Archive for the ‘tools’ Category

a little delay

Wednesday, August 25th, 2010

As I’ve written, earlier this summer a friend of mine gave me an old Boss DD3 guitar delay pedal. I’m a big fan of using delays and I’ve used them a lot in the stuff I’ve made in software over the last several years. But as with everything since I got into the modular thing, having a tactile knob to twist and buttons to mash is something else entirely, and creates “fun” where there was just “nice” earlier. So once I ran across the Flight of Harmony Sound of Shadows delay module, where the delay rate and feedback can be controlled with CV, I knew I wanted to go to there. I sold a few modules I don’t use much and ordered the SoS from Analogue Haven. It arrived Monday, and Monday night I spent several hours working out some kinks.
I hadn’t rtfm* yet so some of the controls and inputs were a mystery. And listening to these now two days later, I have no idea what I’m hearing in some cases. “sos four” for instance is repeating entire pieces of the clean phrase, but I don’t know how. [Edit: I figured it out. I'm modulating the rate with the Z8000 sequencer. When you don't hear any delay effect, the sequencer has shut off the rate completely for those steps. It's a four step sequence running slower than the main clock, so you get something like every other beat it's on, then off again... or something like that] I do know that the frequent sucking sound on “sos one” is the rate being turned from on to totally off with an envelope, like an LFO.
As for other modules used, “sos one” was a Cwejman VCO6. Four five and six are a Hertz Donut. Some is sequenced by a Noisering, some with a Z8000 sequencer. I also think the last three were using my A134 VC panning module, which works as a crossfader as well, and is really nice for some pseudo stereo.
I realized this morning that I can route the delay signal into signal delay circuit and delay the delay, which with one in the right and the other in the left channel, will be loads of fun.
The SoS is a little noisier than I’d like at times, and since the delay chip was made for karaoke machines it’s got kind of a cranky glitchiness. But I can already see that this is going to be fun.

the sounds of sounds of shadows by dance robot dance

By the way, what was supposed to be sos two is explained on the previous post, and sos three was sucky so it didn’t make it up here.

*Read the effing Manual

not yet delayed

Tuesday, August 24th, 2010

I’ve been loving my Boss DD3 delay pedal that my friend Greg gave me so much that I sold off some stuff I didn’t use or want, and got a Flight of Harmony Sound of Shadows module. Since this tune I’m posting here doesn’t use the delay at all, I won’t go into it much here. But while putting together some patches and sequences with which to test the SoS out last night, I stumbled across this little bit of goodness.
Basically it’s my two “normal” VCOs, the uLFO and the VCO6, sequenced by the Noisering. As I talked about in the previous posts, the EXT RATE knob is turned fully left so that while the CV output is random, the clock is straight. I’m sending the CV through a mixer to attenuate it a bit, then into a quantizer, then into my new Intellijel Buffered Mult, where I split it into two. With my previous unbuffered mults, this would have been less interesting because the signal would have dropped some. The buffer keeps that from occurring. Once it’s split, the sequence is piped into the VCO6 and the uLFO. The VCO6 is using the triangle wave, the uLFO is using its modified sine, with a LFO clocked every fourth beat adjusting that mod. That provides the slight buzz that rise each measure. The two VCOs are detuned, and it has a really nice organ feel. On some other patches I used a LFO to provide some wobble with the signals put through a filter which really added to that, but not here.
The result is quite pretty. The Noisering really knows how to sequence a bunch of random notes, and I’m loving that thing more and more. It’s random, but it allows so much control over that random. Oxymoronic, I know.

Enjoy. I’ll be posting actual results from several hours with the delay module soon. Including one that’s pretty similar to this.

(Soundcloud, as so often happens, seems to be having problems as I post this. Just click through the ‘vco6ulfo’ link to the source if you can’t play the file here…)

vco6ulfo by dance robot dance

donut and noisering and machinedrum

Friday, August 6th, 2010

nightlife

This is basically part 3 in the series of doing stuff with the Noisering, the Hertz Donut, and the Plan B low pass gate. Go back and listen to that which is posted on 3 August and 5 August. This patch is essentially the same. The Noisering sends its random CV to the Hertz Donut, attenuated slightly. The Donut is in “Good” mode, and is connected to the Plan B Model 13 in “both” mode. The signal from the Donut is also attenuated somewhat, as it’s really easy to completely overdrive the Model 13. The envelope for the M13 is provided by Maths. Now the difference here is that the triggers for the whole thing are coming from a Machinedrum. The Machinedrum has a machine called GND IMP which is just a trigger pulse made for things like pre-MIDI drum machines and analog synths. I can sequence these triggers just like any other drum or sound on the MD. I have the track routed through external output F to the CLK IN of the Noisering. That triggers the random CV of the Noisering, and also sends through the clock out the trigger for the Maths envelope.

Now the interesting part here is in the first half of this track. You can hear kind of a little double trigger on each note. I couldn’t figure out what was going on here, thinking it was something happening with the Maths. But then realizing that the notes were changing between each of the little triggers on each beat, meaning that the Noisering was getting two triggers, I realized that the event was taking place on the Machinedrum, not the modular. I noticed that I had the wrong machine chosen for the Machinedrum. It was set to a ROM machine, which is meant for playing back samples, and not the IMP impulse machine. I don’t know — and I wish I’d checked — what the ROM machine was playing. I’m assuming that it had two distinct peaks, whatever it was, which created two triggers. In any case, it sounds great. Like it’s got this funky little swing going. At 1:04 you can hear it change back to single triggers as I swapped the machines out.

The track loops a lot with most of the change coming from the notes played by the Noisering. But closer to the end I’m punching in random steps on the Machinedrum’s sequencer, keeping everything quantized to 16th notes. (In case you want to try this at home, I’m using generic 1/4″ to 1/8″ mono cables I bought at Radio Shack for $5.99. Don’t forget to set the routing for whatever track you’re using for triggers to one of the four external outputs rather than the main output…)

i’ll have the donut, noisering, and a side of machinedrum please by dance robot dance

more about donuts

Thursday, August 5th, 2010

The Hertz Donut VCO has become my favorite source of noise and tones. At one moment nice and calm and soulful, the next minute with a few tiny knob-twists or introductions of voltage, it rips your head off. That’s a good thing, and surprising to me since the main reason I like synthesizers is distinctly not for the head-ripping-off that they’re capable of (re: blinky boopity subtractive synths).
I spent an hour the other night working on variations to the church donut sequence I posted previously. The main difference is in the use of the Noisering as the clock source, and to a lesser extent, modulation of the FM index of the Hertz Donut’s second oscillator. These three sequences were outtakes from that hour of recording. On a synth forum I frequent, I was informed by James Cigler that when nothing is plugged into the clock-in jack on t he Noisering, the randomness of the clock is controlled by the EXT RATE knob, which leaks the random signal from the 2nd output into the clock. The EXT RATE knob basically attenuates this signal, allowing for full-on crazy clock, or when turned counter-clockwise, barely any random signal. This is great, and turns the Noisering into a very useful clock source for me. The only problem with it that I see is that the randomness isn’t voltage controlled, and when something is plugged into the CLK IN jack, it breaks the connection. It would be the monkey’s uncle if somehow the source plugged into the CLK IN somehow controlled the amount of that randomness. Instead it’s the other way around, the EXT RATE attenuates whatever signal is plugged into the CLK IN. Both are useful, but I suppose it would take a second jack and knob to make this work.

In any case, this first sequence is the Noisering clock being rate-controlled by a slow LFO sine wave into the CLK IN jack. (When a trigger source is plugged into the CLK IN, that becomes the source of the clock. This merely controls the rate of the internal Noisering clock).
lpg donut lfo-rate by dance robot dance

This next one has nothing plugged into the CLK IN jack. About halfway into the sequence I start turning the EXT RATE knob which adds the random signal to the clock.
lpg donut nr clock by dance robot dance

And this last sequence is longer at eight minutes. It’s also clocked by the Noisering, with some randomness in the signal. In this one there are a lot of different kinds of tones with various modulations being applied to the Hertz Donut and to the Maths, lengthening and shortening the envelope (which for you non synth-heads, means shortening and lengthening the note itself). Near the end the Plan B model 10′s ramp output is all over the second Hertz Donut oscillator, which adds that audible rise in the tone behind the decay of the sound itself. I love that.
lpg donut nr clock modding fm by dance robot dance

All the delay is provided by the Boss DD-3 pedal. It’s convinced me that I need a voltage controlled delay like the Flight of Harmony Sound of Shadows real soon…

church of donut

Tuesday, August 3rd, 2010

You know how you can spend all day tweaking and patching and after hours you got nothin. Right? Then you decide, after dinner, after tv, just before dropping off to slumberland, just to try one little thing you have in your head. Say, one little thing like driving your Hertz Donut with CV from the Noisering, kinda attenuated a bit with a Plan B mixer so it’s not bouncing all over the place. The Donut sounds great through the low pass gate, so you plug the Maths into the Plan B m13 clocked by a basic LFO pulse, which also clocks the Noisering. So just something simple like that.

And luckily you were still awake enough to push ‘record’ on the laptop so as to save the result. And damn if that’s not the best patch you’ve made in a long time. I’d been told that the Noisering is a musical kind of random, but this was the first time I really attenuated it down without quantizing it, and it’s just lovely, isn’t it? Kinda spooky lovely. The FM tones of the Donut work perfectly with the notes that the Noisering is spitting out, and then I had it all go through a Boss DD-3 delay guitar pedal with a really fast delay, so it’s more of a reverb, and then to the computer for recording.

I hope you like this as much as I do.

church donut by dance robot dance

testing 142

Tuesday, March 16th, 2010

I’m constantly figuring little things out about this synthesizer and I feel, in many ways, that in the five months I’ve had this modular thing I’ve learned more about synthesizers and sound than in the years and years previous working with software.

I recently added a Doepfer A142 to my system. This is a voltage controlled decay/gate. What it does is takes a trigger input, like from a LFO or in my case the MFB Seq02, and creates an envelope that consists of a very quick attack and a voltage-controlled and adjustable decay. What I was looking for was a way to create steps of different lengths from the sequencer to add some movement and, you know, funk. I could do this with my Model 10, but I like using the Model 10 so much that I figured I’d like to have something that is dedicated to sitting next to and serving the sequencer.

Soon after plugging it in, I started noticing that something wasn’t right with the A142. It didn’t have a “quick” decay, only a really muddy longish one. This was especially the case with manual control. When I plugged the CV in, I could get sharp clicky envelopes, but in manual they were anything but short even with the knob at 0. I discovered that on the PCB of the module there was a small trim pot, but I didn’t know what it did as the Doepfer site didn’t seem to refer to it.

So, as I do at times like this, I turned to the internets and started a thread at the Muffwiggler forum. I immediately got some help and much of it was quite thorough and technical. Just having others tell me that their A142′s work as expected at least narrowed it down to a problem with my particular module. One or two readers actually got deep into it and with this information I at least got the thing usable. The trimmer on the back adjusts the offset, which means that it adjusts the point at which the envelope starts getting longer. By turning it about a quarter-turn, it’s now set to where from 0 to 1, the envelope is about 1ms long. This is a good thing. A new problem begins at 1, because by 3 the envelope is more than 12 seconds. This in theory should take place at nearly a complete turn, like around 9 or 10. So the entire range of the envelope is now between 1 and 3, which means that very very small nudges to the knob result in very large changes to the length of steps from the sequencer. From incredibly staccato to very very legato.

To illustrate this, I made a video. It includes captions for clarity, but basically I set up a simple sequence in the Seq02 and make adjustments with the A142. You can see the minor little changes to the knob and hear the major adjustments to the step lengths. The advice from the forum was to solder a new resistor onto the PCB. I’ve been meaning to learn to solder…

uLFO

Wednesday, March 3rd, 2010

Got a couple of new modules this week. The MFB Dual ADSR will replace the Doepfer A140. It’s got two ADSR envelopes, each with a “hold” state as well as the expected attack, decay, sustain and release. The envelopes can be triggered individually or together, and they each have two outputs. This is all great.
The Bubblesound uLFO is at its heart, as its name suggests, a low frequency oscillator. But it’s more than just that. It can go really really slow — something like 20 minutes per cycle — and it can be tracked at 1v per octave at audio rate, which basically makes it a secondary VCO. I’ve been wanting to learn more about FM synthesis and this is my first module that has a linear FM input. Both of my VCOs, Doepfer A110′s, only have exponential FM (at some soon point I plan to replace the 110s with a Cwejman VCO6 and a Harvestman Hertz Donut but they’re hard to come by right now).

uLFO and MFB dual ADSR

One funny thing about the uLFO. On Monday I noticed that the response of the SIne Shaped output seemed odd. This is a unique feature of the uLFO. It’s got a regular sine output but it’s also got a “shaped” sine, which basically creates what the Bubblesound website calls positive/negative biased non-linear triangles. The wave forms look like waves as drawn by a kid on one side, and bumps or the McDonalds logo on the other. However, I noticed that the shapes it created were the opposite from the icons indicated on the panel of the uLFO. I made a little movie to send to send to Bubblesound to make sure that I was hearing it right.

I posted this to the Muffwiggler forum, which got mixed replies. To make sure I wasn’t going nutty I ran the waves through my CueMix oscilloscope which proved that yes, I was hearing it correctly. Later, David at Bubblesound wrote and confirmed my observation. Regardless of this little quirk, this is a terrific module and I look forward to posting more here from the uLFO.

i got a sequencer

Wednesday, February 17th, 2010

I have sequencers running out my ears on my computer. I regularly use Numerology, Reaktor, Ableton and Volta to sequence soft synths and, lately, my modular via midi. However, a good part of the reason I’ve become sort of kind of obsessed with this modular business is the tactile control of buttons, switches and knobs.
To that end, I added a sequencer in the form of the MFB Seq02 last week. This thing is incredibly versatile for such a small thing. It can run twelve separate CV sequences of up to 32 steps each, or six CV and six trigger/gates. It’s got its own clock and it can be controlled by an outside clock as well.

I’ve not had much time this week to work with this thing, but today I set up a simple four note repeating sequence and just started patching. These are variations using pretty much the same four note patterns. Each track on the Seq02 can have one of either an A or B 8-step sequence, or both in a row. A three-way switch chooses which mode. So I just made two different four-note sequences, started the sequencer, and switched back and forth.

The sounds are coming from the A110 VCOs in various waveforms, and filtered at different times with the Model 12, the A120 VCF, and the A101-2 Low Pass Gate. The A101-2 is the thing that creates the plucky acoustic sounds. When you hear it you’ll know. I used MOTU’s Volta to send various trigger and step-sequences to both the Seq02 as a clock, and other modules for various modulations. I sometimes wanted various numbers of steps, where the Seq02 only allows one to choose steps on a global level. Meaning if I want one sequence of triggers to be four steps and another to be seven, I have to rely on the software.
The delay was added in Ableton because it sounds nice.

sequencing with a sequencer by dance robot dance

a little sequencing?


QR Code Business Card