Verbos Harmonic Oscillator (wonderful instrument)

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greenanother
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Post by greenanother » Fri Jan 01, 2016 1:36 pm

Jericho wrote:
confusedmachine wrote:Is the HO just being modulated, or are controlling the V/Oct also?
Rene is sending a melody to the HO 1v/oct

@saemola: I have added a patch description to the video

Thanks for listening!
Ugh! This is making me want a Rene and HO; thanks :deadbanana:
https://soundcloud.com/greenanother
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Naqin
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Post by Naqin » Fri Jan 01, 2016 4:22 pm

Can anyone tell me more about the individual outputs on this module? Are they post vca or rather always at 100% volume like the other outputs? When you patch into one of them, does it get removed from the master output?

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wellurban
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Post by wellurban » Fri Jan 01, 2016 9:42 pm

Naqin wrote:Can anyone tell me more about the individual outputs on this module? Are they post vca or rather always at 100% volume like the other outputs? When you patch into one of them, does it get removed from the master output?
They're pre-VCA: always at full volume, and not removed from the combined output. Sometimes I think it would be nice to have them post-VCA, but this way allows more flexibility, since you can use these outputs for different things simultaneously.

Naqin
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Post by Naqin » Sat Jan 02, 2016 5:42 am

wellurban wrote:
Naqin wrote:Can anyone tell me more about the individual outputs on this module? Are they post vca or rather always at 100% volume like the other outputs? When you patch into one of them, does it get removed from the master output?
They're pre-VCA: always at full volume, and not removed from the combined output. Sometimes I think it would be nice to have them post-VCA, but this way allows more flexibility, since you can use these outputs for different things simultaneously.
Thanks, that's too bad. I think I'd prefer them to be post-vca. That way you could process individual sines without losing the harmonic scanning. But I guess both options have their drawbacks/advantages.

Great module though, I'm still getting it :goo:

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Post by ununseptium » Sat Jan 02, 2016 3:48 pm

wellurban wrote:
Naqin wrote:Can anyone tell me more about the individual outputs on this module? Are they post vca or rather always at 100% volume like the other outputs? When you patch into one of them, does it get removed from the master output?
They're pre-VCA: always at full volume, and not removed from the combined output. Sometimes I think it would be nice to have them post-VCA, but this way allows more flexibility, since you can use these outputs for different things simultaneously.
These outputs probably get the least use of any on my modest modular. Any creative suggestions of uses for these, other than audio output? They're a bit hot for most modulation purposes.

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Post by C3P4 » Tue Feb 09, 2016 12:30 am

Here's a drone type track I made with the Verbos HO and STO/Fxdf/Rxmx for sound sources:

http://soundcloud.com/adrosaurus/alone-at-sea

Patch notes:
Verbos HO mix out to PGH Analog Replicator out to the mixer, and I manually play the sliders.
HO Center is modulated from Snazzy FX Telephone Game output 5.
Telephone Game clocked from 4ms PEG.
HO Tilt is modulated with an LFO from PGH Chain Reactor.

MakeNoise STO shape out to Fxdf 12db input, normalled to Rxmx.
Rxmx B output to PGH Verbtronic, switch set to tronic.
Verbtronic mix out to the mixer.

STO shape modulated by PEG cycling envelope.

Rxmx channel modulated from Wogglebug stepped out,
radiate from another Chain Reactor LFO,
and Wogglebug burst out to Rxmx strike input.
I am manually stepping the Wogglebug with a dummy cable at the clock in.

Towards the end of the track I add in a 3rd voice:
STO sub out to PGH Filter (LP output) out to the mixer.
Filter cutoff manually modulated.

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Post by sackley » Tue Feb 09, 2016 8:19 am

Nice ^

Mine's arriving Wednesday! :party:

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Post by Themaybemachine » Tue Feb 09, 2016 9:15 am

ununseptium wrote: These outputs probably get the least use of any on my modest modular. Any creative suggestions of uses for these, other than audio output? They're a bit hot for most modulation purposes.
You can patch them to the shift, width, High/low with interesting results especially the Lower Fundamentals. Also the FM input can be quiet interesting although it gets unstable pretty fast.
Taking your Harmonic Out through Ringmod, Wavefolder, and filter and modulating these with the individual outs can give really interesting timbres. Depending on the brand most modules has attenuators for the mod inputs, else you might need to get attenuator cables, or modules, these are always handy if you have the space.

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Post by adolfgottmann » Tue Feb 09, 2016 12:10 pm

dropthedyle wrote:HO Powa !
[soundcloud url="https://api.soundcloud.com/tracks/238031871" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]
Really nice! Do you happen to remember which fx pedals are used in this patch? Love the glitchiness around the HO!

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Post by dropthedyle » Tue Feb 09, 2016 4:54 pm

adolfgottmann wrote:
dropthedyle wrote:HO Powa !
[soundcloud url="https://api.soundcloud.com/tracks/238031871" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]
Really nice! Do you happen to remember which fx pedals are used in this patch? Love the glitchiness around the HO!
thx adolfgottmann !
as external device, there is just a little reverb added in my DAW when mixing down the track. the glitchiness is due to the synthrotek eko delay pushed after 3'o'clock and also due to the bionic lester...

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Post by adolfgottmann » Tue Feb 09, 2016 5:27 pm

dropthedyle wrote:
adolfgottmann wrote:
dropthedyle wrote:HO Powa !
[soundcloud url="https://api.soundcloud.com/tracks/238031871" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]
Really nice! Do you happen to remember which fx pedals are used in this patch? Love the glitchiness around the HO!
thx adolfgottmann !
as external device, there is just a little reverb added in my DAW when mixing down the track. the glitchiness is due to the synthrotek eko delay pushed after 3'o'clock and also due to the bionic lester...

Ah ok, you mentioned harvestman BL in yor soundcloud page, so I thought there were some pedals involved...anyway, good to know, Thanks!


Edit:I thought BL was Black Locust

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dropthedyle
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Post by dropthedyle » Sun Feb 21, 2016 4:34 pm

In this simple sequence, the individual sine outputs are drived by the voltage multistage gates :
[soundcloud url="https://api.soundcloud.com/tracks/248222023" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /]

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Post by ModusOp » Mon Feb 22, 2016 12:05 am

Awesome tracks in this thread! Very inspiring!

Can anyone tell me if the individual harmonics that relate to the fundamental are pretty much always in the Major key for that root note?
Was thinking of how you could input a droning note of C, but keep that silent while scanning through the harmonics in a way that centers around the 6th harmonic as a way of playing in A minor (Aeolian Mode), etc etc.. if that makes sense. Might be fun to experiment with the different modes in this way. :)

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Post by C3P4 » Mon Feb 22, 2016 10:42 pm

ModusOp wrote:Can anyone tell me if the individual harmonics that relate to the fundamental are pretty much always in the Major key for that root note?
Was thinking of how you could input a droning note of C, but keep that silent while scanning through the harmonics in a way that centers around the 6th harmonic as a way of playing in A minor (Aeolian Mode), etc etc...
When you tune to C1 for the root the harmonics 1-8 are tuned as follows:
C1, C2, G2, C3, E3, G3, Bb3, C4

On my unit the 7th harmonic (Bb) is a bit out of tune but I'm not bothered by that because it still sounds good when scanning through the harmonics.

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Post by ModusOp » Mon Feb 22, 2016 11:25 pm

Thanks, C3P4! I had it in my head that it was more scale based for some reason... but that totally makes sense.

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Post by warnton » Tue Feb 23, 2016 12:12 am

C3P4 wrote: When you tune to C1 for the root the harmonics 1-8 are tuned as follows:
C1, C2, G2, C3, E3, G3, Bb3, C4

On my unit the 7th harmonic (Bb) is a bit out of tune but I'm not bothered by that because it still sounds good when scanning through the harmonics.
it is not only your unit, it's THE system of harmonics, which we know since Pythagoras, to whom its credited the discovery, that intervals are mathematical proportion, 1:2, 2:3, etc. western music can be seen as an evolution along the harmonics, where every 2-300 years happens the next step, starting with the first interval (octave) in Gregorian chant in 600AD, developping in using the quint (fifth) and the quart (fourth) as next step. when around 1400, the third starts getting involved, we have had the first problem with the clean mathematic of nature. its a long history, how we than kind of faked this numbers, in order to get a "welltempered tuning" for our major/minor system . but as a result, we could develop harmonic chords, being modulated in different scales: classical and romantic music was born. than Richard Wagner came along with his "Tristan-chord", where he stretches the system of traditional major/minor scales to the extend, that you didn't know anymore, in which key the whole thing belonged. consequently, Schönberg invented 12-tone music to get rid of the 'harmonically centered around one scale-system' (sorry for my english), while Debussy and later Varèse found even other means to blow up the classical/romantic harmonie theories. Busoni writes 1903 (?), that "der Drittelton pocht a unserer Tür, aber wir hören es noch nicht" (the third tone (??) is knocking on our doors, we are just not hearing it yet). and that is all because of the seventh harmonic, which in fact, as you stated correctly, is "out of tune". but as nature is always stronger than we humans :-), we had to fight and accomodate and try to fit in this bloody seventh harmonic in our well build system, which we where constructing step after step in the last 1000 years or so and ... invented electronic instruments, which gave as more flexibility than the keyboards of our anchestors. Debussy already is writing about the shift from intervallic thinking to color ... now - as we still perceive the seventh harmonic as out of tune (remember, it took 2-300 years to incorporate the next step in the overtone row), but we have the means to produce it properly - for example with Verbo's HO, but of course with every clean resonating filter as well as with a "simple" string instrument - we will educate our ears the next two hundert years to incorporate it into the new (still unknown ) system.
it is a long story and concerns only western music systems, but anyhow ...
hope this helps to understand, why your beautiful HO is correctly tuned
sorry for my english and sorry, I couldn't make a shorter remark, but it was too tempting:-)

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Post by N59 » Tue Feb 23, 2016 12:24 am

That first clip is fantastic. Exactly what I'd like to patch. Thanks for putting it on my radar.

Now to listen to all the other clips as well.

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Post by shreeswifty » Tue Feb 23, 2016 1:07 am

warnton wrote:
C3P4 wrote: When you tune to C1 for the root the harmonics 1-8 are tuned as follows:
C1, C2, G2, C3, E3, G3, Bb3, C4

On my unit the 7th harmonic (Bb) is a bit out of tune but I'm not bothered by that because it still sounds good when scanning through the harmonics.
it is not only your unit, it's THE system of harmonics, which we know since Pythagoras, to whom its credited the discovery, that intervals are mathematical proportion, 1:2, 2:3, etc. western music can be seen as an evolution along the harmonics, where every 2-300 years happens the next step, starting with the first interval (octave) in Gregorian chant in 600AD, developping in using the quint (fifth) and the quart (fourth) as next step. when around 1400, the third starts getting involved, we have had the first problem with the clean mathematic of nature. its a long history, how we than kind of faked this numbers, in order to get a "welltempered tuning" for our major/minor system . but as a result, we could develop harmonic chords, being modulated in different scales: classical and romantic music was born. than Richard Wagner came along with his "Tristan-chord", where he stretches the system of traditional major/minor scales to the extend, that you didn't know anymore, in which key the whole thing belonged. consequently, Schönberg invented 12-tone music to get rid of the 'harmonically centered around one scale-system' (sorry for my english), while Debussy and later Varèse found even other means to blow up the classical/romantic harmonie theories. Busoni writes 1903 (?), that "der Drittelton pocht a unserer Tür, aber wir hören es noch nicht" (the third tone (??) is knocking on our doors, we are just not hearing it yet). and that is all because of the seventh harmonic, which in fact, as you stated correctly, is "out of tune". but as nature is always stronger than we humans :-), we had to fight and accomodate and try to fit in this bloody seventh harmonic in our well build system, which we where constructing step after step in the last 1000 years or so and ... invented electronic instruments, which gave as more flexibility than the keyboards of our anchestors. Debussy already is writing about the shift from intervallic thinking to color ... now - as we still perceive the seventh harmonic as out of tune (remember, it took 2-300 years to incorporate the next step in the overtone row), but we have the means to produce it properly - for example with Verbo's HO, but of course with every clean resonating filter as well as with a "simple" string instrument - we will educate our ears the next two hundert years to incorporate it into the new (still unknown ) system.
it is a long story and concerns only western music systems, but anyhow ...
hope this helps to understand, why your beautiful HO is correctly tuned
sorry for my english and sorry, I couldn't make a shorter remark, but it was too tempting:-)
what he's actually saying is that the harmonic Series is JUSTly tuned and Equal Temperament is actually out of tune and it's a lie perpetrated on humanity. i would refer to Plato's Timaeus, Ernest Mcclains text and for a simplified version google Kyle Gann's work online for a quick tour up the harmonic series you can also consult David Cainright

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Post by C3P4 » Tue Feb 23, 2016 11:04 am

shreeswifty wrote:
warnton wrote:
C3P4 wrote: When you tune to C1 for the root the harmonics 1-8 are tuned as follows:
C1, C2, G2, C3, E3, G3, Bb3, C4

On my unit the 7th harmonic (Bb) is a bit out of tune but I'm not bothered by that because it still sounds good when scanning through the harmonics.
it is not only your unit, it's THE system of harmonics, which we know since Pythagoras, to whom its credited the discovery, that intervals are mathematical proportion, 1:2, 2:3, etc. western music can be seen as an evolution along the harmonics, where every 2-300 years happens the next step, starting with the first interval (octave) in Gregorian chant in 600AD, developping in using the quint (fifth) and the quart (fourth) as next step. when around 1400, the third starts getting involved, we have had the first problem with the clean mathematic of nature. its a long history, how we than kind of faked this numbers, in order to get a "welltempered tuning" for our major/minor system . but as a result, we could develop harmonic chords, being modulated in different scales: classical and romantic music was born. than Richard Wagner came along with his "Tristan-chord", where he stretches the system of traditional major/minor scales to the extend, that you didn't know anymore, in which key the whole thing belonged. consequently, Schönberg invented 12-tone music to get rid of the 'harmonically centered around one scale-system' (sorry for my english), while Debussy and later Varèse found even other means to blow up the classical/romantic harmonie theories. Busoni writes 1903 (?), that "der Drittelton pocht a unserer Tür, aber wir hören es noch nicht" (the third tone (??) is knocking on our doors, we are just not hearing it yet). and that is all because of the seventh harmonic, which in fact, as you stated correctly, is "out of tune". but as nature is always stronger than we humans :-), we had to fight and accomodate and try to fit in this bloody seventh harmonic in our well build system, which we where constructing step after step in the last 1000 years or so and ... invented electronic instruments, which gave as more flexibility than the keyboards of our anchestors. Debussy already is writing about the shift from intervallic thinking to color ... now - as we still perceive the seventh harmonic as out of tune (remember, it took 2-300 years to incorporate the next step in the overtone row), but we have the means to produce it properly - for example with Verbo's HO, but of course with every clean resonating filter as well as with a "simple" string instrument - we will educate our ears the next two hundert years to incorporate it into the new (still unknown ) system.
it is a long story and concerns only western music systems, but anyhow ...
hope this helps to understand, why your beautiful HO is correctly tuned
sorry for my english and sorry, I couldn't make a shorter remark, but it was too tempting:-)
what he's actually saying is that the harmonic Series is JUSTly tuned and Equal Temperament is actually out of tune and it's a lie perpetrated on humanity. i would refer to Plato's Timaeus, Ernest Mcclains text and for a simplified version google Kyle Gann's work online for a quick tour up the harmonic series you can also consult David Cainright
Very interesting! I suppose it makes sense logically for the harmonic series to be the "correct" tuning as it is based on math/nature and not just what "sounds right"

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Post by davidjames » Wed Feb 24, 2016 11:46 am

C3P4 wrote:Here's a drone type track I made with the Verbos HO and STO/Fxdf/Rxmx for sound sources:

http://soundcloud.com/adrosaurus/alone-at-sea

Patch notes:
Verbos HO mix out to PGH Analog Replicator out to the mixer, and I manually play the sliders.
HO Center is modulated from Snazzy FX Telephone Game output 5.
Telephone Game clocked from 4ms PEG.
HO Tilt is modulated with an LFO from PGH Chain Reactor.

MakeNoise STO shape out to Fxdf 12db input, normalled to Rxmx.
Rxmx B output to PGH Verbtronic, switch set to tronic.
Verbtronic mix out to the mixer.

STO shape modulated by PEG cycling envelope.

Rxmx channel modulated from Wogglebug stepped out,
radiate from another Chain Reactor LFO,
and Wogglebug burst out to Rxmx strike input.
I am manually stepping the Wogglebug with a dummy cable at the clock in.

Towards the end of the track I add in a 3rd voice:
STO sub out to PGH Filter (LP output) out to the mixer.
Filter cutoff manually modulated.
C3P4, good stuff! Coincidentally, I just patched the HO to the AR last night and was pleased with the combo. Are you modulating the AR or does it stay more or less static throughout?

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Post by davidjames » Wed Feb 24, 2016 11:50 am

sackley wrote:Nice ^

Mine's arriving Wednesday! :party:
Congrats! Its not for everyone but for me its one of those "pry it from my cold, dead hands" modules.

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Post by C3P4 » Wed Feb 24, 2016 12:46 pm

davidjames wrote: C3P4, good stuff! Coincidentally, I just patched the HO to the AR last night and was pleased with the combo. Are you modulating the AR or does it stay more or less static throughout?
Thanks! I certainly enjoy the combo as well.
If I remember correctly it is more or less static, although I may have manually played with the feedback knob a bit.
Both the HO and AR are among my go to modules, both beautiful in their own way.

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Post by sackley » Wed Feb 24, 2016 9:57 pm

Seriously Mark! This module is so lovely and playable. I've been enjoying patching it too much to even bother recording. My first 40 minutes were just listening to a drone and playing the sliders. Patching slow, unsycned lfos into the individual control inputs is a must.

:cloud:

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Post by davidjames » Wed Feb 24, 2016 10:03 pm

C3P4 wrote:
davidjames wrote: C3P4, good stuff! Coincidentally, I just patched the HO to the AR last night and was pleased with the combo. Are you modulating the AR or does it stay more or less static throughout?
Thanks! I certainly enjoy the combo as well.
If I remember correctly it is more or less static, although I may have manually played with the feedback knob a bit.
Both the HO and AR are among my go to modules, both beautiful in their own way.
I'm inspired. I'll post a clip of my take on HO meets AR. I haven't patched my AR in a while but now I have a newfound interest in it. Its an underrated module.

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Post by sackley » Sun Feb 28, 2016 11:21 am

https://soundcloud.com/orderofthetransl ... e/160228-1

Just a simple meditation. Audio is HO -> Optomix -> Phonogene -> A-199

5 Step rene sequence to HO, various modulations to phonogene gene size, slide and optomix control in from maths and function. Phonogene EOS clocks Rene and strikes optomix.

Rene step access switched to get some variation while always kept at 5 steps, along with playing the HO sliders.

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