Today my small discovery was...

Cwejman, Livewire, TipTop Audio, Doepfer etc... Get your euro on!

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Sookilala
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Post by Sookilala » Wed Sep 25, 2019 6:51 pm

I was thinking about buying a Rebel Technology Tonic as it looks like a cool way to great melodic sequences using my many Trigger/gate sources

I decided to try and build the module out of existing modules I currently own.

Using a series of continuous voltages from pressure points (could be any constant voltage source) fed into a 4ms matrix mixer (any vca that can sum or any multi channel vca w/ a unity mixer would work), then opening and closing the VCAs with a Pithoprakta (again any gate source would work) I was able to create patterns with my gate source

Im sure this is common knowledge, but this was my small discovery :)

The great thing about using the matrix mixer is I could sequence multiple oscillators from the same voltage sources. as long as I had more gate sources (which I do :)

I always feel I learn alot from trying to deconstruct how modules work and build them from smaller components...

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starthief
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Post by starthief » Wed Sep 25, 2019 9:48 pm

PWM from a sine wave with Shades:

Sine VCO -> Shades input 1; max the knob
Shades output 3 -> mult to Shades input 2 & output; set knob for desired "squareness"
LFO -> Shades input 3; adjust knob for PWM as needed



Similar trick with Maths:

Sine into CH2 input; turn CH2 atteunverter fully positive
INV into CH3 input; turn CH3 atteunverter negative for "squareness"
cycle CH1 and/or CH4; adjust attenuverters for PWM
If FM overkill is wrong, I don't want to be right. ★ starthief.bandcamp.comstarthief.netModularGrid

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luchog
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Post by luchog » Thu Sep 26, 2019 4:04 pm

electricanada wrote:I didn't start with anti-screen or anti-digital prejudices. But after having built a large modular system over the past year, I have developed these prejudices. I still tolerate CPU-based devices for utilities so long as they don't have screens or complex button pushes, but my audio stream is becoming more and more analog. And even my favorite utilities are mostly analog anymore.
The reason I went all-analog to begin with is because I wanted to get as far from my fucking computer and anything resembling it as possible. I spend nearly the entire rest of my life on that stupid box, and when I'm making art, I do not want to feel like I'm back playing around on it. So no screens, no firmware, no menu-diving, nothing computer-ish at all. I want to see everything up front and know what I'm getting when I turn a knob and plug in a cable.

And yes, a modular synthesizer is technically a sort of analog computer, but anyone nitpicking that can bite me.

Granular
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Post by Granular » Fri Sep 27, 2019 3:19 pm

Again...not really Module or Patch related

I've got a Tip Top Mantis Case as my first Eurorack. I need more Space :roll: because I want to buy a Rene 2 and Pressure Points. At first it wanted to buy a second Mantis and the Mounting Bracket they will soon release.

But the longer I work with the Mantis the more I dislike the Plastic Look and the curved Shape of the Case. Don't get me wrong. It's a nice solid rack and I like the Angled Top Row. And it's probably the best Value per HP.

But since I'm a Design Addict I think I won't be happy with two of them standing on the Desk.

So I was looking at the 7U 104HP Intellijel Performance Case. The 1U Row looks really appealing to put Mults, Attenuators and the Noise Tools in it.

And I love the Minimalistic Industrial Style Design of the Performance Case :hail:

So I will probably end getting 2 of these Cases mounted with the Joiners and sell the Mantis.

I know it's a different Price Class but :despair: :hihi:

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Mark II
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Post by Mark II » Fri Sep 27, 2019 3:45 pm

Don’t feed a too hot signal into Kaminiec, attenuate it a bit for the cleanest, sweetest phasing.

Found this out with the help from the kind folks at Xaoc Devices. Kudos to them.
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Foghorn
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Post by Foghorn » Fri Sep 27, 2019 4:35 pm

Granular wrote:..SNIP..

But since I'm a Design Addict I think I won't be happy with two of them standing on the Desk.

So I was looking at the 7U 104HP Intellijel Performance Case. The 1U Row looks really appealing to put Mults, Attenuators and the Noise Tools in it.

And I love the Minimalistic Industrial Style Design of the Performance Case :hail:

So I will probably end getting 2 of these Cases mounted with the Joiners and sell the Mantis.
The 104 X 7U Intellijel case is a good deal, but when you get two and the case joiner, it is an excellent case.

I found that the 1U row is especially useful for just the reason that you are saying.
All the housekeeping modules that are so important for a system.
You won't be disappointed.

Noise tools is really useful if you want some random, and with mults, Quadratt and for me the headphone out, it really makes the system.

I assembled an all Mutable instruments case with one of mine and a mostly Intellijel case with the other one. Mutable Intellijel case
It is just perfect. :hihi:

Best of luck :yay:

Foghorn

Anyone notice just how ridiculous some of these emoticons are?

I still have a Mantis case, maybe I should sell it so it at least gets used.
I'm not sure what's going on, but, well ah crap..what now?
.......Not really a musician.......

Granular
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Post by Granular » Sat Sep 28, 2019 4:34 am

Nice. Can you tell me how much space it takes when the Cases are mounted?

Not sure if it fits on my desk :woah:

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Post by autopoiesis » Fri Nov 01, 2019 3:55 pm

my discoveries over the last couple months...

- the NSL-32 vactrol VCA tile from pulplogic suppresses clicks on fast envelopes without introducing any kind of variable latency (like zero-crossing detection based solutions introduce). you don't even need to increase your attack time, and the resulting curve is only slightly more exponential. problem finally solved!

- using the plague bearer as a feedback processor for any filter (filter output multed into the PB, PB output sent back into the filter through an attenuverting mixer) allows me to dial in - with surprising precision - completely different resonance characters than the filter natively possesses. with this patch I can get my Polaris to sound like my A-124 and like a polivoks and like an MS20 filter and of course a completely new fucked up thing

- the twin peak resonator sounds AMAZING when you run it through a wavefolder, mult the wavefolder output to modulate the filter resonance, turn up the high pass with moderate resonance, and dial in some FM from the audio input and from the first filter peak. slightest movements of the high pass produce these rippling movements that sound like a delay with feedback is on the end of chain, and all kinds of uncannily rubbery textures can be found in here. ping the mess and now you're making Seinfeld bass

- if you have an FM Aid and a ring modulator, try ring modulating your carrier (the sine output of the oscillator whose saw goes into FM Aid's carrier input) and modulating oscillator and using the product of that for the FM Aid's modulation input. what seems to happen is that you get the regular phase modulation plus the *difference* of the two sine waves getting wavefolded, and you can get so much more movement and tonal depth by blending between just the modulator sine and this ring modulation product. it ends up in the timbral ballpark of 3-operator FM

- using a couple of crossfaders, one to get VC over feedback and another to move between the two comb outputs, with a r*s serge resonant eq. was a pretty good idea for this incredible sounding but CV-less module

- got a Zadar? like vactrol shapes? the first few waves in bank D at early extremes of warp and response settings sound remarkably like a pinged LxD or Optomix

- I'm gonna stick with keeping vacuum tube shit on its own power supplies and outside eurorack

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BaloErets
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Post by BaloErets » Fri Nov 01, 2019 4:19 pm

My small discovery today was that it is worth it to go back and watch tutorial videos for those more complex module that you have, and that you think you've mastered.

Today, after watching the Rene2 FUN page video, I discovered that the clock input actually follows the width of the clocks! I always thought this input was only tracking rising edge as most clock inputs do. This opens up so many fun sequencing options with logic modules and clocking Rene. I'm so happy to have found something new in a module which I thought I had pretty much figured out :party:

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cloudleft
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Post by cloudleft » Fri Nov 01, 2019 5:05 pm

I learned you can patch your own panner / crossfader. What you need is a control source for the panning / crossfading (unipolar makes it a little more straightforward), a multiple or stackcables, 2 VCAs, 1 reversing attenuator, an offset generator, and a mixer.

Ok so: the 2 signals you want to crossfade between each go into 1 of the 2 VCAs. Patch the CV source into one of the VCAs. Copy that CV source with a mult or stackcable, invert the copy with the reversing attenuator, and then apply an offset so that while reversed it's fully positive. The reversed, offset CV source goes into the second VCA. Patch the output of both VCAs into your mixer and you should have a pretty nice crossfader!

I personally use 4ms SISM and ADDAC Quintet VCA/Mixer combo to achieve this.

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AbundantChoice
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Post by AbundantChoice » Mon Nov 04, 2019 1:39 pm

This is probably the most "of course, you idiot" small discovery possible, but for some reason in my head I had always thought of envelopes as something unique and I never lumped them in with other signals, conceptually. Well finally today I was staring at my Zadar and the "hey, genius... an envelope is just a CV like everything else. You don't *have* to use it to just control volume, you know" light went off in my head.

"Huh, what if we sent one of the funky envelope shapes Zadar does to the Harmonaig?" Boom. Instant chord progressions.

"Well, what if we multed the envelope so that it sends the envelope proper to a VCA to control volume like a normal envelope, but then we also sent it to an LFO to control the rate at which it's wiggling a LPF?" Boom. Instant filter wub-wub dynamics that get bigger as the volume of the note gets bigger and "follows the envelope."


I am totally looking at my Zadar in a whole new light.

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cptnal
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Post by cptnal » Mon Nov 04, 2019 2:50 pm

BaloErets wrote:My small discovery today was that it is worth it to go back and watch tutorial videos for those more complex module that you have, and that you think you've mastered.
I think this goes for any module, complex or not. I remember re-reading the Tangle Quartet manual and discovering it could amplify if the control signal exceeds 5V. So yes, folks - it pays to read the manual, even for a VCA. :party:

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Post by electricanada » Mon Nov 04, 2019 7:46 pm

AbundantChoice wrote:This is probably the most "of course, you idiot" small discovery possible, but for some reason in my head I had always thought of envelopes as something unique and I never lumped them in with other signals, conceptually. Well finally today I was staring at my Zadar and the "hey, genius... an envelope is just a CV like everything else. You don't *have* to use it to just control volume, you know" light went off in my head.

"Huh, what if we sent one of the funky envelope shapes Zadar does to the Harmonaig?" Boom. Instant chord progressions.

"Well, what if we multed the envelope so that it sends the envelope proper to a VCA to control volume like a normal envelope, but then we also sent it to an LFO to control the rate at which it's wiggling a LPF?" Boom. Instant filter wub-wub dynamics that get bigger as the volume of the note gets bigger and "follows the envelope."


I am totally looking at my Zadar in a whole new light.
A very slow triangle or sine envelope into a comparator can structure an entire composition into ABA form (with the Doepfer comparator), or even ABACABA with a dual window comparator.

At a more meso level, I like a slow envelope controlling gate length and/or slew on my sequencer.
Eléctrica (electric) Nāda (the yoga of sound).

BlinkyLights
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Post by BlinkyLights » Tue Nov 05, 2019 12:31 am

My (not so) small discovery today was that in reading through this entire thread - it was blatantly obvious that there is a metric fuckload about all this that I don't know yet...

The literal art and science of synthesis, notably - Modular Synthesis in a eurorack context, is so so so much deeper than the rest of the synth world I had experienced previously.

Heretofore I've been an excellent synth user, as a musician, and have made quite a bit of music over the years (whilst I now realize ... I didn't know shit about real synthesis...).

I'll be going back through this thread again, and saving every single interesting bit, and making myself learn as much of it all as possible and feasible. It's a wealth of info.

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jasev
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Post by jasev » Tue Nov 05, 2019 4:20 am

electricanada wrote:
AbundantChoice wrote:This is probably the most "of course, you idiot" small discovery possible, but for some reason in my head I had always thought of envelopes as something unique and I never lumped them in with other signals, conceptually. Well finally today I was staring at my Zadar and the "hey, genius... an envelope is just a CV like everything else. You don't *have* to use it to just control volume, you know" light went off in my head.

"Huh, what if we sent one of the funky envelope shapes Zadar does to the Harmonaig?" Boom. Instant chord progressions.

"Well, what if we multed the envelope so that it sends the envelope proper to a VCA to control volume like a normal envelope, but then we also sent it to an LFO to control the rate at which it's wiggling a LPF?" Boom. Instant filter wub-wub dynamics that get bigger as the volume of the note gets bigger and "follows the envelope."


I am totally looking at my Zadar in a whole new light.
A very slow triangle or sine envelope into a comparator can structure an entire composition into ABA form (with the Doepfer comparator), or even ABACABA with a dual window comparator.

At a more meso level, I like a slow envelope controlling gate length and/or slew on my sequencer.

Hi electricanada. Would you mind elaborating on the comparator part of your comment please. Like how to patch this up

Thanks Jase

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Post by electricanada » Tue Nov 05, 2019 8:57 pm

jasev wrote:
electricanada wrote:
AbundantChoice wrote:This is probably the most "of course, you idiot" small discovery possible, but for some reason in my head I had always thought of envelopes as something unique and I never lumped them in with other signals, conceptually. Well finally today I was staring at my Zadar and the "hey, genius... an envelope is just a CV like everything else. You don't *have* to use it to just control volume, you know" light went off in my head.

"Huh, what if we sent one of the funky envelope shapes Zadar does to the Harmonaig?" Boom. Instant chord progressions.

"Well, what if we multed the envelope so that it sends the envelope proper to a VCA to control volume like a normal envelope, but then we also sent it to an LFO to control the rate at which it's wiggling a LPF?" Boom. Instant filter wub-wub dynamics that get bigger as the volume of the note gets bigger and "follows the envelope."


I am totally looking at my Zadar in a whole new light.
A very slow triangle or sine envelope into a comparator can structure an entire composition into ABA form (with the Doepfer comparator), or even ABACABA with a dual window comparator.

At a more meso level, I like a slow envelope controlling gate length and/or slew on my sequencer.

Hi electricanada. Would you mind elaborating on the comparator part of your comment please. Like how to patch this up

Thanks Jase
I posted some diagrams ITT: https://www.muffwiggler.com/forum/viewtopic.php?t=216141&highlight=
Eléctrica (electric) Nāda (the yoga of sound).

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Post by zerodivide » Wed Nov 06, 2019 1:04 am

RENE 2: just realized the TRIG.ON tip hidden in the manual, which turns gate signals into short pulses perfect for triggering Vatrols in Low Pass Gates. NO more need to create a short envelope in something like Maths. Just feed a short pulse from Rene's Gate Out to your LPG. Sweeeet

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Post by jasev » Wed Nov 06, 2019 2:51 am

electricanada wrote:
jasev wrote:
electricanada wrote:
AbundantChoice wrote:This is probably the most "of course, you idiot" small discovery possible, but for some reason in my head I had always thought of envelopes as something unique and I never lumped them in with other signals, conceptually. Well finally today I was staring at my Zadar and the "hey, genius... an envelope is just a CV like everything else. You don't *have* to use it to just control volume, you know" light went off in my head.

"Huh, what if we sent one of the funky envelope shapes Zadar does to the Harmonaig?" Boom. Instant chord progressions.

"Well, what if we multed the envelope so that it sends the envelope proper to a VCA to control volume like a normal envelope, but then we also sent it to an LFO to control the rate at which it's wiggling a LPF?" Boom. Instant filter wub-wub dynamics that get bigger as the volume of the note gets bigger and "follows the envelope."


I am totally looking at my Zadar in a whole new light.
A very slow triangle or sine envelope into a comparator can structure an entire composition into ABA form (with the Doepfer comparator), or even ABACABA with a dual window comparator.

At a more meso level, I like a slow envelope controlling gate length and/or slew on my sequencer.

Hi electricanada. Would you mind elaborating on the comparator part of your comment please. Like how to patch this up

Thanks Jase
I posted some diagrams ITT: https://www.muffwiggler.com/forum/viewtopic.php?t=216141&highlight=

Thanks for that ill give it a read

Cheers

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Hovmod
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Post by Hovmod » Thu Nov 07, 2019 10:20 am

What an epic thread!
I'm just getting started, and I guess my first big discovery is that no matter what I had in mind for a module, I end up using it for other stuff. And that there are butterfly effects at play all over the place - microadjustments at one end of a signal chain can make a huge difference down the pathway, and does. When you guys say "patch x into y", I have learned that you're leaving out wiggling a dozen knobs to achieve z.
Also, fuck my plan.

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b9
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Post by b9 » Thu Nov 07, 2019 12:23 pm

Today I realized I could feed an envelope signal into the level control of my qpas and use it as a eq'd vca. I then realized I could sent the inverted envelope into the bright control of rings and generate a nice little harmonic in the qpas at the peak of the envelope.

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AbundantChoice
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Post by AbundantChoice » Thu Nov 07, 2019 2:20 pm

Today I learned that if you feed breakbeats into a Morphagene, you can create some absolutely destructive percussive annihilation if you're so inclined.

Conversely, if you feed it a bunch of birdsong, you can magically transform yourself into Jonsi + Nico Muhly.

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gelabs
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Post by gelabs » Fri Nov 08, 2019 4:20 pm

Disting's algorithm I2 is Pam's junglist best friend ...

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Post by Cortega » Sat Nov 09, 2019 5:54 am

gelabs wrote:Disting's algorithm I2 is Pam's junglist best friend ...

what is Pam's junglist ?

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Post by Cortega » Sat Nov 09, 2019 5:56 am

AbundantChoice wrote:Today I learned that if you feed breakbeats into a Morphagene, you can create some absolutely destructive percussive annihilation if you're so inclined
would love to hear this, do you like to upload a little Audio snippet ?

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gelabs
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Post by gelabs » Sat Nov 09, 2019 7:36 am

Cortega wrote:what is Pam's junglist ?
Sorry, my frenchglish has struck again : Pamela's New Workout + Disting's I2 (with an amen break, for example) can lead to nice mangled breakbeats.

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