METSÄÄN

THESE MACHINES KILL FASCISTS.

[metsn]

CURRENTLY AVAILABLE METSÄÄN MACHINES:

STOCHASTIC ASYMMETRY - for eruptive harsh noise assault patterns (3rd batch)

FOGBANK - a stereo-sonic drone-machine

EXPONENTIAL DESTRUCTION - a dual distortion for paralell or serial noise action

NOISE NIHIL - massive distortion by delay IC abuse

CRUSH DISTORTION - a simple and versatile CMOS based distortion

FONDLEFON - a handheld double coil/spring haptic noise generator with kill-switch (3rd batch)

HARM ENGINE - square wave harmonics or digital sonic filth in +/- 5 octaves with 3rds and 5ths

OURBOROS AUTOPOIESIS - extreme EFX chain feedback looper

DIRTY((HUM))DRONE - Reverse avalanche drone and pulse-pattern generator

GOJIRA DESTRUCTION - brutal signal distortion with 3 interactive variables

WAR HEAD - a versatile fuzz with massive boost

Clicking on the links to the available machines above will direct you to the dedicated entry with more info, images, demo videos and Buy here. links.

Scrolling down from here, you'll also come across a lot of machines that are already sold out or one-offs.  If you see something that sparks your interest, do not hesitate to CONTACT me, sometimes i can do commission builds and it is always good to know what people are interested in. To get updates on what i am currently working on, you may check or follow my ad-full IG channel.

Remember kids, since the world (not just the extreme music and noise scene) is plagued with sexism, anti-homo/trans hate, white supremacy, nationalism and fascist scumbags of all kinds:

THESE MACHINES KILL FASCISTS

(...if you use them correctly, that is.)

[metsn]

STOCHASTIC ASYMMETRY - for eruptive harsh noise assault patterns (3rd batch)

The STOCHASTIC ASYMMETRY is a machine to generate glitched-out eruptive noise assault patterns. it is a signal generator for those who are interested in exploring the harsher spectrum of experimental noise making. STOCHASTIC ASYMMETRY can be the base battery for any anti-fascist noise resistance set-up and running it through a chain of manipulating EFX will lead to massive sonic results. Simply put… 5 square wave oscillators of which 2 are LFOs generate complex waveforms which are getting further effected by a starve control, a distortion and a resonant low pass filter. And since of course nothing really is simple, here are more details: WAVING: Each of the 3 square wave oscillators has a FREQUENCY potentiometer for controling pitch, a RANGE toggle switch to select 2 different frequency ranges, a MODE toggle switch that enables latch or trigger mode and a TRIGGER button switch, as well as a orange indicator LED. In trigger mode, the oscillator is mixed into the signal only momentary as long as the trigger is depressed. But be aware, the machine has a non-linear response in the trigger section and sometimes an oscillator raises it’s voice even when you did not engage it with the trigger, that is part of the fun and it can get less out of control depending on the starve setting. when the oscillator’s LED is on it’s LED is on and it might or might not switch off when you repress the trigger, but as said, this function is highly stochastic and i have not been able to predict it (a lesson for control freaks!). All three oscillators have different ranges, higher on the left and lowering towards the right. A MIX toggle switch selects linear or non linear mixing, the non-linear mixing is a bit more uneven and noisy. SOUNDSHAPING: The signal generated with oscillators with or without LFOs is shaped by two more controls, which are highly depending on other setting on the machine, so they as well, do not have a fully linear response. the EDGE control works like a distortion, that adds more sharp edges to the waveform, resulting in ‘higher harmonics’, while the CURVE control acts like a resonant low pass filter that rounds off the already very 'edgy’ squarewave forms and it has slight self-resonance. Both of these controls are as such not affected by the power-starve function, but works differently the more the oscillator section is starved. With very much starving (STARVE counterclockwise) the CURVE control can generate almost electro-acoustic sounding crunch and hiss for example (see demovideo). Of course there is also a VOLUME control that lets you tame the output level. STARVING: The STARVE control regulates the power that is accessible to the IC that is used for the 5 oscillators and when one turns it down (CCW) the different oscillators start to get more stochastic in their functions so the generated waveform becomes more noisy. Turning STARVE counterclockwise also has a global scale effect, it lowers the pitch of the three oscillators and the speed of the LFOs, but at the same time it also introduces high pitched noises and clicks. Similar to the other trigger functions on this machine there is also a POWER toggle switch, that is either in latch mode or activates the power trigger mode, which interacts with the STARVE function. When starve is up (CW) the decay time of the oscillators using up the available power is faster, while when STARVE is low the decay is longer, while the oscillators get less power in total. CONNECTING: STOCHASTIC ASYMMETRY runs on 12V DC (positive inside/negative outside, 2.1mm standard socket) and unless otherwise communicated it ships with a suitable PSU with euro-plug (but i might have US-plugs anytime soon). The audio output is a standard 6.3mm mono instrument jack socket. The 3rd batch is build into standart die-cast aluminum enclosures, painted with the 'industrial burn-out’ camo pattern in chrome and black. This batch has different push buttons than the previous models. Handmade by GRM for METSÄÄN.

BUY HERE.

[metsn]

FOGBANK - a stereo-sonic drone-machine

FOGBANK is a stereo-sonic drone machine. It is a combination of deep listening fog- and time-machine, liberating the user and listeners of so called real-time and creating a sonic haze, that one can get seriously lost in. In its core are 6 triangle wave oscillators, divided into 3 pairs. One set for the left and one for the right channel, as well as a center pair that mixes with both output channels. The LEVEL CENTER control is used to blend in the waveform of the center oscillators to the left and right oscillator pair signals before the dedicated LEFT / RIGHT DISTORTION and LEFT /RIGHT LEVEL controls. The left and the right set of oscillators each have a dedicated GAIN control, which adds amplitude and a little overdrive to their signals, before it mixes (or not) with the center waveform. Each oscillator pair consists of a static and a modulated triangle wave, the pitch of them is set with the STATIC / MODULATED FREQUENCY controls. Additionally all pairs have a LOW PASS and a MODULATION on/off toggle switch (down is engaged). With MODULATION off, the otherwise modulated oscillators also become static. The modulation is based on a STAGGERED CLOCK, controlled by the FAST, MID and SLOW controls for the clock pulse and the MODULATION DENSITY toggle allows to switch between dense and more sparse (in many settings none) pulses. The generated pulse patterns then get divided in the MODULATION DIVISIONS section of the interface (beware of / ignore the asymmetric order and trust your ears). Here each of the modulated oscillators has has 2 modulation sources, each of them with a SLOW / OFF / FAST setting, indicated by a green and pink LED. When the LED is off the signal is attenuated. Green is louder than pink. Pink is faster than green. Somethings move around in the fog. MODULATION DEPTH adds another level to the movements, short and hectic or loud and slow. Each modulation has an envelope dictated by MODULATION DEPTH and what the LED siblings do, this way the stereo-sonic movement between the speakers is organized in patterns of many variations. Of course FOGBANK can be used in a stereo set up or with each channel being send through a different effects chain, later mixed together again, for extreme dense drones and endless ways to mangle FOGBANK's base sound, which in itself already goes from smooth hum to aggressively serrated. FOGBANK is build into a standard die cast aluminum pedal enclosure individually painted in the burned out industry camo patterns, in silver and black. It is powered by 12V DC (minus outside) and a power-supply with euro-plug is included. Handmade by GRM for METSÄÄN.

BUY HERE. (link to webshop.)

[metsn]

EXPONENTIAL DESTRUCTION - a dual distortion for paralell or serial noise action

EXPONENTIAL DESTRUCTION is two distortion pedals in one. Each in its own hemisphere, but connected in the center by a mutual STARVE control. Sonically the hemispheres are not totally separate as the both channels distortions are generated on the same IC and due to the 'voltage starvation' there is a fierce battle for resources, that creates a lot of extra noises. This means all controls are very interactive and invite to play with them. Even with minimal input signal dynamics, the pedal allows to create a very dynamic range of aggressive sounds. That can be done either in PARALLEL (stereo/2xmono) using both outputs separately or SERIAL, when routing the output of one channel back to the input of the other. This makes the pedal very versatile in your noise-set up and expands the possibilities of sonic experimentation.  The controls for each hemisphere are from top to bottom: VOLUME, TONE, TWEAK, GAIN and BYPASS stomp switch. The pedal is TRUE BYPASS (both channels) and both stomp-switches are indicated by a purple or green LED. Power input is a boss-style standard 9V DC socket with the negative pin inside. A PSU is not included. It is housed in a sturdy standard die-cast aluminum enclosure, with individual stenciled burned out industry camo designs. In- and output are standard 6.3mm (¼") mono sockets. On each side the upper socket is the INPUT and the lower the OUTPUT. Handmade by GRM for METSÄÄN.

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CRUSH DISTORTION - a simple and versatile CMOS based distortion

CRUSH DISTORTION is a small and simple versatile signal distortion tool, that boost any signal to a powerful torrent of sound. In lover settings it works more like an overdrive that you can use as a booster, but cranked up it goes into what some have called 'swedish death metal' territory. The left knob is the VOLUME control to tame the output, if needed and the right hand knob is the DISTORTION control. Build into a standard sturdy stompbox enclosure handpainted in the industry burnout camo pattern in black and chrome. The pedal is true bypass, with a green indicator LED and it runs on standard 9V DC pedal powersupply (minus inside). A powersupply is not included. Handmade by GRM for METSÄÄN.

BUY HERE. (link to webshop)

[metsn]

FONDLEFON - a handheld double coil/spring haptic noise generator with kill-switch (3rd batch)

The METSÄÄN - FONDLEFON is a handheld double coil/spring haptic noise generators with kill-switch, that works best with high gain distortion/fuzz and whatever harsh-noise EFX chain you’re using. Heavy duty aluminum die cast enclosure with unique ‘burned out industry’ camo patterns and some heft to it, due to the 2 coils inside. This is the 3rd batch, it has slightly louder output, due to a row of drill holes between springs and coils. Handmade by GRM for METSÄÄN. BUY HERE. (link to webshop)

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HARM ENGINE - square wave harmonics or digital sonic filth in +/- 5 octaves with 3rds and 5ths

The HARM ENGINE is based on the CIRCUITBENDERS 'Harmonic Engine' PCBs, it's "a clone of the E&MM Harmonic Generator. This was a project by Paul Williams, published in Electronics & Music Maker magazine way back in 1981. The circuit uses a 4046 Phased Locked Loop (PLL) to generate a squarewave output at harmonic intervals to the frequency of the input signal. The squarewave can be set to +/- three [5 + a chaos noise mode in the METSÄÄN version] octaves, and can also produce 3rd or 5th harmonies.That's the theory anyway. In practice this only works reliably if you use very basic waveforms at the input. If you use anything else, then everything very quickly descends into a beautiful kind of chaos, with all kinds of bizarre gurgling digital squeaks and squeals vomiting forth. Its especially effective with percussion sounds, converting each hit into some kind of warped electronic splatter."

The controls from top left to right are: SENSITIVITY - controlling the level at which the harmonics will be played. Turning the pot clockwise increases the gain of the signal (it also boost with a slight distortion, the DRY signal). In higher settings, the squarewave harmonics can form a modulated drone voice. Activity of the HARM ENGINE is indicated by a green LED, that turns on when harmonics are produced. 3RD/5TH - the 3 position toggle switch activates the corresponding detuning. The middle position is neutral. MIX - is a blending function to dial in the balance between DRY and HARM signal. If something is plugged into the DRY and HARM outputs on the rear of the machine, MIX stops working, because the signal is split before. OCTAVE - with a 12 position rotary switch, +/- 5 octaves are selected, 12o'clock is neutral and 6o'clock is the chaos/noise mode. TRUE BYPASS - The footswitch is configured for true bypass and has a indicator LED.

Build into rugged die-cast aluminum enclosures painted in the 'burned out industry' camo pattern in black and chrome. The HARM ENGINE comes with a designated powersupply with a euro-style mains plug. Hand made by grm for METSÄÄN.

BUY HERE (link to webshop)

[metsn]

NOISE NIHIL - massive distortion by delay IC abuse

NOISE NIHIL- destroyer of signals. distortion of meaning. corrupted feedback. massive amplification. zero attenuation. The NOISE NIHIL is based on the 'Noise Ensemble' circuit, a creative abuse of the classic PT2399 delay chip to acieve most fucked up signal mangling. It disorts and fuzzes, but is also generates a doubled offset signal, that fattens up the sound. In some settings even without input it is a digital noise generator, even without any input signal, you can also just plug in a cable to the input and play with extreme noisy outcome by just touching the 'probe'. Compared to the original circuit, this is modified in several ways and instead of an output attenuating volume pot it has a NIHIL control, that is active when the right footswitch is engaged. With the NIHIL pot a feedback that is engaged by footswitch, that leads to self oscillations is controlled. This feedback creates pulsing sub-harmonics, that kick in then the level of input signal drops. The left knob is the NOISE control, that sets , what is conventionally called TIME on delay pedals, from short to long and from 2o'clock onwards, the pedal produces the sweetest digital noise. The pedal is TRUE BYPASS and both footswitches are indicate by a purple or green LED. Power input is a boss-style standart 9V DC socket with the negative pin inside. A PSU is not included. It is housed in a sturdy standard die-cast aluminum enclosure, with individual stencil artwork and letting stamped into the surface. In- and output are standard 6.3mm/ 1/4" mono sockets. Handmade by GRM for METSÄÄN. BUY HERE. (links to webshop)

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OURBOROS AUTOPOIESIS - extreme EFX chain feedback looper

A feedback looper that squeezes the extreme out of your EFX-chain. Perfect for 'Tone scouts', sound-designers and those who like harsh noises. An extended version of the Death by Audio - Total Sonic Annihilation 2 pedal, the METSÄÄN version has a 3 stage MODE selector that switched between 'vanilla'/ORIGINAL and boosted HIGHS or LOWS, which exponentially enhances the sonic possibilities of the original pedal and allows for dynamic frequency shifts in a harsh noise live performance, for example. But this pedal is not just god for harsh noises, but also for subtle tone experimentation, imagine a sound modulator like a delay or tremolo modulating itself in a loop. wonderful textures and abstract saturation might occur. Sometimes, you might get not much out of it and with other set-ups a plethora of unexpected sonic gems. With some EFX chain set-ups an input signal is not needed, as you can generate no-input noise scapes. A experimental sound artist's treasure trove/ pandorra's box. This feedback looper enables you to send the output of your EFX-chain back into it's input, in NORMAL mode, you control the the amount with only the FEEDBACK (Note: this pot works counterclockwise) pot, but in the ACTIVE (indicated by a ultraviolet LED) mode you get hands-on control of GAIN, FEEDBACK, PHASE, FREQUENCY MODE and of course final OUTPUT LEVEL (to tame the potentially destructively loud signal.). The 4x 6.3mm mono sockets on the back side of the pedal are from left to right (when pointing away from you): OUTPUT, RETURN, SEND, INPUT. When the TRUE BYPASS (indicated with a green LED) is engaged, your signal still goes through your EFX-chain in the loop. The Power input is for 'boss-style', center negative 2.1mm DC plugs, that are pretty standard for EFX-pedals it needs 9V DC (PSU not included). Build into a standard die-cast aluminum enclosure individually painted in the the burned out industry camo pattern in chrome and black. Handmade by GRM for METSÄÄN. Buy here. (link to webshop)

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BENJOLIN 1.6 - Eurorack module (16HP)

This is a BENJOLIN version adapted for eurorack (16HP), which includes several mods of the original design including output signals boosted to eurorack level and CV signal normalisations, controlled by the CV attenuators, when no external input is connected. The circuit and PCB layout is based on Forestcaver’s open source files (BENJOLIN 1.6, which has a bit of squarewave bleedthrough!) and on this module only the panel design and some component assembly is by me. The panel is made from sturdy standard PCB material and has an embossed chaotic pattern, the lettering is shiny silver and the screenprinted parts are white on black.

“The Benjolin is a multi-function synthesizer designed by Rob Hordijk. The module consists of four separate function blocks: two VCOs, a state variable filter and an additional circuit, invented by Hordijk himself, called a rungler. This particular arrangement emerged from Hordijk’s efforts to design a synthesizer that was, as he puts it, "bent by design”. As such, the module functions according to principles of chaos theory, where short to long sputtering patterns spontaneously transform themselves, at times, gradually, at others, quite suddenly, morphing into new pattern doublings and bifurcations. The chaotic character of the Benjolin is anchored in Hordijk’s rungler circuit. In essence, the rungler is an 8-step shift register that takes its data input from one oscillator (OSC X) and its clock input from the other (OSC Y). The output of the shift register is then fed into a primitive, digital-to-analogue converter, creating a stepped voltage pattern of variable length and depth, what Hordijk terms a “stepped havoc wave”. This rungler wave is then wired back into the oscillators, via the attenuator knobs (Run X and Run Y), creating the complex interference system that lends the Benjolin its unique, aleatoric character. The inclusion of a voltage-controlled filter expands these possibilities further into the audio realm. Its design includes Hordijk’s signature, Z-plane modulation circuitry, which produces all-harmonic distortion. This gives the filter that kind of warm, organic character, reminiscent of classic tube amplifiers. This is most palpable when the resonance of the filter is turned to the maximum, with both oscillators running in the audio range. The filter’s input comprises a mix of a PWM wave (derived from the triangle waves of each oscillator) and the rungler signal itself. As with each of the oscillators, a rungler attenuator (RUN F) allows modulation of the filter as well. To round things out, CV inputs for both the oscillators and filter are normalized, each via their respective attenuators. This allows for cross-modulation between the oscillators and a “sweeping” effect for the filter, hitched to Triangle Y.“

And here’s a more detailed presentation/lecture by Rob Hordijk recorded on video.

Handmade by GRM for METSÄÄN. Shipping from finland.

SOLD.

[metsn]

VOICE VANDAL - Digital delay with multi-band distortion/chopper

The VOICE VANDAL is a noisy 4 band DISTORTION with a obscure digital delay. Each DISTORTION frequency band can be engaged with a toggle switch. The FREQUENCY for all 4 bands is controlled by the FREQUENCY pot. This is interesting, because the DISTORTION can be adjusted in relation to the original signal and create some sort of under-/overtones. The distortion is created by some ultra fast digital on/off switching of the original signal creating square wave harmonics. The BLEND pot mixes the DRY signal with the distorted signal before it goes to the DELAY. The DELAY is controlled by a FEEDBACK and a TIME pot and a DELAY ON/OFF stomp switch. The enclosure is a recycled heavily textured (with thick paint and carvings) wooden box painted in the burned out industry camo pattern in matte black and silver. The pedal is TRUE BYPASS and both stomp switches have an UV indicator LED. A dedicated 15V DC PSU (center positive) with a euro plug is included. Handmade by GRM for METSÄÄN. Sold.

Below's a demo video of an much older build. Note: this one does not have the FREEZE function.

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ANAPHYLAXIS FILTER - WASPsynth multi-mode filter with double LFO and distortion (#3.2024)

The ANAPHYLAXIS FILTER is a multi-mode filter with double LFO modulator for the CUTOFF frequency based the filter section of the notorious WASP synthesizer that was created by Electric Dream Plant in 1978. This standalone pedal version of the filter allows you to use it for the input signals of your choice. The FILTER MODE selector is a 4 position rotary switch (up to down: LOW PASS, BAND PASS, HIGH PASS and NOTCH) with the position indicated by small purple UV LEDs. The input signal is controlled with the GAIN control, that can boost even weaker input signal to overdrive the filter. A dedicated RESONANCE control determines the amount of RESONANCE at the CUTOFF point, that of course has a control knob as well. Furthermore the RESONANCE has two settings: EXTREME (up) and NORMAL(down), selected with a toggle switch. In HIGH PASS mode the filter can self-oscillate without any input, in case you need a high frequency SINE WAVE oscillator. In that case the FREQUENCY can be dialed in with the CUTOFF control. But the ANAPHYLAXIS FILTER can do more, as it has 2 build in LFOs that are modulating the CUTOFF frequency, with independent SPEED and DEPTH controls, which allows to generate a more complex modulation waveform. Each LFO has a RANGE toggle that selects: SLOW (down) or FAST (up) as well a 3 position toggle switch that selects the SHAPE: SQUARE (down), OFF (middle) and triangle (up). The fast LFO range goes well into audio range and enables you to create some very interesting frequency modulation filter effects. With slower rates, especially with the triangle shape and the 2 LFOs running at non-synced rates, even the most static sounding input get ‘alive’. The SPEED of each LFO is indicated by either red or green color in the big LED in the middle of the LFO section. The 1st stomp switch is TRUE BYPASS and if that is not enough, the 2nd stomp switch engages the DISTORTION, both with UV indicator LEDs. The level of the DISTORTION is controlled by the DISTORTION knob and the toggle switch next to it adds a TREBLE BOOST (up) or a HIGH CUT (down) setting to the DISTORTION. In the end of the signal path is a signal booster based on the EHX LBP1 with a global VOLUME control. The ANAPHYLAXIS FILTER runs on 9V DC and has a ‘boss style’ 2.1mm DC barrel plug socket with the negative pin inside. The enclosure is a heavy duty scavenged industrial engine power connector housing made from die-cast aluminum with a bottom plate made from found material and is painted in the industrial burnout camo pattern in matte black and bright yellow. Handmade by GRM for METSÄÄN.

SOLD.

[metsn]

WASP FILTER - 1978 classic synth multi-mode filter with boosted distortion

The METSÄÄN - WASP FILTER takes the filter section from the legendary and notorious WASP synthesizer from 1978, with boosted resonance, combines it with a heavy distortion and brings it to pedal format, so you can mangle the signals of your choice with it in a small footprint. The controls in the top row from left to right are: Gain, Resonance, Distortion, Frequency, Volume. A 4 position rotary switch selects the Filter mode, either Low pass, Band pass, High pass or Notch filter. And a stomp switch with a purple indicator LED is for true bypass. The WASP FILTER runs on standard (boss-style/center negative pin) 9V DC pedal power supply. PSU is NOT included. The rugged die cast aluminum enclosure is painter in the industrial burnout camo pattern in bright yellow and matte black with the sanded silver grey aluminum surface lurking through. Handmade by GRM for METSÄÄN. Buy here. (link to webshop.)

[metsn]

ANAPHYLAXIS FILTER - WASPsynth multi-mode filter with double LFO and distortion

The ANAPHYLAXIS FILTER is a multi-mode filter with double LFO modulator for the CUTOFF frequency based the filter section of the notorious WASP synthesizer that was created by Electric Dream Plant in 1978. This standalone pedal version of the filter allows you to use it for the input signals of your choice. The FILTER MODE selector is a 4 position rotary switch (up to down: LOW PASS, BAND PASS, HIGH PASS and NOTCH) with the position indicated by small purple UV LEDs. The input signal is controlled with the GAIN control, that can boost even weaker input signal to overdrive the filter. A dedicated RESONANCE control determines the amount of RESONANCE  at the CUTOFF point, that of course has a control knob as well. Furthermore the RESONANCE has two settings: EXTREME (up) and NORMAL(down), selected with a toggle switch. In HIGH PASS mode the filter can self-oscillate without any input, in case you need a high frequency SINE WAVE oscillator. In that case the FREQUENCY can be dialed in with the CUTOFF control. A 3.5mm mono input socket for EXTERNAL CV (Beware only use max. +5VDC, everything else destroys the circuit!). This input is used to modulate the filter’s CUTOFF with external gear (as i demonstrate in a demo video of a previous build). But the ANAPHYLAXIS FILTER can do more, as it has 2 build in LFOs that are modulating the CUTOFF frequency, with independent SPEED and DEPTH controls, which allows to generate a more complex modulation waveform. Each LFO has a RANGE toggle that selects: SLOW (down) or FAST (up) as well a 3 position toggle switch that selects the SHAPE: SQUARE (down), OFF (middle) and triangle (up). The fast LFO range goes well into audio range and enables you to create  some very interesting frequency modulation filter effects. With slower rates, especially with the triangle shape and the 2 LFOs running at non-synced rates, even the most static sounding input get ‘alive’. The SPEED of each LFO is indicated by either red or green color in the big LED in the middle of the LFO section. The 1st stomp switch is TRUE BYPASS and if that is not enough, the 2nd stomp switch engages the DISTORTION, both with UV indicator LEDs. The level of the DISTORTION is controlled by the DISTORTION knob and the toggle switch next to it adds a TREBLE BOOST (up) or a HIGH CUT (down) setting to the DISTORTION. In the end of the signal path is a signal booster based on the EHX LBP1 with a global VOLUME control. The ANAPHYLAXIS FILTER runs on 9V DC and has a ‘boss style’ 2.1mm DC barrel plug socket with the negative pin inside. The enclosure die-cast aluminum painted in the industrial burnout camo pattern in matte black and bright yellow. Handmade by GRM for METSÄÄN.

Sold.

[metsn]

HARM ENGINE - square wave harmonics or digital sonic filth in +/- 5 octaves with 3rds and 5ths

The HARM ENGINE is based on the CIRCUITBENDERS 'Harmonic Engine' PCBs, it's "a clone of the E&MM Harmonic Generator. This was a project by Paul Williams, published in Electronics & Music Maker magazine way back in 1981. The circuit uses a 4046 Phased Locked Loop (PLL) to generate a squarewave output at harmonic intervals to the frequency of the input signal. The squarewave can be set to +/- three [5 + a chaos noise mode in the METSÄÄN version] octaves, and can also produce 3rd or 5th harmonies. That's the theory anyway. In practice this only works reliably if you use very basic waveforms at the input. If you use anything else, then everything very quickly descends into a beautiful kind of chaos, with all kinds of bizarre gurgling digital squeaks and squeals vomiting forth. Its especially effective with percussion sounds, converting each hit into some kind of warped electronic splatter." The controls from top left to right are: SENSITIVITY - controlling the level at which the harmonics will be played. Turning the pot clockwise increases the gain of the signal (it also boost with a slight distortion, the DRY signal). In higher settings, the squarewave harmonics can form a modulated drone voice. Activity of the HARM ENGINE is indicated by a green LED, that turns on when harmonics are produced. 3RD/5TH - the 3 position toggle switch activates the corresponding detuning. The middle position is neutral. MIX - is a blending function to dial in the balance between DRY and HARM signal. If something is plugged into the DRY and HARM outputs on the rear of the machine, MIX stops working, because the signal is split before. OCTAVE - with a 12 position rotary switch, +/- 5 octaves are selected, 12o'clock is neutral and 6o'clock is the chaos/noise mode. TRUE BYPASS - The footswitch is configured for true bypass and has a pink indicator LED inside the machine, the glow can be seen through the vent grills in the enclosure. Build into a scavenged high voltage converter housing made from plastique painted in the 'burned out industry' camo pattern in matte black and chrome. Hand made by grm for METSÄÄN.

Sold.

...

[metsn]

ANAPHYLAXIS FILTER - WASPsynth multi-mode filter with double LFO and distortion

The ANAPHYLAXIS FILTER is a multi-mode filter with double LFO modulator for the CUTOFF frequency based the filter section of the notorious WASP synthesizer that was created by Electric Dream Plant in 1978. This standalone pedal version of the filter allows you to use it for the input signals of your choice. The FILTER MODE selector is a 4 position rotary switch (up to down: LOW PASS, BAND PASS, HIGH PASS and NOTCH) with the position indicated by small purple UV LEDs. The input signal is controlled with the GAIN control, that can boost even weaker input signal to overdrive the filter. A dedicated RESONANCE control determines the amount of RESONANCE  at the CUTOFF point, that of course has a control knob as well. Furthermore the RESONANCE has two settings: EXTREME (up) and NORMAL(down), selected with a toggle switch. In HIGH PASS mode the filter can self-oscillate without any input, in case you need a high frequency SINE WAVE oscillator. In that case the FREQUENCY can be dialed in with the CUTOFF control. A 3.5mm mono input socket for EXTERNAL CV (Beware only use max. +5VDC, everything else destroys the circuit!). This input is used to modulate the filter’s CUTOFF with external gear (as i demonstrate in a demo video of a previous build). But the ANAPHYLAXIS FILTER can do more, as it has 2 build in LFOs that are modulating the CUTOFF frequency, with independent SPEED and DEPTH controls, which allows to generate a more complex modulation waveform. Each LFO has a RANGE toggle that selects: SLOW (down) or FAST (up) as well a 3 position toggle switch that selects the SHAPE: SQUARE (down), OFF (middle) and triangle (up). The fast LFO range goes well into audio range and enables you to create  some very interesting frequency modulation filter effects. With slower rates, especially with the triangle shape and the 2 LFOs running at non-synced rates, even the most static sounding input get ‘alive’. The SPEED of each LFO is indicated by either red or green color in the big LED in the middle of the LFO section. The 1st stomp switch is TRUE BYPASS and if that is not enough, the 2nd stomp switch engages the DISTORTION, both with UV indicator LEDs. The level of the DISTORTION is controlled by the DISTORTION knob and the toggle switch next to it adds a TREBLE BOOST (up) or a HIGH CUT (down) setting to the DISTORTION. In the end of the signal path is a signal booster based on the EHX LBP1 with a global VOLUME control. The ANAPHYLAXIS FILTER runs on 9V DC and has a ‘boss style’ 2.1mm DC barrel plug socket with the negative pin inside. The enclosure is a heavy duty scavenged industrial engine power connector housing made from die-cast aluminum with a bottom plate made from found material and is painted in the industrial burnout camo pattern in matte black and bright yellow. Handmade by GRM for METSÄÄN. Sold.

[metsn]

An almost METSÄÄN exclusive NOISE ENSEMBLE set-up with:

GOJIRA DESTRUCTION

WAR HEAD

ECHOBLENDER

DIRTY DRONE DISTORTION

HARD CUTS

By the time of uploading this video, all of these machines are still available.