I just got one of these (6hp version). Mine is maybe slightly noisy, but nothing to complain about, and it sounds really great overall. However, the resonance pot is pretty noisy when being turned. It's mostly just noticeable when nothing is plugged into the input, but it still bugs me. Is this typi...

You’re sitting there thinking “why oh why is this what I’ve chosen to do with my free time?!”.... Then it dawns upon you, the modulator may need filtering due to a DC offset and the FM input you went into is not AC coupled....you run it through a high-pass filter cut at around 30hz and BOOM! Glassy...

I now have a Fold 6 on the way, so I'll test this out myself and post examples in case anyone else is curious.

Harvestman!

Just kidding.

Moog Mother 32, Manhattan Analog, and Pittsburgh modules.

This is one of my favorite sounds I have ever come across in a gear-related video. I realize there are more factors involved, but it got me wondering about using wavefolders in feedback paths. https://youtu.be/_6otNKRWcew I have been trying to find other examples of wavefolders used in feedback path...

- analogue oscillators - ring modulators The Pittsburgh Primary Oscillator has some very unique waveshapes compared to other standalone analog oscillators. It has a proper beefy sound too. The Livewire AFG has some very unique waveshapes as well, though I can only judge that one from online demos. ...

This is a minor thing, but very useful with modular recordings where a stray frequency might pop out a bit too much: Pro-Q's dynamic EQ feature. A band is attenuated more as signals in its frequency range get louder. Much easier to set up than a multiband compressor, at least for me.

BJM was fun live. They started hours late, got into fights on stage, and took coke breaks every 20-30 minutes while Joel handed out fruit to the audience and told jokes. Oh, and they sounded great.

I'm curious about this riddle here.

If you want something else that can get dirty and distorted but is also more usable as a standard filter, you might like a Polivoks-based VCF like the ones from Erica Synths or The Harvestman.

I bought a new "factory-built" Befaco BF-22. I had read that it was noisy, and I was expecting some background white noise like my MS-20 mini has, which I don't mind at all. However, the BF-22 is picking up the sound of my oscillators too. What I mean is, when monitoring the output of the BF-22, eve...

I have a related question. Does anyone here know of a euro reverb that plays well in feedback patches? I got an FX Aid XL, which is a great module otherwise, but it doesn't have sufficient headroom for use in feedback patches at all. I get nasty digital clipping/crackling even at pretty low levels o...

There were some interesting suggestions in this thread, some of which I'll have to try out. I just wanted to mention, if you're not already, stick an equalizer in the feedback path. It opens up so many options when your feedback doesn't have to be dominated by the strongest frequency in your input s...

Consider adding a CP3 style mixer to rough things up a little. Definitely take note of this. I ran a couple Pittsburgh oscillators through a Manhattan Mix and then through a Manhattan CP3. The difference was surprising. The CP3 added this glue and saturation that gave the oscillators a nice vintage...

I get that you want to go modular, and you should ultimately do what you want, but you might want to peek at some of what the Octatrack can do. It would be such a less cumbersome route to similar results without the I/O obstacles, greater cost, difficulty in saving work, etc., that lie ahead in a mo...

Great patches in here. Simple night recording, birds are epoch twin peak feedback, crickets (could have improved this!) is noise through the cwejman mmf-1, and additional sounds are made through the g0. Headphones recommended. https://soundcloud.com/deltatucanae/nightswamp-060820 I can't get over h...

I like this a lot. Which trogo unit(s) are you using?

You'll need a VCA, an LFO, and an envelope to achieve this. LFO output to VCA input, envelope to CV input of VCA, and output of VCA to an oscillator FM input. Increase the attack time of the envelope to increase the length of the vibrato fade in.

target_destroyed wrote: ↑

Mon Oct 12, 2020 12:46 pm

Pretty sure this was the first track I heard by them back in the day, from a Cleopatra compilation disc.

Oh, I love that one. It still gets played at goth/industrial clubs today, and the dancefloor always gets weird with that half-time rhythm.

I'm looking for more harrowing dark ambient / drone similar to the Lustmord album Heresy. For reference: https://youtu.be/mW-ZbEHeICw Other artists I have found that approach this mood and quality are Black Mountain Transmitter and some of Kammarheit's work. I'm looking for things that are genuinely...

While it probably could be done, the DFAM is much better for percussion. The Mother 32 has a great sound for bass, however.

MindMachine wrote: ↑

Sat Oct 10, 2020 7:10 pm

Die Form is amazing. They don't get even half as much credit as they deserve compared to bands like Puppy.

I totally agree. If you haven't already, check out their earlier, weirder stuff from before Eliane P. joined the band.

The Tall Dog skiff is fantastic. I actually got one on the recommendation of ATW. It’s very robust in power and build quality, and my noise floor is nonexistent on that power supply (including some Harvestman and an FX Aid). The option to expand is great too.

I love his sound as well, and his live sound (from the videos I've seen) is really solid. I have wondered how much of it is actually produced and processed live. It's difficult to tell what's going on with his gear in the live videos I've seen though.

Mixers are made of op amps. Op amps can pass signal more or less up to the power rails of whatever power supply it has. So, think about it: this kind of device is not really capable of producing a signal that can destroy itself, no matter how much gain is present. Failures are possible from thermal...

dragulasbruder wrote: ↑

Sat Oct 10, 2020 3:42 pm

I'd go so far as to say music that references second-wave industrial (Wax Trax era) was so present for the last 5-10 years that it's done to death (again).

So true. As a big fan of Nitzer Ebb, Front 242, DAF, etc., I was so on-board initially, but now it's just like, please, please make it stop.