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 Most of these are by Intellijel, a new manufacturer/designer from up in Vancouver (but whose website is way out of date).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.
Everyone here knows how much I like my Machinedrum, right? It’s a terrific drum machine made by Elektron. Well they recently introduced a new machine to their line up. It’s a sampler called Octatrack. Sampling isn’t my main interest in music; my Machinedrum does a little on its own, and what it can’t handle I pick up with my laptop and Ableton Live. But if I was performing and sampling, this would be a pretty slick purchase.
Anyways, the point is that Elektron released a new short film/advert for the Octatrack. This is really slick and may answer anew the old question, who is Kaiser Souzai?
To really get this storyline, it may do you well to watch these previous videos as well, for the Machinedrum and Monomachine.
I obtained a new low frequency oscillator module for my modular synth a couple of weeks ago. It’s called the Vilfo, from Pittsburgh Modular. This isn’t your typical LFO. Vilfo is an acronym for “Voltage Influenced Low Frequency Oscillator” and by voltage influenced they mean that it responds to CV quite differently than the normal frequency control that one would expect. This thing has a chaos streak in it that pushes and pulls against whatever you’re feeding it in an odd kind of way. My favorite use for it so far is to use it as a clock source, and then send it some other clock or sine wave. Normally, a -+10v signal would speed up and slow down a LFO. In this case it kind of makes the Vilfo hesitate some, then shoves it around a bit, then speeds it up, then stops it altogether. But not always.
So I had it drive a little sequence of bell ringing, where the bells are made with the Hertz Donut. The different bell-like tones are created by having the Z8000 sequencer ring the second oscillator on the Donut a bit differently each time the main sequence of notes repeats itself. The timing is all Vilfo, with all the hesitations and speed ups and downs caused by the aforementioned influencing, in this case by a Malekko Oscillator in LFO mode. I run the triangle wave from the Vilfo back into the sync of the Oscillator, which toys with the timing a little more. A little like a feedback loop.
My daughter decided that she wanted to make something out of electronics for her fourth-grade science fair. For the project, the kids have to come up with a question for which an answer can be hypothesized, and then proven or disproven with an experiment. Elliot, on her own, came up with the question “how does electricity move in a circuit?” This is a rather big question for our limited knowledge of electronics-building in this house, and I wasn’t sure whether we could actually answer the question with a few resistors and some stranded wire. ALas, her teacher approved it. Furthermore, the job was made even more complicated when Elliot’s answer was “I think it is heat.”
I gave Elliot a few books to read, and she took to the Make:Electronics book by Charles Platt. I had bought and/or read a few books before ordering this one and it’s by far the best I’ve found. Apparently, Elliot agrees as she pretty much memorized the first few chapters. I can’t tell you how much fun it is to sit there with a ten-year-old girl and have her thumb through a pile of resistors looking for the 220ohm one as she studies the color codes of the resistor’s stripes. I showed her how to read a multimeter (something I just learned a few weeks ago), and she was off. She built a few simple circuits using the experiments in the book, trying out different values of resistors, various colored LEDs (it was cool when we burned one out and the room smelled like an electrical fire), and four AA batteries.
It wasn’t long before she was working out ways to have a switch to flip between different colored LEDs, and she asked how to add a knob (potentiometer) to dim the LED. For the science fair experiment, she merely recorded the volts and amps of the circuit with various resistors, and deduced the wattage produced with these numbers. I think she realized what I was worried about with her hypothesis, which was that “I think it is heat” isn’t really an answer to her initial question. The answer has to do with electrons and conductivity and positive/negative forces, but that’s a little deeper than we were able to go with a Radio Shack breadboard.
I wasn’t comfortable sending her to her science fair with the breadboard and all these wires and things (fourth grade boys can be jerks you know), so using one of the circuits she’d worked up, we got a small plastic box from Staples and I soldered the circuit together using a bigger battery (9v) and a stronger potentiometer (50k), along with a huge switch.
(This is the circuit before soldering it to a circuit board and putting it the little clear box to the left. The big switch flips the red or green LED on and off, and the knob thing dims the red LED.)
I was pretty excited when I turned it on last night and it worked. So excited, in fact, that I made a little movie with music from the modular synth.
Now I’m really starting to make plans for odd little projects for myself. For instance, I would like to have a small module for my synth with two clock sources, each voltage-controlled, and have a switch which can sync them or let them run free. I found some plans online for one that uses a basic 555 timer chip, so I think that might be my holiday project…
If you’ve spent any time at all reading the stuff on DanceRobotDance, you know I love my Machinedrum. It’s a fantastic drum machine that deserves better than me. The only real problem I’ve had with it is that with me sitting at the desk, and it sitting on the desk, the little screen where one sees parameters and information is really hard to read. It’s best when the MD is in one’s lap, but that’s not really a good place for it in most circumstances. The Machinedrum comes with two little holes drilled into its sides and a set of ears for mounting on a rack, but I don’t have a rack. I’ve seen some examples on the internets of people having made some metal or wood end cheeks to set it at a 30-degree angle, and exploring this I found that the manufacture of custom cheeks like this was just going to be more money or hassle for me than it was worth.
Enter ProModular. ProModular is a small outfit in The Bronx, New York, made up of one dude named Stephen who like me, frequents the MuffWiggler synth forum website. I’ve been interested in his custom modular synth panels for some time, but since I don’t really keep any permanent open spaces in my synth, I’ve not found the excuse to get any. I wrote to him a while back to inquire about etching a robot onto the front panel of a joystick kit I’m working on, but I’ve not got around to completing that. So when he posted a few weeks ago that he was going to start making these cheek panels for the Machinedrum, I jumped up and down.
They’re currently 25 bucks, and I even got some custom robots I designed etched on the sides. They look even better in person, and they make the damn thing a whole lot easier to see and work with. Very happy with this.
Everything is © 2012 Brian Biggs.
