B00GA

You might know our effect section from previous plugins, but for B00GA we added something new: a model of well known passive octave bandpass filter. This is especially useful for beautiful radiophonic sound effects.

• Passive Bandpass Filter, 10 bands of octave filtering. Modeled to sound like the original duck-green passive filter, not to be scientifically exact. The mix knob allows mixing of the dry and filtered signal.
• Spring Reverb, classic spring reverb with a warm, vintage character. Perfect for adding depth, space, and retro charm to any sound.
• Phaser, a rich, swirling phaser effect inspired by vintage analog units.
• Tape Echo, an authentic tape delay based on our Space Echo emulation Outer Space.

You can rearrange the effects in any order using drag and drop.

B00GA combines a dual sequencer that is variable in speed from 0.1 Hz to 5 kHz with a crossfading sample player and a noise synthesizer. You can select samples from the factory banks or add your own sounds. By crossfading between them, you get new combinations, and randomizing will change the sound per step, so no pattern repetition sounds the same. The noise section allows you to generate, filter, and shape noise bursts freely. It is useful to create percussion and crackling textures. The effect section includes a new passive bandpass filter designed especially for this instrument, as well as tape echo, spring reverb, and phaser.

Based out of Berlin, Germany, electro-acoustic composer and “that guy with the sweaters” Hainbach creates experimental music that is both visceral and whimsical. Using esoteric synthesizers, test equipment and magnetic tape he creates one hell of a trip in his improvised live sets. He shares techniques on experimental music on his YouTube channel, which has attracted a regular audience of over 100000 subscribers. His music has been released on Seil Records, Opal Tapes, SA Recordings and misc.works.

For the banks, we started by sampling the original unit. Since the variation is pretty limited there, we went through both of our collections of vintage pulse generators, shaping and recording pulses of all kinds. It was astonishing how different the various units sound – from the heavy thwak of the tiny “Berlin” generator that is part of the Hainlab at SMEM, to the pristine analog computing shapes of the PAR 175 Universal Programmer. After exhausting these classic sources, we made use of digital generators. These provide precise shaping, which results in “I am being cut up by robots” sounds. From there, it was time to experiment, and we recorded and cut up tones from drum machines, analog synths, acoustic instruments, and field recordings. Even micro sounds contain an inkling of what the original was, and when you pitch them down, you get odd and beautiful ghosts. For the release, we had to stop ourselves at some point. But, same as with Noises, expect a continuously growing bank of micro sounds. It is just too much fun to create sounds for B00GA!

Originally, we stayed very faithful to the Word Generator design – a set of pulses created by two rows of sequencing. Like the original, we had intended it to ping other plugins, like our test equipment channel strip Dials or resonator Gong Amp. But we quickly discovered that even tiny sounds contain a lot of character. Hence, we expanded the scope of B00GA to become an instrument in its own right, with pinging being a secondary (though still beautifully effective) function.

The starting point for B00GA was a rare piece of US-American test equipment, the binary word generator. “Word generators are used to produce the complex waveforms necessary for logic circuit testing, telecommunications system development, and for interface simulation.” (read more). When Hainbach found one for a few bucks on eBay, he quickly realized the musical potential: without any modification, it became the rhythmic core of his test equipment music. Word generators are also in use at the famed Willem Twee studio and are generally much appreciated for their precise timing and their ability to morph from rhythm to continuous tone to even the radio frequency spectrum. They are also notorious for overheating, which means few of the most musically useful units survive. Their main use in test equipment music is in “pinging”, causing other devices, like filters or lock-in amplifiers, to resonate and play rhythmic patterns.