I just installed a new module yesterday called the Flame Talking Synth. I’d been eyeballing this thing for some time, first being intrigued by a standalone MIDI version Flame has had out for some time, but turned off by the price tag and, well, the fact that it was MIDI-based. I love talking synth sounds and it’s always fun to find ways of making stuff sound like a screwed up robot. This eurorack version wasn’t exactly cheap either, so when it was first released a few months back I decided to get the E350 Morphing Terrarium instead, knowing it had formant sounds in its wavetables, and believing I could get something close with that. Well, the formant sounds are lovely on the E350, but it’s not a screwed up robot. So in the recent purge, where I traded out or replaced seven modules from my synth, I sold the E350 and went ahead and grabbed this Flame Talky thing.
The Flame Talking Synth is based around a digital chip called the Speakjet. It’s sophisticated in interesting ways, and it’s got some interesting limitations as well. The module has three modes that each produce quite different sounds. These tracks focus on the “Phoneme” mode and “word” mode (the third is “synth” which is not about the speech but has it’s own sound and nuances. “Phonem” mode has dozens of simple speech sounds (for example, “tu,” “eyrr,” “uh,” “aw,” as well as sounds labeled things like “biological 2″ and “Pistol Shot” which you can hear quite a lot in the carnival track below. “Word” mode allows the synth to say actual words like “techno” and, yes of course, “robot.” This is cool and all, but what’s fun is that these words are selected using CV, so they are playable the way a note on a keyboard is playable. For instance, G2 on a keyboard would “play” the word “robot.” But since using a sequencer on a modular synth like mine is not an exact science, a lot of what happens is, let’s say, gibberish-like. In the carnival track you can hear a couple of spots where it leaps into the words mode, but I can’t understand a thing it’s saying.
These tracks were recorded in the first twenty minutes after I installed the module. Basically, it’s random sounds created by running the Noisering and the Choices joystick into various CV inputs, controlling the pitch, the speed in which the thing “speaks,” the bend of the phonemes, and the actual words and sounds it makes. It’s just heaven. It came with a nice detailed manual that I’ve since read and I’m looking forward to attempts to actual get it to say things, and maybe even sing.
These two tracks are, as mentioned earlier, the Flame Talking Synth controlled with the Noisering, the Choices joystick, and a little bit of Pressure Points. The first track is fed directly into the also-new Pittsburgh Analog Delay module, which I’ll get a little deeper into real soon. The second track is run first through a ring modulator (µMod by Intellijel) and then to the delay. More to come.
Last summer a friend of mine gave me an old Boss DD3 digital delay pedal. I’d been looking to add a delay module to my modular synth and this guitar pedal fit the need pretty well. After playing with it for a few weeks I was wishing that it had some way to synchronize the delays with the beat of the synth. If you’ve ever used delay plug-ins with a DAW you know what I’m talking about. Most plugs that I’ve used allow one to choose delay times in milliseconds or in times related to the beat: quarters, eighths, dotted sixteenths, triplets, etc. Having some beat-synched delay taps hopping around the track really can add a lot in the way of syncopation. Having any delay, synched or not, is great. But that extra thing is what I was looking for.
I noticed that the several pedals have a tap tempo switch, which gets close but isn’t quite right for the synth. Tapping tempo is perfect for a guitar player who can subtly change speed to keep time with tapping a pedal. But the timing of a synth is much more machine-like in nature and would work best with the same clock as what’s timing the entire patch. If you’re running a sequencer, LFO, and envelope from a clock trigger, that same trigger could drive the taps of a delay and keep everything in time.
In an email to Navs, a musician in Germany, I happened to mention that a pedal with a trigger input would be a great thing. He replied with a link to a post he’d made on his own site about a year earlier. In this post, he writes about a musician, Rechner7, also in Germany, who had modified an Electro-Harmonix Stereo Memory Man with Hazarai (Hazarai is a Yiddish term meaning something along the lines of “everything and the kitchen sink”). Rechner7 had not just added a trigger jack, but he’d added three of them with a switch to choose between the 2nd and 3rd inputs, as well as a on/off switch for the loop button which would make that particular function much easier. I’d never soldered a thing in my life but onto Craigslist I went and a week or two later had a SMMH pedal.
Aftr studying Rechner7′s photos and a few emails back and forth, I understood a bit more of what was going on. Trigger/Gate input C on his plans is always on, and there’s an on/off/on switch that chooses to add input B or A to the signal at C. This allows a steady beat into C with odd or random beats into the other two inputs, which can add a lot of fun/chaos to the delay signal. The SMMH doesn’t repitch when the delay is sped up or slowed down (its only weak link in my opinion) so having these two inputs is terrific for quickly adding new taps or off-beat taps. He also added a little high-pass filter circuit (found about a third of the way down on Doepfer’s website here) which keeps a slow gate from inadvertently engaging the loop function. On the SMMH, the tap-tempo switch engages the loop if pushed for more than a half-second. What this means is that a long gate (half second or more) would do the same. So the high-pass filter only allows gates that are shorter. The exact length is decided by a capacitor and some math. (I apparently didn’t do the math correctly because mine still slips into loop mode now and then. I need to fix this.) There’s a switch that bypasses this filter for inputs B and A in case one wants to throw the thing into loop mode. Lastly, Rechner7 also suggested I add a transistor to the input circuits, which keeps unwanted voltage from traveling back to the trigger source on the modular.
I wired this all up on a breadboard before doing any permanent damage to my new pedal, and was quite surprised when it worked. Confidence flowing, I took the step of drilling six new holes into the aluminum case of the SMMH. This was rather thrilling in a DIY sort of way. There was no going back now.
It took the better part of the next day to get the wiring done and everything in place, and I’ll be the first to admit that my electronics work isn’t the prettiest. But the results are exactly what I wanted. The only change from Rechner7′s design was that I designanted the always-on jack as input ‘A’ rather than ‘C’ which just made more sense to me.
Here’s a short track where the different delay timings are really apparent.
One thing I’d not considered was that when the delay lands exactly on the beat, it’s not that interesting. So I find that using the Rotating Clock Divider from 4ms is necessary. A typical patch would be using the /3 output from the RCD as the main clock, and running the /1 and /2 into the inputs of the SMMH gives me triggers on the eighth-notes and triplets. Then I might have something more unusual running to my input C for some chaos tossed in.
Edit: I should probably mention that on the video up there, the same rather boring eight-step sequence is spit out by the synth throughout the entire video. All the syncopations and funny beats and extra rhythms are created entirely by the Stereo Memory Man being clocked by the µStep, a little trigger sequencer from Intellijel. The dry signal is on the left channel and the wet is on the right, so you can listen to just one or the other and hear the differences.
Since completing this mod, I noticed that Rechner 7 had done a similar modification to an EHX Deluxe Memory Boy as well. I’d been thinking about adding an analog delay pedal to my arsenal, and found a used one a few weeks ago. About the same time, Pittsburgh Modular announced an analog delay module for Eurorack that may end up being more what I’m looking for, even without tap tempo, so I’m holding off drilling the holes into the DMMB in case I need to let it go.
Built a small breakout module for my 4ms Rotating Clock Divider over the weekend, and spent some time playing with it. It’s got six switches that allow one to change some counting and reset behaviors of the RCD which previously were only available via jumpers on the PCB. I spent an hour or so afterward making some music and recording. While I was very happy with the results, I realize now that it’s kind of hard to hear what the breakout is doing in these two tracks. So instead of going into the RCD/Breakout and explaining the results, I’ll just post these guys for your listening pleasure.
The description on Soundcloud is as follows: The e350 Morphing Terrarium on the bass with an Anti-Oscillator FM’d by an Unkle Oscillator on the higher pitches. Note CV is from a Noisering through a µScale quantizer with the scale notes and intervals shifting. Pressure Points is the modulation sequencer. The delay on the high pitched part is from an EHX Deluxe Memory Boy set to dotted eighths. I love that delay pedal.
It’s the perfect name for such an amazing VCO. The Synthesis Technology e350 Morphing Terrarium. It’s a wavetable VCO with three banks of 64 waves, arranged on a grid, controlled with an X, Y and Z knobs and CV. Since I sold the Hertz Donut I’d been missing the digital factor in my modular. I planned on obtaining the Flame Talking Synth, but when I realized what it cost I kind of thought that while it’s a neat pony, it’s just got one trick, and for almost the same moneys I can get this one used, which is a lot of tricks pony.
These tracks were recorded on the first days I had it, before I sat an expander next to it, designed by zeitdehnermod and negativespace from the MuffWiggler forum, which accesses a pair of jumpers on the PCB of the e350. The VCO is a very nice, very smooth operator in its default form. With access to the jumpers it can get angry. Which is good.
Each of these tracks are the e350 as sole sound source, unfiltered, sequenced with the Z8000, and followed with some combination of EHX delay pedals. For more info check out the soundcloud links on the tracks.
I recently got a pile of new modules, replacing a bunch of old modules. Most of these are by Intellijel, a new manufacturer/designer from up in Vancouver (but whose website is way out of date). Intellijel announced a bunch of new designs in late December, and they’ve come to fruition recently. I got a new quantizer called the µScale replacing my A156, a panning/crossfading VCA called the Azimuth to replace the A134 (and maybe the A132-3, as this thing is really great). I also got a module called the µMod which replaced the A133 dual polarizer. I bought the A133 last year for its use in screwing with CV, but I found that I usually ended up using it with audio, as a ring mod. When Intellijel announced the µMod, the description seemed to cover the same territory as one half of the A133, plus a bunch of other features in the form of two rectifying switches and a “Q” knob. Since I never used more than one half of the A133 at a time, I sold that sucker and screwed in the µMod.
Below are three tracks recorded the first night I had this thing. They’re all using very short poppy envelopes made with Maths, and using the Azimuth as a VCA (which is fantastically quick).
The first one here is not exactly “musical,” as it sounds like tapping on a small block of wood. But one thing I love about a ring mod is the percussion.
In addition to the above additions to the system, I’ve also replaced the Hertz Donut with a Malekko/Wiard Anti-Oscillator, and added a STG Wave Folder (which has not yet been installed). I’ll get some sounds from these dudes up soon. Oh, and have I mentioned that I’m obsessing over my new guitar?
This might be rather short notice, but tonight I’ll be showing the modular synth at a gathering of synth nerds in Philadelphia. Synth SIG is a meeting of peoples whom like synthesizers, whether they be analog, digital, or virtual. It was seeing Charles Cohen perform with his Buchla Music Easel at a Synth SIG in late 2009 that talked me into going this route in the first place.
I’ll be bringing the case full of modules, and my SMMH delay pedal for effect. Here’s the official announcement.
There will be a meeting of the SynthSig group on Wednesday February 9th, at 7:30 in the Connelly Auditorium, The University of the Arts, 211 S. Broad St., Philadelphia
The program will feature a presentation by Brian Biggs of his modular synthesizer equipped with a delay pedal. Also featured will be a presentation by Andrew Zahn, a Multimedia major, who will demonstrate his analog sound synth and digital control process.
In addition there will be discussion of synth apps available for the iPad and additional synth information.
All are welcome.
For additional information or requests to participate in demonstration of personal apps or devices contact Tom Porett: tporett@uarts.edu.
Last May I replaced my old Doepfer cases with nice Mission 9 from Monorocket. At the time I thought it would be such a great idea to record the entire process, speed the whole thing up and put it to music. So, I did the first part of that but until this week I never got around to completing the job.
Here’s the result. The music was made in December and features the two missing modules (Hertz Donut and Z8000) as well as a Pittsburgh Modular Vilfo that I didn’t have then, and have already traded out as well. Moving along.
The first half of the movie, the taking apart part, was filmed as video and sped up in the editing. The second half was a series of many many photographs taken every five seconds or so and stitched together. It has a jumpier quality to it. Enjoy!
I’m coming up for air for a minute here. Every morning and every evening I walk through my little music room on the way from or to the bedroom, and I stop and stare at the modular and the Machinedrum and all my cables and audio interface and I tell these things “soon, my children. Soon…” A couple of things have conspired to keep me from making anything that I feel like I’m wanting to share. The holidays, of course. I’m also late on a book I’ve been writing and drawing that will be out later this year. Actually, late on several books. So the nights and weekend where I’d normally be making noises, I’ve been in the studio drawing pictures.
However, I’ve not been completely unmusical nor uninspired. So with this post I’ll go over some of the things I’ve been doing and get some ducks in a row to start the new year.
1. Everything Goes: On Land
I don’t cross-post often. That is, I don’t talk much about my musical goings on when I’m wearing my illustrator hat, and I don’t toot that horn when I’m walking around the music-room. However, I’m nearing completion of this huge book and I’m pretty excited about it. It’s 56 pages of cars and trucks and bikes and here’s a small piece of one of the images.
2. Guitars
I have to admit something. I’ve not been completely faithful. I tell my synth that I’m busy working and drawing and that I’ll spend time with it soon. In reality I’ve been seeing another instrument. I didn’t mean for it to get out of control, to get this far. I didn’t think I’d fall in love.
See, it all started when someone gave me an old Squier Stratocaster. I once tried to learn to play guitar, but it didn’t stick, and one of my true regrets is that I didn’t learn when I was younger. This Strat sat in its case for six years. Then a few weeks ago I attend my son’s Christmas concert at school and I learn that he is playing the bass guitar. And he’s playing it well! So I got inspired and I decided to get the old white Strat out and see if I can figure it out. My kids got guitars and small practice amps for Christmas, and I thought it would be great for Elliot and I to take guitar lessons together. However, the old white Strat, once plugged in to the amp, sounded like crap. Scratchy and hummy and sad. Normally I’d likely have gotten frustrated and stuck it back in its case for eternity. But with my new-found fearlessness around electronics, I took the guitar apart to learn what makes it tick. Now, please understand that I know ZERO about guitars, especially electric ones, coming in. So I was happily surprised when I understood immediately how the internals worked. The pick-ups are wired to a five-way switch, which in turn goes through a couple of 500k potentiometers, and then to the output jack and to ground. Simple! The thing was that the wiring was brittle, the pots felt dirty, and the whole thing was just a mess. But hell, I can fix this. I have some 500k pots up stairs. All I need is a new switch, right?
Not so fast. I spent an evening on the internets and quickly realized that there are a million options. Different pick-ups, some switches are higher quality than others, if Fender makes it than it’s twice the cost than other switches (and I’m pretty sure Fender didn’t actually make the switch, so it’s probably the same switch…). I happened across a link to a company called Stewart MacDonald in Athens Ohio. They specialize in parts for guitars, and hallelujah they actually sell a pre-wired pickguard/electronics kit that comes with the pots and switch and new pick-ups and wires and all it needs is to be soldered to ground and to the output jack. I wanted a black pick-guard anyway, so for just a few more dollars than the switch and new pots, I had the whole set-up.
It took twenty minutes two night ago to put the old Strat back together. No more scratch, no more loose parts, nice black and white look, and hum only when expected (switch positions 1,3 and 5 — that is, when only one pick-up is selected). I don’t know good when I hear it, so to me it sounds great.
So now I’m jonesing to learn this thing and reading all I can about guitars and, of course, guitar pedals. (If you’re anything like me, and since you’re reading this there’s a good chance that you are, you’ll understand completely when I admit that I stayed up in bed the other night with headphones and watched pedal demo videos on YouTube for three hours…) Of course, I’m starting with basics so last night for instance I played B C D E F G on strings one and two until my fingers hurt so much I couldn’t feel the frets. I also got pretty good at playing “Shoo Fly,” which sounds especially stupid with my daughter’s 12w Orange Amp set with the overdrive and gain turned up.
Here’s the guitar.
I didn’t take any “before” pictures, but it looked just like this.
I would like to do a few more things to the guitar to make it even better. It could use a new bridge, for instance. Stewart Macdonald sells these for $70, but when the guitar new cost $120 I’m not sure if it’s worthwhile. I mean, does it make sense to put in a new bridge and maybe better pick-ups and tuning machines when I might as well take that cash and look for an actual Fender on Craigslist? In any case, I decided I’m not going to spend any money on guitars — this one or another — until I get good enough that I can sit down at Guitar Center and know what I’m listening for when I play different instruments. This Squier sounds okay to me.
(That said, the American Standard Telecaster in Crimson sure looks spectacular…)
3. This
It’s a Dancing Robot. Get it? It just made me laugh when I ran across it.
4. Pressure Points
I’ve had my modular synth for about a year now. And you know how I feel about it. I love making music on this thing. I’ve been really good at keeping the system I have to an enclosed amount of space, fitting it in the case I bought last May. Recently, however, I’ve been seeing that I could use just one more row of modules to do some stuff that right now I cannot do. One of the things that triggered this was seeing the new MX6 case from Monorocket. My current case is a Mission 9, also from Monorocket, and I like it a lot. If there’s anything I don’t like, however, it’s that stuff on the bottom row is hard to get to because it’s on the bottom row. In addition, I’ve been planning to build a joystick module that would have to go in a separate enclosure. The MX6 is built as a suitcase that opens. My Mission 9 is somewhat like this, but the difference is that the MX6 can hold modules in it’s “lid.” This allows two rows of modules to rest on the table horizontally and two rows to be vertical. What this encourages is the modules on the bottom two rows to be “performance” oriented, so I’d want to put the modules down there that would get a lot of use. Things that modulate, things that are physical controllers. Things like the joystick and my Z8000 sequencer, for instance. While thinking about this I realized that it would be perfect for the Make Noise Pressure Points as well. It’s a touch-sensitive controller, so it makes it possible to “play” the synth as one would with a keyboard (kind of) but with much more expression. Make Noise also makes a module called “Brains” that turns Pressure Points into a full-blown sequencer as well. Just as I was thinking about all this, I found a Pressure Points for sale used, and then a Brains on eBay. So out with the old, in with the new. I unloaded a couple of modules of mine that weren’t getting much and spring for the PP/Brains.
The Pressure Points arrived the day before I put the aforementioned guitar back together and if I had any fears that my obsessing over the guitar would make me love my synth less, one evening with Pressure Points assuages those worries. This thing adds a whole new world and dimension to playing the synth. No longer is it necessary to just clock a sequence and watch it go. I can play the thing now. A lot of folks who got a Pressure Points quickly got a second. I can really see how that makes sense. For now I’ll stick with one and get the joystick finished, and then see how I feel about it.
Here are some samples and small phrases from about an hour of playing with it the night I got it.
Everything is © 2012 Brian Biggs.
