This module addresses those on a quest for a seriously beefy bottom end! Not only does it extend bass frequencies a powerful four-octaves below the signal that you feed into it, but each of the sub octaves has a level knob so you can control the mixed output like the drawbars of an organ.

Of course, you can flip the Mode Switch to engage a total of four internal ring modulators, which can really put some "heavy" in your heavy metal!

We've combined Paul Schreiber's awesome Sub Octave Multiplexer with parts from Scott Juskiw and Richard Brewster to create a souped-up version of the original module.

The new Cynthia Sub Mux Deluxe adds individual outputs from each of the four sub octave generators, (useful in stereo and quadraphonic applications), so now each of the four sub frequencies can be processed separately throughout your system!

This limited edition module features a new Staircase Waveform Output offering a binary weighted sum of the four subs which generates patterns and simple voltage sequences. Adjustments are can be made with an AC/DC Coupling Switch, and an LED is provided to monitor these patterns.

You really can get quite a range of sounds with this classic circuit - powerful sounds that range from thunderous house rattling bass, to massively klangourous hash sending everyone running for cover. Please use this module responsibly!

Buy one for yourself today and experience the thrill of raw bass power!

120_flute.mp3 - For those who have never heard a flute transformed into a thrash metal guitar:
303 Hell - Adding serious bottom end to a beat box.

"One Mux Walking" (mp3) by Les Mizzell
This is a single self-running patch. Audio path #1 uses only four modules for the generation of the "walking sequence" that you hear.

A.   OSC 1 - set to low frequency
Sine out to MUX
Pulse out to OSC 2 and S/H clock in
B.   OSC 2 - audio frequency
Sine out to MUX
C.   S/H - clock from OSC 1 above
Noise in for random generation
Output to OSC 2

There's some filtering after this setup, using the S/H clock as a trigger, but the above is all it takes to generate all those notes... By adjusting the width of OSC 1 pulse width you can "swing" the walking line, plus by adjusting the 4 stages of the MUX you can vary the "pauses" and such...

The second audio path is the "noise melody" and is a simple noise gen into a filter or two and then into the Modcan Phaser. The noise is being pitched from tweaking one of the filter knobs as the patch plays. I didn't have the keyboard hooked when I made this. Add some LFO aided panning at the final stage of it all and you're done.

Further Reading on Infrasound and other low frequency audio phenomena:

1. Something in the Cellar (pdf file)

2. Sonic Doom, the effects of infrasound in the Military and rock n' Roll

3. The Sonic Weapon of Vladimir Gavreau

4. Acoustic Trauma Bioeffects of Sound (pdf)

5. Nikola Tesla Low Frequency Experiments, Weather Control, & Telegeodynamics
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Site designed and maintained by Les Mizzell Site designed and maintained by Les Mizzell