||Help me love my IFM Fourses
| br>I own the entire IFM line and I'm pretty happy with it get along with it really well. Only the Fourses is giving me some hard time. I get high freq noises rubbery grinding and stuff, but it seems I'm missing something. I tried it in conjunction with the vca but it doesn't really yield interesting results (most of the time)
Any patch tips?
I also have a large variety of other modules to modulate the hell out of it…
THANKS br> br>
| br>Do you have something to listen to all 4 outs while they cross modulate? I splashed out for a second RxMx and it sits next to Fourses. br> br>
| br>Maybe try using it as quad lfo?
Or just give up and sell it to me br> br>
| br>Try this kind of patching:
Fourses osc 1+3 toggles flipped to audio.
Fourses osc 2+4 toggles flipped to cv.
#1+3 audio outs go into 2 VCAs
#2+4 cv outs go into top inputs of Denum and Swoop.
Mult the triangle out on the Swoop. Adjust Rise and Fall to taste.
Mult the square out on the Swoop.
Send the Swoop Rise gate to trigger a Maths ch 1 (or other slope gen.)
Send Maths ch 1 EOR gate to ch 4 trigger. (So you can have gate delay)
Send Maths EOC back to Fall gate in on Swoop.
Maths 1 env controls VCA 1, -adjust rise and fall.
Maths ch 4 (triggered by EOR from Maths 1) controls Fourses #1 modulation input.
Swoop square controls VCA 2
Swoop triangle controls Fourses #3 modulation inputs.
Denum triangle cv out multed, controls the 4 Fourses base rates High (left column top of each group of two inputs)
Denum square goes into Sprott diode input 1.
The two VCAs then send output into Sprott high pass lowpass. Take bandpass out toggled as cv rate and mult it 4x
2 into Fourses base rate low.
1 into swoop base rate low
1 into Maths channel 1.
Use all multed controls to randomly patch into Sprott/Maths/Denum/swoop parameters.
Take Sprott high pass audio into a mixer.
Take Sprott lowpass audio into a lowpass gate controlled by Maths, then into mixer.
Take Sprott chaospass as cv and control Fourses #2+4 modulation inputs.
Control everything by tweaking Swoop, Maths, and Denum rates.
This sounds really amazing. Flip your toggles and be mesmerized br> br>
| br>Thanks Diasporos. Gave it a try. Sounded amazing. Expanded on it with a Wogglebug, Sport Modulator, PEG & URA. Insane sounds. This is a snapshot of some sounds:
[s]http://soundcloud.com/nq_nhlsqaik/ifm-spaghetti[/s] br> br>
|yghartsyrt wrote: |
|Thanks Diasporos. Gave it a try. Sounded amazing. Expanded on it with a Wogglebug, Sport Modulator, PEG & URA. Insane sounds. This is a snapshot of some sounds:
That sounded far out cool, it's such a great patch isn't it? Plus you have all the modulators that IFMs play well with. I have to get a sport modulator! br> br>
| br>yeah. it's a pretty wild patch. Love how it evolves, gets stuck and then takes an entirely different route. it's amazing how small changes in the setting yield to very different results.
I guess I wasn't modulating the IFM stuff not enough.
regarding the Sport Modulator, it's really great, although here I just use it a CV-LFO with a triangle shape. br> br>
| br>kicking this old thread up... i have had a pair IFM fourses in my eurorack modular rig for some time (a year, year and a half or couple of years.... i honestly forget right now - they've just been there quite a while).
i tend to build big, sprawling patches centered around the fourses. i often think a spider's web makes a good metaphor for them, and sometimes try to simulate certain aspects of the CL tarp-serge spesal-cuck behavior i have read about (and that was removed from the purely voltage-controlled IFM module version of fourses) using sample-and-hold, random voltage, pulse generators and vca modules.
a really cool thing to play with is patching a random pulse/burst generator into a (dc-coupled) vca signal input. then patch one of the fourses position oututs into the vca control input. and then try patching the vca output into various places such as the upper or lower bound insert of one the neighboring oscillators. also, use the random pulse bursts to trigger envelopes to control other aspects of the patch.
i enjoy patching fourses audio ouputs into variable-width band pass filters (such as the WMD aperture) quite a lot. tuned just right, a symphony of french horns and tubas occasionally emerges from the from the grinding and ripping cacophony that fourses also excels at.
i always feel reluctance when taking down big fourses patches (well i guess i feel that way about any patches - the decent ones, anyways - but moreso when fourses are in the mix). they sound so alive and joyful. so they tend to stay up months and months at a time as they slowly evolve.
cheers br> br>