuit.

The filter poles are ZDF (Zero Delay Filter) arithmetic. The LP1 predictive input creates a ninth order estimate one sample into the future. This has the effect of a bit of phasing and given that it is not equally fed into the ring modulation too, makes it spectrally different. The 45 degree lead lag of the ring makes for a ninety on the AM, for even harmonic self AM power.

If some controls appear not to operate use IN1 and LP12 out, with CV for tracking, and then all the controls work. Some specific inserts are pre or post certain controls. The plate AM tracking stacks on the filter corner tracking.

The Gold One - Summation generative additive synthesis

SIGNATURE

• Master Gain dB
• Slew Limit Hz
• Halflife λ
• Gain 1 G1
• Gain 2 G2
• Gain 3 G3

• 1V/6dB CVdB
• 1V/Oct CVHz
• 1V/halflife CVλ
• In 1 IN1
• In 2 IN2
• In 3 IN3

• Differential Δ
• Differential ΔΔ
• Differential ΔΔΔ
• Integral Linear Σ
• Integral Pole 1/Σ
• Integral Log LNΣ

Some weird calculus module. It really depends what it can be made to do. It might become unstable if you feedback connections. It might not as well. The λ control only affects the last 5 outputs, as the 3 integral representations should converge to the same value and λ affects the effective sample timing offset next to a potential singular solution.

All the estimators are predictive one sample into the future (with λ kind of being a sophisticated constant of integration), a pre slew filter is set as a 6 dB/Oct zero delay filter. This filter may work opposite to how you might expect for some outputs.

So the inputs IN1, IN3 and IN3 are controlled by centred dB scaling gainuverters for gain, amplified by an exponential dB, slew limited and then processed for calculus estimates (9th order FIR).

The integrals are further processed by 3 point series accelerations (a tiny effect but interesting) to occur at a sample in the future. λ applies an effective modulation of this integral time step from a fraction of a sample to multiple samples. The half-life then is measured in exponential inverse octaves.

I mean why a 9th order FIR, and the number 27 of the sporadic simple groups connection? From 2 comes 2 to the power of all N. From 3 comes all odd numbers? This likely explains the choice of cube root to control the range of output voltage.

He's irresponsible :D https://en.wikipedia.org/wiki/Jacques_Tits ... roll on (Monster Moonshine)[https://en.wikipedia.org/wiki/Monstrous_moonshine] and let's not confuse maths with physics "speculated" on maths. Hope I got all the integration by parts and collection of approximants in limited terms right? (Some 2's, some 3's, some hopeful sporadics on the elliptic). Did I mention the congruants div 3 and the determinants (count 44 (18n+26 (Groupies)[https://en.wikipedia.org/wiki/Sporadic_group])) with Z(p) and alternating groups to a 42 which the circle and ellipse are the alternating or not on the major minor radius?

Initialize the big bang with differential estimates of the future captain, so obviating the definitional requirements at the singularity Captain. Well Gamma Bob, well gamma. A form of precision series truncation crusher, nice! None of that chucking away an abstract precision and getting right in there with truncation of summation generative additive synthesis, for that timbrel union.

But isn't it about the singularity context of integration in a set of limits x, x+y where x is unknown but guesstimated in a relative context Captain? Yes Bob all error in the calculus should be reported as this module is not about error, and others maybe built.

But shouldn't a sine converge to sin(x)? And and truncation of terms provide a controlled deviation from sin(x) for Fourier harmonics? Exactly Boz, the sweet low power law alias summands.

"Proxy off a dirty hole of unknown gain? How dare you? Must fix the incoming to be at least pleasant." -- Captain of the Exponential.

The White One - A harmonic pitch down and up delay

• Course Tune NOTE
• Fine Tune FINE

• In IN
• TriggerTRIG

• High Trigger HI
• Out OUT

The trigger TRIG resets the delay and produces a down shifted OUT until the up shift starts causing HI to output a rising edge and the delay switches an octave up until the expected retrigger point. The delay plays regular speed until a retrigger. The delay will reset itself if the delay buffer becomes full.

Going down is always a prerequisite before rising to the top! And normal is very overdue. The maximal delay length is divided by polyphony. What's the cache flush GB/s on this thing? I'm thinking 4 bars and a bit or so?

Polyphonic triggers occur at the optimal octave intercept per trigger, and so the outputs become phasic to the triggers. HI can off trigger a trigger to sync with the up speed clearing of the precision down beat zero delay. No trigger equals no effect and no delay after the "blip" as there is a trigger need on TRIG.

Try NOTE at 5 semitones, and alter the trigger rate for a sync chord arpy sound. In this sense other semitone values are better at lower TRIG rates. Try some drums on the HI out for an interesting timing effect too.

A White One - A synchronized delay with pre-trigger end

• Pre-trigger Delay PRE
• Fine Tune FINE

• In IN
• Trigger TRIG

• Pre-trigger PRE
• Out OUT

A synchronized delay with a PRE control to remove a time dependant on sample latency so as to match timing one synchronization trigger later. So suppose you wish to synchronize to some live play and are prepared to time up one TRIG later (say a bar for arguments sake), then you can increase PRE to achieve that less than the bar delay with latency compensating the rest of the bar delay which PRE removed on OUT. The output PRE gates high before the bar end to allow down module to trigger other things with the need to be triggered before the bar start.

Another White One - A future estimator VCA with error

• Level dB
• Level Modulation CVdB
• Frequency FRQ

• In IN
• Level Modulation CVdB

• Out OUT

Exponential amplitude modulation with a future projection estimate 2 samples into the future for phase critical all pass when used with modules that have a 1 sample delay. The CVdB control is a centred dB scaling gainuverter.

Also useful for pointing out transients in IN as the estimator is excited by the parts of the signal with aliasing potential.

The Final White One - A simple mixer split

• On Level ON
• As Level AS

• In IN
• Mix Some On ON

• Get As AS
• Out OUT

Mix some ON into the IN making an OUT with control of it AS for easy modulation mixing. The controls are centred dB scaling gainuverters.

The 70% Grey One (With A Display) - Clock distribution randomizer

SIGNATURE

• Bird BIRD
• Seed SEED
• Randomize RAND

• Clock (Polyphony Master) CLK
• Reset (Polyphonic OR) RST

• AN, BO, CP, DQ, ER, FS, GT, HU, IV, JW, KX, LY, MZ

RST starts a sequence of gate activations, from the beginning, on the outputs AN to MZ advanced by the CLK trigger. The SEED controls the initial symbol and some randomness of the following symbols. RAND increases the chaos of randomization from the initial SEED. The magic of BIRD (the word) applies some modal operator lambda calculus to modify the sequence with the very discrete occasional stall in the MM Omega bird. This is not the differential calculus of Newton fame, but the one with names such as Godel and Church.

There is a great book on modal logic called To Mock a Mocking Bird, itself a follow up to Forever Undecided. A lay person introduction to the subject.

Higher polyphony using CLK copies the mono output one from the lowest channel to the highest given a CLK on a channel. For example when clocked the second channel takes the output of the first channel.

The 70% Grey One - Envelope VCA and CV producer

DEPRECATED

• Base Frequency Hz
• Envelope Attack ATK
• Envelope Decay DCY

• Frequency Modulation CVHz
• Amplitude Modulation CVdB
• Envelope Time Modulation CVs
• 3 of
  • Oscillator In IN
  • Up 5 Semitones Trigger T5
  • Up 7 Semitones Trigger T7

• 3 of
  • Frequency CV to OscillatorCV
  • Envelope Shaped Output OUT

Takes in triggers on T5 and T7 to trigger one of the three vertical envelopes. IN is from the oscillator source, and OUT is that signal modified by the envelope. CV can be tuned dependant on the trigger pair combination. I thought it would help with using Ω. Although it might be quite useful on its own. The two outer OUT signals are normalized to the centre OUT channel for less cables.

The Blue One - Morph filter

SIGNATURE

• Pole Spread SPD
• Pole Skew SKW
• Frequency FRQ
• Low All High LAH
• Invert INV
• Drive DRV

• Frequency Modulation FRQ
• Spread Modulation SPD
• Skew Modulation SKW
• Low All High Modulation LAH
• Invert Modulation INV
• Drive Modulation DRV
• Input IN

• Output OUT

A filter with some internal gain processing to handle filter k values into self-oscillation. The four corners set by spread and skew form Linkwitz to Butterworth on spread when skew is full off, and Legendre to Bessel when skew is full on. The concept is stabilized by soft clipping.

The Red One - Gate transposer

• None

• Input IN
• Gates Transpose 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11

• Output Add +
• Output Subtract -

To assist in turning patterned gates into CV chromatic sequences. Simple.

Y extra details

The White Buttons One - Gate sequencer

• Tempo TEMPO
• Gate Length G.LEN
• Four Mode Buttons PAT, SEQ, MUTE, NOW
• The Main Buttons (28 for notes and triples)
• Run and Stop RUN
• Reset RST
• Copy Pattern CPY (makes note of active channel for PAT paste channel copies)
• Paste Pattern PST (only pastes into current channel in PAT mode)
• Shuffle Jazz JAZZ (three altering micro timings)

• CV CV
• Gate GATE
• Position Jazz JAZZ (later versions)

• Clock CLK
• Reset RST

A gate pattern sequencer. An obvious layout, but the modes might be complicated.

• PAT a pattern edit mode similar to a standard drum machine.
• SEQ triggers and selects various sequences. For performance play. Alters assigned pattern on pattern change controls of triples.
• MUTE allows channel mutes while maintaining some pattern change control on triples.
• NOW puts direct channel gates on the notes (also selects active channel via last pressed channel), while maintaining some pattern change control on triples.

The CPY light indicates when the copy source is the same as the paste source. The PST light indicates if the copy channel source is the same as the current paste channel.

The C2 to B5 keyboard MIDI range on CV triggered by GATE operate the buttons.

• C#, D# pair operate function and mode buttons left to right (in pairs).
• C, D, E operate triple buttons.
• F#, G#, A# also operate triple buttons for utility.
• F, G, A, B operate quarter buttons.

The Beige-ish One - Triple parabolic skew feedback oscillator

• Frequency FRQ (three)
• Feedback FBK (three)

• CV CV

• Output OUT

An algorithm for sound. Simple to use.

A 30% Grey One - MIDI clock signalling to position CV

• BPM Estimate BPM
• Divide DIV

• Clock CLK
• Start STRT
• Stop STOP
• Continue CONT (suitable for Y module JAZZ input)

• Out OUT

For interfacing with a MIDI clock provided as an output by the MIDI-CV system module. 64 beats equals 10V and reset back to 0V unipolar signal.

Another 30% Grey One - Envelope and VCA

• Attack ATK
• Release REL
• Modulation Level MOD

• In IN
• Trigger TRIG

• Modulation MOD
• Out OUT

A simple AR envelope with a VCA. The MOD control is a centred dB scaling gainuverter.

Another 30% Grey One - Wave-folder

• Fold FOLD
• Kind KIND
• Mash Noise MASH
• Wet Mix WET

• In IN
• Modulate Fold MFLD

• Out OUT

An over-sampled wave-folder based on Chebychev polynomials and some extras for a bit of a difference.

Another 30% Grey One - Emphasis filter

• Low Frequency LOW
• Low Gain LOdB
• High Frequency HIGH
• High Gain HIdB

• CV Low LO
• CV High HI
• In IN (send filter input)
• Return RTN (return filter input)

• Send SND (send filter output)
• Out OUT (return filter output)

An equalization filter to decrease the effect of non-linear signal processing on high frequencies throwing them into alias distortion. A return filter removes the emphasis. So the base is amplified and treble reduced on the forward send filter, and the opposite for the return filter. It may make interfacing a "phono" deck easier, but does not amplify the tiny signals from a deck.

It reduces the non-linear shaping of high frequencies in the send return path from injecting harmonics into the alias band above the sampling Nyquist frequency. So good for base harmonic generation. The headroom of VCV rack should support the +/- 50V peak to peak. But you might need a bit of gain reduction before this module.

WARNING The default gain settings are good for RIAA equalization, but could be reduced closer to 0 dB for general use. As the return filter is the opposite, that HIdB value can be misleading on what the return filter is doing. Under some circumstances it could destroy tweeter speakers just as the send filter could wobble the neighborhood walls.

A Green One - Quantum gravimitator The Big Manual?

SIGNATURE

• Omega Frequency OM
• Singularity Management SING
• Plank PLK
• Newton NTN
• Mass Ratio MASS
• Radial Tangential Angle ANG

• Omega Frequency Modulation OM
• Singularity Management Modulation SING
• Plank Modulation PLK
• Newton Modulation NTN
• Mass Ratio Modulation MASS
• Radial Tangential Angle Modulation ANG
• Input IN

• Output OUT

A physical model simulation. Treats the input as a driven mass radius and calculates the uncertainty of the mass using a quantum and gravity connection.

I could explain by (https://drive.google.com/file/d/0B-avx1luFGRbRTVFOFhSWkluQWM/view?usp=sharing&resourcekey=0-YsVFVTBgEFU-1QAJ1hYz8A)[Mistakes and genius] as yes something are wrong, and something being applied have an error less than Planks constant cubed which is very small as to be immeasurable, yet defined as certain by fixing the constant as a committee committed to, and so ...

Is dark matter the integral over an average on a non-linear 1/r^2 law of an uncertainty in radial potential energy? Is dark energy a tangential version? As distances get smaller the F=kr of quark confinement something that 1/r maps to r becomes a strong force unseen equivalent? Dark strong? A prediction or just a tune from finding sub-harmonic greatest common division of the natural omega frequency of matter?

How to connect your modular to a scanning tunnelling microscope? Contact a physical? Enjoy!

To H or not to wage? Das ist da krewestion? Wether it is better to enter into mass statistic of global endomology or to find yourself under a hierarchy of perfection?

A Purple One - Mixer sixer

SIGNATURE

• Channel 1 Polarity G1
• Channel 1 Low Pass F1
• Channel 2 Polarity G2
• Channel 2 Low Pass F2
• Channel 3 Polarity G3
• Channel 3 Low Pass F3

• Channel 1 In IN1
• Channel 2 In IN2
• Channel 3 In IN3
• Input LINK

• Channel 1 Out OUT1
• Channel 2 Out OUT2
• Channel 3 Out OUT3
• Output Mix MIX

The G1, G2 and G3 controls are centred dB scaling gainuverters. Each channel has a low pass single pole filter and an independent output. The LINK input is combined with all the outputs not connected to make the MIX output. Connecting to an output OUT1, OUT2 or OUT3 removes it form the MIX for utility as an attenuverter.

A Pink One - Sample and hold quantizer

• Quantize QUNT (in semitones)
• Noise NSE (when no input color filter)

• Clock Sample CLK
• Input IN

• Output OUT
• Quantized Output QOUT

A simple triple sample and hold with semitone quantizer.

A White One with Buttons - Performance switch

• 18 Route Buttons
• Mode MODE

• 1, 2, 3, 4, 5 and 6

• A, B and C

Performance controller switch. The MODE cycles through GREEN, RED and BLUE modes.

• GREEN mode: the routing buttons select switching of the inputs to the outputs. Multiple inputs can be selected and merged.
• RED mode: the routing buttons select one of 18 recorded patterns to recall. The active pattern is shown RED perhaps mixed with GREEN and BLUE if other data is shown.
• BLUE mode: the routing buttons select function merge processing. Each of the three outputs can have the different functions applied in all combinations (top to bottom application order).

A Cyan One - All-pass filter

• Frequency FRQ
• Order ODR
• Bypass, High, All BHA
• Wet Mix WET
• LFO Frequency LFO
• LFO Depth LVL

• Frequency CV FRQ
• Order CV ODR
• Bypass, High, All CV BHA
• Wet Mix CV WET
• LFO Frequency CV LFO
• Input IN

• LFO Out LFO
• Output OUT

An all-pass filter with some phaser style effect possibilities. A direct LFO output is available, as this is more important than CV control over the LVL sweep range.

A Black One - Phase modulation oscillator

• Frequency FRQ
• Filter LPF
• Ratio RT1
• Ratio RT2
• Modulation Depth MD1
• Modulation Depth MD2

• Frequency CV FRQ
• Filter CV LPF
• Ratio CV RT1
• Ratio CV RT2
• Modulation Depth CV MD1
• Modulation Depth CV MD2

• Modulation Out MOD
• Output OUT

Another Grey One - Base Gimpathizer

SIGNATURE

• 9 Hammond Harmonics 16', 5 1/3', 8', 4', 2 2/3', 2', 1 3/5', 1 1/3' and 1'

• 9 Hammond Harmonic CV 16', 5 1/3', 8', 4', 2 2/3', 2', 1 3/5', 1 1/3' and 1'
• Frequency CV FRQ
• Phase Modulation CV PM

• Out OUT

Classic organ harmonics. Add a little phase modulation weighted more for the base harmonics, and make some interesting timbrel textures. Hold on to your base bins. To not weight the phase modulation gets harmonically (n+1) very fast.

A Light Grey One - Clock divider

• 3 Dividers D1, D2, D3
• 3 Phases P1, P2, P3

• Clock CLK
• Reset RST

• Down Beat DWN
• All But Down Beat SANS
• 3 Outs O1, O2, O3
• Exclusive Or of All 3 Outputs XOR

Apart from being 3 variable clock dividers which maintain a synchronization phase this module also extracts the down beat for modules when high RST does not override CLK and so need the first clock extracting (the downbeat) to synchronize them. Such "armed before play" (rising edge reset) modules should copy the MIDI standard but are different from the normal electronic logic synchronous convention of hold in the first state on RST and so don't ignore the first CLK. They should use an extra state (called "armed" here) and then need a CLK to enter the first state.

If a module resets on rising edge RST but also reacts after to rising edge CLK and also doesn't have an "armed" state, it jump forward one step out of sync. If it has an "armed" state and RST is slightly delayed compared to CLK is spend one step in the "armed" state based on a race of signals through wiring.

If the CLK is before the RST: the clock is the downbeat. DWN and SANS can be used as RST and CLK for downstream modules without confusion if they reset into the first state not needing a clock to transition from an "armed" state. The clock is truncated on RST and sent out DWN and is a glitch on SANS.

If the CLK is after the RST (but RST is still high): the clock is the downbeat. DWN and SANS can be used as RST and CLK for downstream modules without confusion if they reset into the first state not needing a clock to transition from an "armed" state. The clock is sent out DWN and does not appear out of SANS.

So basically that part of the module helps when synchronizing modules with a rising edge RST instead of a high continuous RST (with CLK ignore). Extracting the downbeat is in a sense a clock ignore on SANS. DWN is in a sense a RST but delayed until after CLK.

Another Grey One - Compressor

• Attack ATK
• Decay DCY
• Threshold THR
• Ratio of compression RTO (or expansion -ve ratios)
• High Pass Cut CUT
• High Pass Resonance Q
• Mix to Makeup Level MIX
• Envelope Follower to CV ENV

• Frequency FRQ
• Side-chain SCH (normalized from IN)
• Input IN

• Frequency FRQ (with ENV mixed in with control gain)
• Envelope Follower ENV
• Compressed Output OUT

A normal compressor with a side-chain input. The envelope follower can be mixed with the FRQ in to produce some pinging harmonics by the output FRQ (modified by the envelope), along with a high pass filter which can be tuned down for a Q boost and sub-base cut. The MIX brings a compressed OUT back upto normalized levels like an auto-computed make up gain. The amount of applied compression could more accurately be the envelope applied via the ENV control to the FRQ chain. This chain also applies to the CUT to slide up the corner frequency of the high-pass filter.

The CUT filter is perhaps the most interesting bit of the design. The range of the control is slanted towards sun-octaves, while the Q has been somewhat limited as it is applied post compression. It makes a nice effect when compression "breathing" is swept using CUT and ENV controls to balance the style.

in development

SIGNATURE

Currently displaying the GUI design elements with no processing.