Starthief's Eurorack adventure, 2016-???

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Re: Starthief's Eurorack adventure, 2016-???

Post by MindMachine » Sat Jan 25, 2020 11:11 pm

starthief wrote:
Wed Jan 22, 2020 9:34 am
Honestly, I think Particle should be thought of as a delay/pitch shifter with granular modulation and freezing, not as a granular effect as such.
That is absolutely how I consider it. I have the V1 (design I and II) and I have three Malekko SND/RTN modules. They are 4 HP each with a ton of control in such a small in and out package. I keep my newer Particle in one of the SND/RTN units 90% of the time. Great for processing waveforms before further routing, after VCF, before VCA or after VCA... etc.

I too have a DSM03 Feedback Module. It is a trippy thing. I only use it 8-10 times a year, but it is unique in my studio. Also can do decent drum sounds. I think I need to process drum machines through it yet... hmmm.

Listening to your latest jams now. Very nice. So fun to read about the hardware as you go along and record.

edit - also I have the Reface CS and it is a deep little instrument. It is my only poly besides an SK-1. If the sliders had a deeper throw it would be incredibly deep with so much detail. Mine rests atop a little stationery wire stand that allows a bunch of pedals under it. Love the CS Reface (my only digital synth).
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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Sun Jan 26, 2020 8:04 am

MindMachine wrote:
Sat Jan 25, 2020 11:11 pm
also I have the Reface CS and it is a deep little instrument. It is my only poly besides an SK-1. If the sliders had a deeper throw it would be incredibly deep with so much detail.
It's a great little synth. Looks like a toy, and I agree that bigger sliders (and more resolution on a couple of parameters) would be welcome, but it's a blast to play it.

I wasn't as much into the other Refaces I tried, though I'd kinda like to give the YC a spin in the context of my own setup, for drones.
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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Wed Jan 29, 2020 6:42 pm

The Strymon AA.1 arrived today (after some inexplicable FedEx delays). I have to say I'm a little disappointed... partially by my choice of cables which are too short, and partially because it doesn't really attenuate enough :bang:

Red Panda Particle V2 is supposed to handle +7dBU signals. That's not a lot in terms of volts, but I would expect it to be fine with signals coming out of the AA.1. But nope... Rings audibly distorts, unless I run it through some other attenuator before the AA.1. And if I need another attenuator, what's the point? :bang:

The Particle itself, in stereo, processes L and R channels independently but identically. Any random parameters are randomized once and applied equally to both channels, which is also a minor disappointment.

...

At this point I think I'm going to return the AA.1 and resell the Particle. It occurs to me that, as fun as Particle was for the first couple of jams with it, I don't really love it like I do the Tensor. It's inspired me to mess with Clouds mode in Supercell some more and honestly, I think I might be better off exploring that space instead.
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Re: Starthief's Eurorack adventure, 2016-???

Post by Nutritional Zero » Thu Jan 30, 2020 4:36 pm

starthief wrote:
Wed Jan 29, 2020 6:42 pm
Red Panda Particle V2 is supposed to handle +7dBU signals. That's not a lot in terms of volts, but I would expect it to be fine with signals coming out of the AA.1. But nope... Rings audibly distorts, unless I run it through some other attenuator before the AA.1. And if I need another attenuator, what's the point? :bang:
Rings can distort even within a eurorack-only signal chain if you don’t manage its output level. My guess is that the 2- and 4-voice polyphony modes cause the signal to exceed 10Vpp due to the length of the decaying note(s). Just a thought, someone more knowledgeable can climb in here.

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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Thu Jan 30, 2020 6:49 pm

Nutritional Zero wrote:
Thu Jan 30, 2020 4:36 pm
Rings can distort even within a eurorack-only signal chain if you don’t manage its output level. My guess is that the 2- and 4-voice polyphony modes cause the signal to exceed 10Vpp due to the length of the decaying note(s). Just a thought, someone more knowledgeable can climb in here.
Rings does have a somewhat hot signal for sure. And distortion can sound especially bad with it where it might not be as noticeable with some mono signals that aren't inharmonic. But I also tried Hertz Donut through Natural Gate, at about 6Vpp and that was distorting too.

Calculator time...

The AA.1 is supposed to have 18dB of attenuation. Unless I'm totally misinterpreting various conversion calculators, a 12Vpp signal should attenuate down to 1.51Vpp, which is about -3.23 dBu. It shouldn't even matter which max level I have set in Particle...?

Anyway, I have an RMA number and I decided for sure not to keep Particle :despair:
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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Fri Jan 31, 2020 7:16 pm

Playing with FM Aid now. The character is a bit buzzier than I remember it for basic FM uses, but basic FM is not really why I got it :D

With HD m2: FM Aid gives "stronger" and brighter FM than the module itself.

With E352: FM Aid is all kinds of fun with several of E352's modes. In 2-Op FM mode, FM Aid is definitely brighter and stronger than the internal FM index, but they sound slightly different and you can alternate between them in fun synchronized ways. Cloud mode lends some cool fuzziness to the proceedings. Detune mode is also pretty great.

WIth Akemie's Castle: complicates things since you can have A modulate B or vice versa. It's kind of a wonderful mess. I'm not sure this is making any decisions about keeping the Castle any easier like I hoped it would :hihi:

With Rings: the waveshaping is just mad, sometimes even with no modulation going on -- thanks to the inharmonic chiming and/or polyphonic intermodulation distortion. Not an application for the module I had thought of before, but whoa is it cool.

With Sync3 and...?: Of course this depends a lot on what you drive Sync3 with and what you modulate with it. It can be a really straightforward way to change the FM ratio of a simple oscillator. Or you can use the 2+3 output, and mix modulators at two different ratios. You can use one of its outputs into FM Aid's MOD input and another into CV. You can PM the Sync3 from another oscillator (maybe the one you're driving it with). You can sync it from something more challenging and cause glitches -- like E352's Cloud mode or Rings -- and use that as your modulation source.


All good stuff. Glad to have one in my rack again :sb:
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Re: Starthief's Eurorack adventure, 2016-???

Post by dooj88 » Fri Jan 31, 2020 7:31 pm

starthief wrote:
Fri Jan 31, 2020 7:16 pm
With Rings: the waveshaping is just mad, sometimes even with no modulation going on -- thanks to the inharmonic chiming and/or polyphonic intermodulation distortion. Not an application for the module I had thought of before, but whoa is it cool.
hey starthief, i read your comparison between the hdmk2 vs mk3 the other day and wanted to say it was a really great take, pretty similar to my own. i appreciate the more technical synthesis knowledge you added to the review, and in comments around here in general. have to say i'm going to subscribe to this adventure thread, and thanks for sharing your thoughts and findings along the way. i'm sure i'll learn a lot.

but specifically to the point with the rings quote above, what waveshaping are you referring to with rings and the FM aid? is that in a feedback loop? or were you describing the character of FM from rings through FM aid?

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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Fri Jan 31, 2020 10:10 pm

dooj88 wrote:
Fri Jan 31, 2020 7:31 pm
but specifically to the point with the rings quote above, what waveshaping are you referring to with rings and the FM aid? is that in a feedback loop? or were you describing the character of FM from rings through FM aid?
FM Aid does some shaping to the signal (e.g. converting saw to sine) which has fun effects on more complex signals. This recording for instance is Rings in mono / green mode (modal), attenuated a little bit in Shades, into FM Aid Carrier in. FM knob is at 0 and I'm monitoring the sine output.

Watching on O'Tool+, there's a DC offset (absorbed by my audio interface), and what looks a bit like folding and a bit like rectification, especially as the brightness goes up. I just triggered Rings manually and played with brightness, structure and position knobs. No other processing except a limiter.



Coming out of the saw output it's changed a lot less, except for potentially nasty spiky glitches.

As you might guess, turning up the FM knob folds it over more and makes it sound more FM-ish. You can also set it to a polyphonic mode and run one output into Carrier, the other into Modulator and turn up FM a little... if you're careful with note choices going in it can sound pretty cool :D
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Re: Starthief's Eurorack adventure, 2016-???

Post by autopoiesis » Sat Feb 01, 2020 4:36 am

starthief wrote:
Fri Jan 31, 2020 7:16 pm
Playing with FM Aid now. The character is a bit buzzier than I remember it for basic FM uses, but basic FM is not really why I got it :D
while this is generally true and to some extent unavoidable, i have tamed, to my satisfaction, the scratchy / buzzing artifacts by:

1. marrying a single vco's sawtooth to the FM Aid's carrier input, carefully calibrating the FM Aid's trimmer to the amplitude of this sawtooth to minimize the buzzing, and only ever using that sawtooth when I want to patch phase modulation with the FM Aid. (modulators can be anything and make no difference to the calibration.) when i want to use it as a wavefolder, i unpatch my dedicated carrier and fold whatever through the modulator input.

2. using a low pass filter or a dark LPG (eg Takaab 2LPG with the switch at bottom) after the fm aid. as both Igor and starthief have pointed out, it's already producing brighter spectra than tzfm (and my observations concur), so cleaning up with a filter doesn't really come at a loss

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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Sat Feb 01, 2020 9:54 am

Yup, shaving off a little off the high end of the output with RIpples works well.

I also find it's smooth with a triangle for input, and still sounds great, so I might just use that by default :)
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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Wed Feb 05, 2020 8:51 am

I sold the Particle, and have a couple other pedals coming:

- Mosky mini spring reverb (a clone of the Malekko Omicron spring, which is based on a Belton brick)
- Catalinbread Adineko (oil can delay emulation)

So that should be fun.

I'm working on submissions to a couple of compilations, and had an idea last night that involved going back to my previous rhythm-first, MIDI-based workflow. That was an unmitigated disaster :hihi: I switched to more drifty and improvised music for a reason. I absolutely do enjoy rhythms, especially complex ones and weird time signatures and so on, and I like drumming... but it's like a completely separate practice for me, and the two areas just don't connect.

I've been reading Daphne Oram's An Individual Note: of Music, Sound and Electronics. She floats some esoteric ideas and metaphors extrapolated from the science behind electronic music... some of it is frankly a little crazy, but some is illuminating in a poetic sort of way.

At the start of the book, without using the words "envelope", "attack" or "decay" she talks about capacitors discharging, and the inverse of that, and adding an inductor to the circuit to make an LC oscillator, and varying the values to create more complex wobbles. After some thought, it made me think a lot of Tides.

This bit though really struck me:
20200205_060606-02.jpeg
It seems as relevant to gear as to music. Prescriptive ideas about what modular is meant to be, about how gear should be used, who or what or which genres they're for, and hype and anti-hype, and whether new gear is innovative or creative enough. In fact that last bit may apply even more to gear than to music listening -- we're talking about musical instruments here, and it is the musician who's expected to create something with those instruments.
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Re: Starthief's Eurorack adventure, 2016-???

Post by dekemcculo » Wed Feb 05, 2020 9:28 am

interesting idea, and a book I'll definitely have to look into. one of the things I love about modular and electronic music is the relative lack of fixed preconceptions about what it should or should not be (no fixed time signature, sonic palette, or "usual instruments" that you can expect). Of course norms develop, and performative stuff like rings into clouds on instagram, but all of those performance tools (the modules, and the medium) can be utilized in novel ways or induce novel experiences—the norm of rings into clouds does not diminish the music making just as the norm of guitar tuning doesn't diminish the potential, but the possibility (maybe even invitation) to push beyond those norms as well and put clouds into rings instead (probably not a new thing, just an example) is almost a norm of electronic music and modular. That reformulation and experimentation is the norm. Always useful in this kind of theoretical thinking to remember that the music is the end, and it's about the experience and the feeling of it that's important, which I like that she does in that expert. The gear doesn't really matter except insofar as it enables expression. Beware, too, of the busybody in you telling you what you need and why.

That being said, can you hook me up with a good deal on a toyota now that you're a licensed dealer? :hihi:

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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Wed Feb 05, 2020 10:12 am

dekemcculo wrote:
Wed Feb 05, 2020 9:28 am
That being said, can you hook me up with a good deal on a toyota now that you're a licensed dealer? :hihi:
Heh :lol:

dekemcculo wrote:
Wed Feb 05, 2020 9:28 am
The gear doesn't really matter except insofar as it enables expression. Beware, too, of the busybody in you telling you what you need and why.
Yeah.

I came to the realization that the gear I have is "complete" in the sense of, I don't need anything else to make the music I want to make -- in fact I could still do well with a lot less, to be honest. But I need to constantly remind myself of that.

Something else I've been thinking about is translating enthusiasm over gear into enthusiasm about technique. A lot of new gear is a variation on something that already exists, or a shortcut to something that can be patched with existing gear.

Ultimately I'm not doing all of this to chase gear, I've been chasing the gear to make music and learn things. And I've pretty much caught the gear at this point...
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Re: Starthief's Eurorack adventure, 2016-???

Post by deftinwulf » Wed Feb 05, 2020 11:29 am

starthief wrote:
Wed Feb 05, 2020 8:51 am
This bit though really struck me:

20200205_060606-02.jpeg
I liked that. Thanks for sharing it. :party:

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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Fri Feb 14, 2020 7:30 am

I wasn't feeling much motivation last night, and finished the other projects I had going for February... but I fired up Akemie's Castle and immediately fell back in love with it. The chords and FM are just :chefs kiss: and brought me instant joy. I'm gonna stop worrying about "FM overkill" because I like what I like, and it's FM :mrgreen:

With that thought, I figure, I might as well stop waiting to sell stuff. The DSM03, tanh[3] and Cold Mac have been sitting in a drawer for a little while now, and the HD mk3 left unused, and I feel fine about it.

I'll also go ahead and move down from the big Supercell to a Typhoon (or one of the others in similar territory if a trade). I don't use the internal random modulation or the Aux bus, and I have plenty of attenuverters in my setup.

This'll leave 33HP in my case. I don't have any plans for that space for now, and am going to hold off buying stuff until at least after the E520 arrives. I'm also going to hold off on pedals for the same reason.

RIght now for pedals, I have the Tensor by itself, and Adineko into Mosky Spring Reverb on the other chain. The Adineko was damaged in transit -- nothing visible but the delay repeats knob (labeled "Reverb") does nothing -- but I got a partial refund that could cover repair costs. I can just patch my own feedback loops around it though, and include the spring reverb and a filter in the loop and it sounds better anyway, so I'm enjoying my half price pedal :D
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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Tue Feb 18, 2020 11:37 am

As it turns out, rather than selling Cold Mac I'm trading it for a R*S Serge VCFQ . This will be three filters in my case...! They may not all survive in the long term, but since one of the big things I'm working on now in terms of technique is coming to terms with filters, the timing is appropriate at least.

I suspect VCFQ might butt heads with Filter 8 a bit in terms of functionality -- Filter 8 of course has 8 outputs, but VCFQ still has 4 outputs 90 degrees apart and a high/low range switch, and I expect it can take up very similar roles while being better at pinging. I expect the character will be different. I'll know soon :)

I am starting to recognize that part of why I feel like I'm not into subtractive synthesis is that I hold a rather limited, stereotypical concept of it, as a classic monophonic synth patch: VCO -> VCF -> VCA with filter and VCA modulated by envelopes. I enjoyed that with the Microbrute, but it doesn't really fit the more drone-oriented music I'm making now. On the other hand, I could get some interesting textures even out of the Microbrute's architecture. And even leaving aside filter-as-sound-source options, there are all kinds of ways I could fit filters into my flow. So I think the simple first step is, don't patch an envelope into filter cutoff unless they're really slow looping ones.

On another note, Hainbach's recent video on a Eurorack system inspired by his wall of test equipment made me curious about Morphagene (or Phonogene) in a way I've never really been before. I briefly looked into Morphagene when I was thinking more about granular synthesis, but what appeals to me most right now is something W/ like but with a simple, hands-on interface -- somewhere between sound-on-sound looper and delay, with pitch/time slowing and a nicely degraded sound. That said, I do have Clouds and Mimeophon, and should absolutely explore those avenues (as well as the E520 !!) first.

It occured to me as I reread this, Tensor can do the looping, time/pitch thing too, I just don't usually patch and use it that way. I usually let it repitch live material and often have the Random knob set to keep things moving.
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Re: Starthief's Eurorack adventure, 2016-???

Post by hinterlands303 » Tue Feb 18, 2020 1:36 pm

VCFQ is an amazing filter. Definitely my favorite both in terms of sound and patch-programability. I think you're right that the filter 8 and vcfq will have some overlap but the vcfq has a huge amount of vibe and eccentricity.

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Re: Starthief's Eurorack adventure, 2016-???

Post by beepnsleep » Tue Feb 18, 2020 6:34 pm

starthief wrote:
Tue Feb 18, 2020 11:37 am
As it turns out, rather than selling Cold Mac I'm trading it for a R*S Serge VCFQ . This will be three filters in my case...! They may not all survive in the long term, but since one of the big things I'm working on now in terms of technique is coming to terms with filters, the timing is appropriate at least.

I suspect VCFQ might butt heads with Filter 8 a bit in terms of functionality -- Filter 8 of course has 8 outputs, but VCFQ still has 4 outputs 90 degrees apart and a high/low range switch, and I expect it can take up very similar roles while being better at pinging. I expect the character will be different. I'll know soon :)

I am starting to recognize that part of why I feel like I'm not into subtractive synthesis is that I hold a rather limited, stereotypical concept of it, as a classic monophonic synth patch: VCO -> VCF -> VCA with filter and VCA modulated by envelopes. I enjoyed that with the Microbrute, but it doesn't really fit the more drone-oriented music I'm making now. On the other hand, I could get some interesting textures even out of the Microbrute's architecture. And even leaving aside filter-as-sound-source options, there are all kinds of ways I could fit filters into my flow. So I think the simple first step is, don't patch an envelope into filter cutoff unless they're really slow looping ones.

On another note, Hainbach's recent video on a Eurorack system inspired by his wall of test equipment made me curious about Morphagene (or Phonogene) in a way I've never really been before. I briefly looked into Morphagene when I was thinking more about granular synthesis, but what appeals to me most right now is something W/ like but with a simple, hands-on interface -- somewhere between sound-on-sound looper and delay, with pitch/time slowing and a nicely degraded sound. That said, I do have Clouds and Mimeophon, and should absolutely explore those avenues (as well as the E520 !!) first.

It occured to me as I reread this, Tensor can do the looping, time/pitch thing too, I just don't usually patch and use it that way. I usually let it repitch live material and often have the Random knob set to keep things moving.
Why are you getting rid of Cold Mac? I've considered getting rid of mine as well- I rarely use it, but it has so many of the common utilities in 8HP.

I'm interested in how you like the VCFQ and filter 8 together! I got rid of my VCFQ for the filter 8. while I loved the sound, I decided the extra utility of the F8 was worth it and got tired of adjusting levels before/after the VCFQ to avoid clipping.

Near the beginning of Allen Strange's book, he emphasized the importance of tape looping/splicing etc in a way that made the morphagene make a lot more sense to me as a cool revisitation of history. Have you seen the two Instruo modules, Arbhar and Lubdah (sp?)? they are granular and tape style loopers respectively. Seems to be some overlap, I'd love to have both some day... The Lubdah has some circuitry to simulate driving the tape deck and much more intuitive interface than Morphagene

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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Tue Feb 18, 2020 9:48 pm

beepnsleep wrote:
Tue Feb 18, 2020 6:34 pm
Why are you getting rid of Cold Mac? I've considered getting rid of mine as well- I rarely use it, but it has so many of the common utilities in 8HP.
I think it's clever but I honestly have a lot of its utilities already covered elsewhere, and can take care of the rest in Bitwig Grid through the ES-3/ES-6. I find I really like Flexshaper for remapping/shaping CV and/or doing rectification for instance, and I prefer Maths or Stages for slew.
beepnsleep wrote:
Tue Feb 18, 2020 6:34 pm
Near the beginning of Allen Strange's book, he emphasized the importance of tape looping/splicing etc in a way that made the morphagene make a lot more sense to me as a cool revisitation of history. Have you seen the two Instruo modules, Arbhar and Lubdah (sp?)? they are granular and tape style loopers respectively.
I was impressed by them when they were first announced (Superbooth 2019 maybe?), especially the visual design. But I haven't investigated them in more detail now that they're out. Of the two, Lubadh is probably the one I would go for. Between Morphagene and Phonogene I am kind of leaning more toward Phonogene for its simplicity and lo-fi sound.

Tonight's experiments tell me Tensor should tide me over pretty well until the E520 ships and I can mess with its looper, spectral delays etc. and make any further decisions after that. Or Clouds for grabbing a moment from a drone and pitch-shifting it, if Akemie's Castle and Sync3 and using Kermit in PLL mode aren't already enough to create ridiculously dense clusters :)
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Re: Starthief's Eurorack adventure, 2016-???

Post by Roy72 » Thu Feb 20, 2020 5:21 am

Can you explain Kermit in PLL mode?

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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Thu Feb 20, 2020 7:04 am

Roy72 wrote:
Thu Feb 20, 2020 5:21 am
Can you explain Kermit in PLL mode?
On the original Kermit (which I think is officially "mk II"), setting the frequency mode to orange changes the V/Oct input for that channel to a pulse input that it tries to track like a PLL. It'll work at audio rates.

As with Tides, the frequency knob becomes a harmonic divider or multiplier. Some of the shapes in the wavetable have strong harmonics and a weak fundamental so they already sound like they're multiplied... so you can set the PLL down to 1/3 but use a sound with a strong 2nd harmonic and it feels overall like you've transposed down by a 5th :)

Unlike Tides or Symc3, the tracking is pretty imperfect-- I think it's using an algorithm that imitates an analog PLL to some extent rather than simply counting milliseconds between pulses. So there can be some slew, detuning, and false locks at the wrong frequencies that keep things interesting :D

From what I've read and remember, Kermit mk3 is more limited in this area... one pulse input used for envelope triggers or LFO sync but not audio rate? Something like that.
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Re: Starthief's Eurorack adventure, 2016-???

Post by dooj88 » Thu Feb 20, 2020 11:02 am

re pedal integration, that the strymon module's configuration looked a bit funny to me, so i was looking at addac's offering until i came across AI's 006 stompbox integrator. wondering if you had seen it yet


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starthief
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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Thu Feb 20, 2020 12:03 pm

I kind of don't like the layout on that one -- it's similar to 2hp Trim, where the jacks can get in the way of the mini-pots a bit. I'd rather have the two pots either at the top or bottom of the module, and preferably keep the to/from together at the opposite end.

I like the ADDAC200PI layout -- I keep mine mounted upside-down at the top left corner, since my pedals sit on top of my case.
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Re: Starthief's Eurorack adventure, 2016-???

Post by starthief » Thu Feb 20, 2020 4:45 pm

I've got the VCFQ now, and having a little bit of a play with it even though I'm not feeling great and am probably heading back to bed soon.

It sounds great to me overall, with the lowpass having a character similar in some ways to Filter 8's LP3 output but definitely not identical. (I was expecting it to more closely match LP2 :hmm:) Notch and band outs are really nice.

Getting it to resonate consistently without clipping or eventually dying out does take a pretty delicate balancing act on the Gain knob. And the Notch output once you get it doing that is much lower than the rest -- it tends to disappear completely as the Q increases. So it's considerably more difficult to use as a quadrature osc than Filter 8.

But it pings really nicely, as expected.

Between the two of them I'd be hard pressed to pick a favorite, so chances are I will keep 'em both :yay:
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Re: Starthief's Eurorack adventure, 2016-???

Post by Roy72 » Thu Feb 20, 2020 6:05 pm

starthief wrote:
Thu Feb 20, 2020 7:04 am
Roy72 wrote:
Thu Feb 20, 2020 5:21 am
Can you explain Kermit in PLL mode?
On the original Kermit (which I think is officially "mk II"), setting the frequency mode to orange changes the V/Oct input for that channel to a pulse input that it tries to track like a PLL. It'll work at audio rates.

As with Tides, the frequency knob becomes a harmonic divider or multiplier. Some of the shapes in the wavetable have strong harmonics and a weak fundamental so they already sound like they're multiplied... so you can set the PLL down to 1/3 but use a sound with a strong 2nd harmonic and it feels overall like you've transposed down by a 5th :)

Unlike Tides or Symc3, the tracking is pretty imperfect-- I think it's using an algorithm that imitates an analog PLL to some extent rather than simply counting milliseconds between pulses. So there can be some slew, detuning, and false locks at the wrong frequencies that keep things interesting :D

From what I've read and remember, Kermit mk3 is more limited in this area... one pulse input used for envelope triggers or LFO sync but not audio rate? Something like that.
Thanks for that, I've done that with mine but never thought of it as PLL. I need to go back and experiment some more.

Much like the Hertz Donut, the MkIII kermit seems a different beast rather than an upgrade.

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