Instruō - Cš-L complex oscillator [CS-L]

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hawkfuzz
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Post by hawkfuzz » Fri Jun 28, 2019 8:16 pm

Try an attenuator before sending it. Are you using Lin or Exp?

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charonme
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Post by charonme » Sun Jun 30, 2019 4:25 am

jsp549 wrote:Anyone feel like the potentiometers used for the FM and Fine Tune are a bit imprecise?
yes, when I try to tune the oscillators it seems to me like I have to turn the knob more than just a little bit, otherwise it has completely no effect. I can wiggle the knob left and right under a certain threshold without any effect
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jsp549
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Post by jsp549 » Sun Jun 30, 2019 12:39 pm

hawkfuzz wrote:Try an attenuator before sending it. Are you using Lin or Exp?
This seems to be the only solution to the issue, but the problem shouldn’t exist at all considering all these parameters have their own dedicated attenuators on the module already. I am using Lin
Last edited by jsp549 on Sun Jun 30, 2019 12:44 pm, edited 1 time in total.

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Post by jsp549 » Sun Jun 30, 2019 12:42 pm

charonme wrote:
jsp549 wrote:Anyone feel like the potentiometers used for the FM and Fine Tune are a bit imprecise?
yes, when I try to tune the oscillators it seems to me like I have to turn the knob more than just a little bit, otherwise it has completely no effect. I can wiggle the knob left and right under a certain threshold without any effect
This is exactly the problem I have. Anyone else?

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hawkfuzz
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Post by hawkfuzz » Sun Jun 30, 2019 2:23 pm

You should post a clip showing what's going on. That module has a lot of knobs so it might be something you're missing or a faulty unit but it'll be easier to tell when you give an example.

I don't own the module but in my mind there shouldn't be any signal with the FM attenuator all the way down and should gradulally come in as you sweep the knob.

I don't what the FINE TUNE knob has to do with the FM attenuator though so maybe post a video and it'll be clear.

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charonme
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Post by charonme » Mon Jul 01, 2019 1:46 pm

[video][/video]
notice the pitch doesn't change when the knob is moved just a little bit
Last edited by charonme on Tue Jul 02, 2019 8:31 am, edited 1 time in total.
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Post by synonymist » Mon Jul 01, 2019 6:56 pm

This is my first try at a patch of some complexity in which Cš-L is the only sound source. I think.

There was a lot of sound comin' out of this thing. :)

Each piece is componentially simple, but texturally complex; is quasi-generative; and takes a bit to unfold (so patience rewards). I recall using only one pitch sequence to drive Cš-L. But lots of modulation, both of Cš-L and post (LPGs, VCAs, etc.)

You can hear Just Friends and René having a fist fight as Function and Cèis whip the crowd into a frenzy. :eek:

I am newly impressed with Cš-L's sawtooth wave, used here for the lightly filtered, growly bass (that plinks its way up to the tenor register in the second piece especially).

One take each. No sampling, granular synthesis, etc. Just a little reverb. Session notes are at each track's webpage:

https://soundcloud.com/synonymist/1-one ... r-stumblin

https://soundcloud.com/synonymist/2-one ... or-swingin

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Post by defalut » Wed Jul 03, 2019 3:58 am

synonymist wrote:This is my first try at a patch of some complexity in which Cš-L is the only sound source. I think.

There was a lot of sound comin' out of this thing. :)

Each piece is componentially simple, but texturally complex; is quasi-generative; and takes a bit to unfold (so patience rewards). I recall using only one pitch sequence to drive Cš-L. But lots of modulation, both of Cš-L and post (LPGs, VCAs, etc.)

You can hear Just Friends and René having a fist fight as Function and Cèis whip the crowd into a frenzy. :eek:

I am newly impressed with Cš-L's sawtooth wave, used here for the lightly filtered, growly bass (that plinks its way up to the tenor register in the second piece especially).

One take each. No sampling, granular synthesis, etc. Just a little reverb. Session notes are at each track's webpage:

https://soundcloud.com/synonymist/1-one ... r-stumblin

https://soundcloud.com/synonymist/2-one ... or-swingin
Cool, not really something i would dance to but i´d give it a try. It surely sounds like modules are competing for the frequence space! :)

I usually get weird ideas when i hear tracks like this and this time it was "i´d like this as a sonic backdrop to a psychiatric ward for a couple of weeks and see what happens". A different location was also considered; a home for the elderly (where you put the old that can´t live by themselves anymore), but they might not notice the tracks because of their hearing difficulties and such. Staff might go nuts though. :eek:

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Post by synonymist » Wed Jul 03, 2019 7:08 am

defalut wrote:
synonymist wrote:This is my first try at a patch of some complexity in which Cš-L is the only sound source. I think.

There was a lot of sound comin' out of this thing. :)

Each piece is componentially simple, but texturally complex; is quasi-generative; and takes a bit to unfold (so patience rewards). I recall using only one pitch sequence to drive Cš-L. But lots of modulation, both of Cš-L and post (LPGs, VCAs, etc.)

You can hear Just Friends and René having a fist fight as Function and Cèis whip the crowd into a frenzy. :eek:

I am newly impressed with Cš-L's sawtooth wave, used here for the lightly filtered, growly bass (that plinks its way up to the tenor register in the second piece especially).

One take each. No sampling, granular synthesis, etc. Just a little reverb. Session notes are at each track's webpage:

https://soundcloud.com/synonymist/1-one ... r-stumblin

https://soundcloud.com/synonymist/2-one ... or-swingin
Cool, not really something i would dance to but i´d give it a try. It surely sounds like modules are competing for the frequence space! :)

I usually get weird ideas when i hear tracks like this and this time it was "i´d like this as a sonic backdrop to a psychiatric ward for a couple of weeks and see what happens". A different location was also considered; a home for the elderly (where you put the old that can´t live by themselves anymore), but they might not notice the tracks because of their hearing difficulties and such. Staff might go nuts though. :eek:
Hello. Although I neither dance (a flat fact, true since about 1983) nor do anything weird (in my opinion), I appreciate you giving these tracks a try. :)

The "...swingin" track strongly evokes a swinging blues shuffle feel for me, both explicitly in its pitch tonality and essentially/abstractly in its timing feel. A reduction, but an evocation nonetheless. To me it's more Albert Collins or Clarence Gatemouth Brown than Anthony Braxton or Cecil Taylor by far.

[video][/video]

[video][/video]

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Post by needto » Thu Jul 18, 2019 4:38 am

The CS-L is the star of this one, using both final outputs, the sub, and the ringmod, with subtle modulation of wavefolding depth and the mod index.

It is sometimes interesting to play with the sequence scale, switching from mostly 16ths to 1/2ths or whole notes, turning percussive arpeggios into longer drones.

Thanks to all the modulation inputs and routings, with a few unsynced modulation sources plugged in, the complex oscillator almost becomes a thing living on its own.

[video][/video]

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Post by synonymist » Sun Aug 11, 2019 8:53 am

Here Cš-L is the backbone of the arrangements. It can be heard in three "tracks" of percussion sounds. They are like metallics right, bongos and conga center, and agogô left.

One take each. Session notes are at each piece's webpage:

https://soundcloud.com/synonymist/remin ... lie-1-of-2

https://soundcloud.com/synonymist/remin ... lie-2-of-2

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Post by lisa » Sun Sep 01, 2019 12:58 pm

I made a monophonic melody voice patch based on the Cš-L, controlled by the MicroFreak, for a track we're working on and I really liked just noodling around with it so we recorded me doing just that for a couple of minutes. Has a note of Swedish folk music here and there.

[video][/video]

Patch notes:
The Arturia MIcroFreak sends 1v/o to the Instruō Cš-L second oscillator input. The first oscillator is hard synced to the bottom oscillator and the touch output from the MIcroFreak goes to the first oscillators pitch input which gives me the opportunity to create nice, slightly harsh sync pitch sounds based how much skin I put on the touch plates. One Mutable Instruments Stages channel is set to LFO mode and controls the amount of FM that is applied to the two oscillators (linear FM on the first oscillator and exponential on the second). A medium paced triangle LFO from the Takaab 3XLFO is sent to the first oscillator's FM input.

The Cš-L sends the ringmod output and the second oscillator square wave to the Doepfer A-135-2 VCA where they are mixed. The gate output from the MicroFreak is sent to Stages that has been setup like a classic ADSR. The Stages ADSR is sent to the two A-135-2 channels.

The mixed output from the A-135-2 is sent to Xaoc Devices Belgrad that is set to the lowpass + bandpass mode. The cutoff is set just shy of 12 o'clock and the resonance just past. The level is set to maximum and Tito is set to SM which gives the resonance a textured sound. A medium paced triangle LFO from 3xLFO is sent to the FM input and two slow triangle LFOs are sent to Balance and Span.

Finally the sound is sent to Metasonix R-56 that has a rather low input and rather mild wet setting. It mainly adds a cozy spring reverb touch but when the sound goes up in volume it also adds a bit of distortion on the top.
Remorseless modular beat; a bit discordant but melodic too. 🦊🦂


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Post by Pighood » Sun Sep 01, 2019 9:42 pm

CS-L might be my next big purchase.
*phnert*

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Post by djd_oz » Mon Sep 02, 2019 5:12 am

Nice lisa!

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Post by lisa » Wed Sep 04, 2019 10:10 am

Thanks vdjd_oz! Very simple patch really but quite expressive.
Remorseless modular beat; a bit discordant but melodic too. 🦊🦂


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Post by Hovercraft » Wed Sep 25, 2019 9:08 am

Excellent manual posted for Cs-L--and other Instruo modules.

https://www.instruomodular.com/wp-conte ... ual-A5.pdf

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Post by nrg242 » Wed Sep 25, 2019 12:43 pm

charonme wrote:[video][/video]
notice the pitch doesn't change when the knob is moved just a little bit
i have the same issue as tested through my mordax data.

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Post by synonymist » Wed Sep 25, 2019 1:47 pm

Hovercraft wrote:Excellent manual posted for Cs-L--and other Instruo modules.

https://www.instruomodular.com/wp-conte ... ual-A5.pdf
Hovercraft, Thank you.

Instruo, Much better. :)

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Post by abdul6 » Wed Sep 25, 2019 3:20 pm

ha ha ha ha !

some needs an oscillator to check that the pitch does'nt change when moving
the knob
so funny eurorack people sometime

advice : stop buying modules and take some ear training lessons

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Post by nostalghia » Wed Sep 25, 2019 3:43 pm

advice : get the full background by reading further up the page before posting an insulting comment like that.

If you had, you would have seen that the original post by charonme was in response to the one just before it, requesting: "You should post a clip showing what's going on. That module has a lot of knobs so it might be something you're missing or a faulty unit but it'll be easier to tell when you give an example."

I'm assuming he is perfectly capable of hearing that the pitch doesn't change when moving the knob slightly, as am I when doing it on my Cs-L with the same issue. Being able to both see (via test equipment screen) and hear the problem in his video make it more clear and help confirm for everyone exactly what is going on.

Glad to know you have a finely tuned ear, but if you've never considered adding a Mordax, O'Tool or similar to your modular, you might be surprised how useful they can be for many reasons-one being to help diagnose and confirm how severe (or minor) a problem is, or what is causing it. Objective tech data rather that just a subjective "what I think I'm hearing is..." is always welcome here. And by tech support at manufacturers.
“If you look for a meaning, you'll miss everything that happens.” - Andrei Tarkovsky

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Post by abdul6 » Thu Sep 26, 2019 9:00 am

lisa wrote:I made a monophonic melody voice patch based on the Cš-L, controlled by the MicroFreak, for a track we're working on and I really liked just noodling around with it so we recorded me doing just that for a couple of minutes. Has a note of Swedish folk music here and there.

[video][/video]
[/quote]

Lovely music, and nice use of the Cs-L congrats !!

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Post by abdul6 » Thu Sep 26, 2019 10:50 am

@nostalghia, @nrg242

oops, did not read enough carefully ! Sorry, apologize (and too much rosé wine yesterday) :hail:
that say I will not buy a Mordax for punishment, no no no ;—]

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Post by The Grump » Sat Sep 28, 2019 9:28 am

What an amazingly sick and disturbed sounding module. Mine will arrive in a few hours and I'm practically doing the peepee dance, waiting for the fedex guy to appear.

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Post by Pighood » Sat Sep 28, 2019 10:08 am

The Grump wrote:What an amazingly sick and disturbed sounding module. Mine will arrive in a few hours and I'm practically doing the peepee dance, waiting for the fedex guy to appear.
So you be all like :fap:
*phnert*

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Post by lisa » Sat Sep 28, 2019 10:28 am

abdul6 wrote:
lisa wrote:I made a monophonic melody voice patch based on the Cš-L, controlled by the MicroFreak, for a track we're working on and I really liked just noodling around with it so we recorded me doing just that for a couple of minutes. Has a note of Swedish folk music here and there.

[video][/video]
Lovely music, and nice use of the Cs-L congrats !!
Thanks! It’s so simple but I too like how the melody turned out and the fickle sound.
Remorseless modular beat; a bit discordant but melodic too. 🦊🦂


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