Doepfer NAMM 2018 A-100 Polyphonic Module Announcements

Right in time for the upcoming NAMM exhibition later this week (January 25/28 2018, Anaheim, Hall A, booth 10706), Doepfer announced a few more interesting A-100 modules (next to the Dark Energy III news). Too many new modules for one blogpost, so I had to split it up into multiple blogposts... The next one will contain their new 'standard' modules.

The magic word for Doepfer this year seems to be Polyphony, because most of the new products are perfect companions for the highly anticipated A-190-5 Polyphonic CV/Gate Interface, a module that has been in pre-production for a loooong while now. 

On the Doepfer website we can still read the message We cannot yet specify a definite release date but hope that it will be available in 2011, from the early prototype stages.

We already know most of its features, i have been blogging about it since 2011, but here are the details once more:

A-190-5 is a Midi/USB interface that generates 4 gate signals and 12 control voltages to control up to four synthesizer voices (i.e. VCOs and associated modules like envelope generators, VCFs and VCAs) for polyphonic sound generation. 

The A-190-5 will be equipped with different polyphonic, duophonic, paraphonic and monophonic modes which are selected by means of menu buttons and the display.
For each channel a gate, a note controlled CV (1V/Oct.) and two auxiliary CVs (e.g. for velocity or controlled by midi control change messages) are available. In play mode the states of the four gates are displayed by four LEDs integrated into the buttons 1-4.
Firmware updates are possible via USB.

The A-111-4 Quad Precision VCO will be available soon too... adding 4 wide-range precision-VCOs to complement the Polyphonic module and was already announced at Superbooth 2017. Read all about this at http://patchpierre.blogspot.nl/2017/04/superbooth-2017-new-doepfer-module.html

A-105-4

Brandnew is the A-105-4 Quad SSM VCF filtermodule, their first polyphonic filter and contains four identical 24dB Lowpass filters (SSM2044 type).
The special feature of the 4 pole low pass SSM2044 is the patented so-called "true open loop design that delivers a characteristic fat sound not available from other devices"

This chip was used e.g. in these synths: Korg Polysix, Korg Mono/Poly, Fairlight II, PPG Wave 2.2 und 2.3, Emu SP-1200, Siel KIWI,  DK600, Siel Opera 6, and the Simmons SDS5.

The first Prophets 5s used the SSM2040 - the precedessor of the 2044 - that generates a very similar sound. (source)  Version 3 of the Prophet 5 switched to the thinner sounding Curtis CEM3320. The Pro One also used that chip.

It has available common manual controls and CV inputs with attenuators for these parameters:
• Frequency (F)
• Frequency Modulation Intensity (FM)
• Resonance (Q)
• Audio Input Level (L)

Each filter has available a separate FM input as well as an Audio Input and Output. The FM input is typically connected to the output of the associated envelope
generator (e.g. A-141-4). The envelope amount for all four filters is controlled by the FM knob and the CVFM input by means of four built-in VCAs, which are controlled by the FM control and CVFM input.

A-132-8

This allows also voltage control of the envelope amounts. In addition common frequency modulation for all filters is possible (e.g. by an LFO). For this the CVF input with attenuator can be used.
The range of the audio input level control (L) allows also clipping/distortion with typical A-100 audio levels (e.g. from A-111-4) at the filter inputs.
Even this parameter is voltage controllable as well as the resonance (Q).
Application: polyphonic patches (four VCFs with same parameters)

Another new Polyphonic module is the A-132-8 Octal VCA:
The A-132-8 contains four VCA pairs. Each pair includes two daisy-chained VCAs. One VCA has a linear control scale, for the second VCA linear or exponential control scale can be chosen by means of jumpers.
Doepfer decided to provide two VCAs for each voice because usually one VCA is required for loudness envelope and a second one for velocity (or another function).
For each VCA these in/outputs are available:

A-141-4

• CV Input VCA 1
• CV Input VCA 2
• Audio Input
• Audio Output
Audio Sum Output is also available.
The module features two Initial Gain controls, that enable the opening of the first (G1) and/or second VCA (G2). This is necessary when the VCA in question is not in use (i.e. no external CV available). Otherwise the VCA would close. They are also useful for testing polyphonic patches.
Application: Polyphonic patches with two VCAs per voice.

The A-141-4 Quad Poly VCADSR contains four ADSR type voltage controlled envelope generators with common manual controls and CV inputs with polarizers for the parameters Attack (A), Decay (D), Sustain (S) and Release (R).

Each of the four envelope generators has available a gate input, a control LED and an envelope output.
Application: Polyphonic patches (four envelope generators with the same envelope parameters to control four VCFs, VCAs or other modules)

Source: Doepfer NAMM 2018 PDF

Doepfer A-105 SSM 24 dB Low Pass Filter Demo by LesIndes

LesIndes uploaded a long demonstration of the Doepfer A-105 SSM LowPass Filter.

The A-105 is very similar to the A-122 that is made with a CEM chip. But in contrast to the A-122 the A-105 is made with the legendary SSM filter chip SSM2044.

This chip was used e.g. in these synthesizers: Korg Polysix, Korg Mono/Poly, Fairlight II, PPG Wave 2.2 und 2.3, Emu SP-1200, Siel DK600, Siel Opera 6. 

The first Prophets used the SSM2040 - the precedessor of the 2044 - that generates a very similar sound. 

The special feature of the 4 pole low pass SSM2044 is the patented so-called "true open loop design that delivers a characteristic fat sound not available from other devices" (extract from SSM2044 data sheet). 

The module features voltage controlled resonance and a sensitive audio input to obtain distortion - if desired. 

Regarding to the functions, controls and in/outputs the module are identical to the 24dB low pass filter A-122 that is built around a CEM chip, but the sound, the resonance behavior and the distortion behavior are completely different for both modules.

As the special circuit SSM2044 used in this module is no longer available the module has to be discontinued. Sale while stocks last !

Video: DOEPFER A-105 SSM 24 dB Lo Pass Filter Module // Endorphines Furthrrrr Generator

" SSM filter chips were used in many great vintage synths in the synthesizers' hall of fame. such as the original SEQUENTIEL CIRCUITS PROPHET V, EMU E2, PPG WAVE 2 / 3. the filter chip is 2044.

Uploaded by LesIndes

LesIndes on Facebook: https://www.facebook.com/les.indes.3

Twitter: https://twitter.com/Les_Indes

Doepfer MS-404

In December 1994, Doepfer released the Doepfer MS-404
The MS-404 is a MIDI analog synthesizer with a 24db resonant filter that Dieter Doepfer intentionally created for his own personal pleasure earlier that year.

MS-404 close-up - Picture via Matrixsynth

In the summer of 1994 he created a monophonic analog synthesizer in a 19-inch rackformat / 1 unit high.
Although his module could do so much more than reproducing the sound of a TB-303, most consumers looked at it as an extended clone of the classic Roland TB-303 bassline.

Its two LFOs (that can modulate the single VCO) add a lot extra to the original 303 functionality.
Other extra features include a full ADSR envelope generator, noise, FM and PWM capabilities, an external filter input, CV/GATE interfaces, MIDI implementation and a glide effect.
The MS-404 can be played via MIDI but all parameters are controlled manually only.
The slide and accent effects from the TB-303 are possible on the MS-404 via glide control and it uses MIDI velocity for accent.

MS-404 Picture via Matrixsynth

The price was around 300 Euros (598 DM) and the module was released in a time when the demand for 303-clones was huge and many different manufacturers were building those; Future Retro 777, Syntecno TeeBee, Control Synthesis Deep Bass 9, and MAM MB33 were  few competitors, to only name a few. (A large list of 303-clones can be found on Wikipedia)

In the beginning Doepfer only planned to launch 50 to 100 modules, but they received almost 500 orders in the first two months in 1995.
At the end of 1997 Doepfer had sold more than 3000 MS-404 units.
The last MS-404 was sold in March 2001, as the amount of inquiries was falling (from 100 items per month to hardly 10 items per month at the end of 2000).

The few differences between the 2 regular versions of this module are minor.
There were always rumors that the different versions of the MS-404 sound different, but there were never any changes in the MS-404 hardware.
Version 1 can not use MIDI sustain, but this doesn't have any effect on the sound.

The rare green version of the MS-404
(Picture via Marc C Young)

In 1997 approximately 100 limited edition synths (with a green faceplate and a printing 'Music Store') were sold as a 25th anniversary special for Music Store of Cologne, Germany.

Doepfer still offers technical support for the unit and the manual is still available online.

Video: Doepfer MS-404

" Smooth synthpop demo made with the Doepfer MS-404.
This is really a little 1 VCO beast. Multitrack + external FX. "
Uploaded by SyntheticMachines

More:
http://www.doepfer.de/ms404_e.htm
http://www.vintagesynth.com/misc/ms404.php
http://en.wikipedia.org/wiki/MS-404

Filters VI: A-122 24 dB Low Pass Filter VCF3

Module A-122 (VCF 3) is a voltage-controlled low-pass filter, which's circuitry uses a Curtis Electromusic chip (CEM3320), and sounds very similar to the classic Oberheim filter that was used in the OB8, OBX-a and Xpander synthesizers.
(and also in the Sequential Circuits Prophet 5 and Roland SH-101)

Because of its different circuitry and controls, the A-122 has a considerably smooth but thin sound, different like the A-120 'Moog-like' filter and other Doepfer filters.
Also the way the resonance behaves is quite different.

Luckily this module does have Voltage Controlled resonance that cannot only be controlled manually, but by voltages as well, right up to self-oscillation.
In this case, the filter behaves like a sine wave oscillator.
In this oscillation mode, you can simply use the FCV1 input to contol the pitch because it also works on the 1V/ octave rule, like regular VCOs.

I love the sound of it, you can use it to make fat and smooth basses up to the squelchier TB-303 style sounds.
A very nice filter, but not on top of my favorite filters list.
PatchPierre rating: 7/10

Check out the short (and not too in-depth) demo that i shot earlier today:
Video: Doepfer A-122 VCF3 Demo

" Short Doepfer A-122 Demo by NetPierre
Starts with a sequenced bassline, generated by my Doepfer MAQ16/3 and Doepfer VCO A-110 (saw wave)
Slow LFO sinewave A-147 into QCV input - ADSR into VC2 input
Drums provided by an Elektron Machinedrum "

As the special circuit CEM3320 used in this module is no longer available the module was discontinued.
Doepfer recommends the A-106-6 XP VCF, that is based on the filter circuit of the Oberheim Xpander, as a replacement module.

Filters V : A-120 24 dB/Oct Low Pass Moog Style Filter VCF1

Perhaps the best known low-pass filter in analogue synthesis was developed by Dr Robert (Bob) Moog in the late sixties.

It was used in the modular Moog synthesisers of that decade, but it got really popular in 1970 with the introduction of the Minimoog.

Moog's 4-pole filter is built with a co-called "transistor ladder" design with a cut-off slope of -24 dB/octave. That’s what gives it its classic, legendary Moog sound.
 Resonance is adjustable all the way up to self-oscillation - in which case the filter behaves like a sine wave oscillator.

The Doepfer A-120 is a very nice Moog emulator, but still most reviews say it doesn't sound 'Moogy' enough.
( i sadly don't have a real Moog to compare and verify that )
Moog's original circuit was flawed because it exhibited a small amount of distortion. Many engineers would have tried to correct this but Moog didn't.
He probably found that the sound was musically pleasing and he was probably right...
Maybe this module just sounds a bit 'too clean'.
It does still have a warm character, and it sounds very impressive in my opinion.
( and definitely unlike any of my other filters ).

Whenever i hear the name Moog i mainly think of great (Minimoog) synth-lead solo's or hand-played fat basslines, but you can also use this filter for wobbly dub-step basslines, sequenced loops and other (housey) basslines.

An interesting and more in-depth study on the Analysis of the Moog Transistor Ladder and Derivative Filters can be found in this PDF by dr. Timothy E. Stinchcombe.

Video : Doepfer A-120 (Moog) Low Pass Filter Demo by NetPierre

" Doepfer A-120 (Moog) Low Pass Filter Demo by NetPierre
created for my blog at http://PatchPierre.blogspot.com
A simple sawtooth wave from my A-110 into Audio in.
An envelope generator signal is sent into CV2, and some noise from the A-118 is fed into CV3.
Drums are provided by an Elektron Machinedrum "