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WIGGLING 'LITE' IN GUEST MODE

Today my small discovery was...
MUFF WIGGLER Forum Index -> Eurorack Modules  
Author Today my small discovery was...
Snail
[I realized that as a newcomer to Eurorack, I am discovering new things each day as I patch. Most I would never think to post here, because I assume anyone with more experience has already discovered these things or would think it too obvious. But then, I was thinking maybe others are discovering new things and not posting them for the same reason! I'd want to learn them. So I thought maybe of starting a thread like this to see if it has any traction.]

Today my small discoveries were:

...The effect send/return of the Rosie is a perfect place to put Clouds! Sounds much better there for what I want to do with it than just using the blend knob on Clouds.

...If you save a set of pitches in one of the Rene's save slots, it continually sends those out through the QCV and this frees up all the pitch knobs for retuning to send out via CV to a second oscillator. Tuning some in unison and some in harmony creates a really nice two voice polyphony. Then if you turn some of the gates off and have X gate control one voice, and Y gate control the other, you basically have the Rene sequencing two voices that will play nicely together. I'm sure anyone with a Rene knows this (except me, since I have trouble reading manuals), but this was lots of fun and was a neat little discovery for me!

If you've made a discovery (however big or small) today or in the past few days, please share!
SB-SIX
Discovered that clouds delay modes can be clock synced when feeding a clock into trig input. With parasites the position knob acts as a clock divider

Discovered that tides has a sub-oscillator output

Discovered that peaks has a super cool trig delay with retriggers. Can't even find a dedicated module that can do that
DonKartofflo
SB-SIX wrote:

Discovered that tides has a sub-oscillator output


how so?


discovered that rings can be a trashy spring reverb/delay thingy hyper
dkbax
A Eurorack system is never finished no matter how hard you try to convince yourself.
infovore
Audio-rate sample/hold heavily attenuated into an FM input for a delightful "fizzle" on top of a sound. I might make a short video about this.
SB-SIX
DonKartofflo wrote:
SB-SIX wrote:

Discovered that tides has a sub-oscillator output


how so?


The low output is a -1 octave square wave in oscillator mode.
MossGarden
SB-SIX wrote:
DonKartofflo wrote:
SB-SIX wrote:

Discovered that tides has a sub-oscillator output


how so?


The low output is a -1 octave square wave in oscillator mode.


I believe you need to have the Parasites firmware installed in order for this to become available, I could be wrong. screaming goo yo
tylrprtr
infovore wrote:
Audio-rate sample/hold heavily attenuated into an FM input for a delightful "fizzle" on top of a sound. I might make a short video about this.


I'm having trouble mentally hearing this, so please do post a video!
tylrprtr
SB-SIX wrote:
Discovered that clouds delay modes can be clock synced when feeding a clock into trig input. With parasites the position knob acts as a clock divider


I could be wrong, but I think this is only with the Parasites alt firmware installed. I think this was one of the improvements that the firmware adds.
infovore
MossGarden wrote:
SB-SIX wrote:
DonKartofflo wrote:
SB-SIX wrote:

Discovered that tides has a sub-oscillator output


how so?


The low output is a -1 octave square wave in oscillator mode.


I believe you need to have the Parasites firmware installed in order for this to become available, I could be wrong. screaming goo yo


Nah, that might just work: "LOW" is triggering at the end of every cycle, right? At audio rate, that's also going to be audible.
bradfromraleigh
The power of a sequential switch - especially with something open ended like a PP + Brains combo. I routed two rows of the PP to the first to switch slots and the random stepped out from my wogglebug to the third slot. Used the top Gate output on PP to trigger the switch. Output of everything to a quantizer and then just built different rhythms by changing the gate timing and also patching resets to Brains. Very simple and basic stuff but literally spent an hour just messing with it.
TheRosskonian
Great thread idea!

Mine isn’t very specific, but I thought I’d share:
I’ve learned that how I leave my system patched directly influences my next session sitting down with it:
If I leave a patch that I like, I’m more motivated to re-patch and tweak it, but not change it too drastically.
If I leave a patch that I hate, I have to be even more motivated to sit down as the first thing I do is un-patch everything.
I have yet to try leaving the system completely un-patched, as that usually inspires me to just keep going and create a new patch.
XponentOne
A pen and little post-it notes are good for remembering maths cycle settings (or anything else that doesnt persist on powerdown) for the next session - cheap, hyper useful - have em on your desk thumbs up
Snail
Thanks for sharing... some interesting stuff already! I am looking forward to trying out some of these tricks (including making notes on Maths!).

Today my discovery was that playing with modulars has changed the way I approach non-modular synths. Sat down with my Sub 37 today and what came out was distinctly more experimental and sound-exploration like than anything I would have done before getting started on modular.
Dogma
Cameras for "special" patches and video is better
im not organised enough but colour coding CV and audio or left and right or whatever schema works for you is pretty handy
Zube
XponentOne wrote:
A pen and little post-it notes are good for remembering maths cycle settings (or anything else that doesnt persist on powerdown) for the next session - cheap, hyper useful - have em on your desk thumbs up


+1 to this. I have a little notebook I use to remember cool patches. I practice re-patching these patches from scratch, kind of like how you'd practice a song on piano, for example. It helps me learn, and let's me refine ideas. They're never *exactly* the same of course but it helps me find a balance between composition and improvisation, and it feels really good to be slowly completing tracks!
geh2oman
Kind of like using a machete to chop onions, but I really like to get percussion out of Clouds by freezing a sound and then running an attenuated gate into the Density jack, then messing around with the Density knob and the offset of the gate to get differently shaped swashes.
guestt
Zube wrote:
XponentOne wrote:
A pen and little post-it notes are good for remembering maths cycle settings (or anything else that doesnt persist on powerdown) for the next session - cheap, hyper useful - have em on your desk thumbs up


+1 to this. I have a little notebook I use to remember cool patches. I practice re-patching these patches from scratch, kind of like how you'd practice a song on piano, for example. It helps me learn, and let's me refine ideas. They're never *exactly* the same of course but it helps me find a balance between composition and improvisation, and it feels really good to be slowly completing tracks!


I can see how this works for some folks, but I trust this to memory, if a patch is good it will come up again naturally... I find any kind of attempt to tame/order the process kills my vibe! I learned, for me, it has to be in the moment, it has to be live!

I totally agree with the idea that patching on the fly is like practicing playing any other instrument thumbs up
vytis
Today my small discovery was...
Sending a couple of outputs from a clock divider into a logic module. Three (or more) logic outs into a mixer results in some amazing musical patterns! Sending through a quantizer before hitting 1V/Oct and I feel like I don't need any other sequencer! woah
Nice thread!
Prescient Punk
I woke this morning and looked at the familiar pattern of patch cables plugged into my synth and realized, even in modular it is easy to get in a rut. seriously, i just don't get it
Hovercraft
Still new at modular, so I'm discovering something every day. The latest thing is realizing that a lot of gate inputs are sensitive to the shape, length and voltage of the gate. Running my gates through channel 1 or 4 of MATHS to set skew and length and using channel 2 or 3 to offset, has given me a lot more control.
Snail
My small discovery yesterday (which felt like a huge discovery) was using filters in self-oscillation as sound sources -- something I never knew you could do, since you can't do it on a non-modular synth.

Had great fun patching filters in to FM oscillators... Got some really nasty sounds! So many combinations of sounds!
noisejockey
Today I clued into the magic of FMing two oscillators in soft sync. Pitch stability for days. Growly. RAWR.

Dono-Kun Dance
flo
Snail wrote:
My small discovery yesterday (which felt like a huge discovery) was using filters in self-oscillation as sound sources -- something I never knew you could do, since you can't do it on a non-modular synth.


Wut? hmmm..... seriously, i just don't get it
Snail
Flo, I didn't mean you can't get a filter to self-oscillate on a non-modular, only that typically you can't remove the oscillator from the signal path and still get sound from just the filter self-oscillating because of the way the synths are typically routed. Am I wrong? As a result, I never realized a filter could be used by itself as a sound source.
enj_music
Snail wrote:
Flo, I didn't mean you can't get a filter to self-oscillate on a non-modular, only that typically you can't remove the oscillator from the signal path and still get sound from just the filter self-oscillating because of the way the synths are typically routed. Am I wrong? As a result, I never realized a filter could be used by itself as a sound source.


Often with the resonance turned all the way up and the oscillator mixer section turned all the way down on many monosynths and polysynths, you will still be able to play a filter sine wave.
flo
enj_music wrote:
Snail wrote:
Flo, I didn't mean you can't get a filter to self-oscillate on a non-modular, only that typically you can't remove the oscillator from the signal path and still get sound from just the filter self-oscillating because of the way the synths are typically routed. Am I wrong? As a result, I never realized a filter could be used by itself as a sound source.


Often with the resonance turned all the way up and the oscillator mixer section turned all the way down on many monosynths and polysynths, you will still be able to play a filter sine wave.


Yeah, it depends on the synth of course. Virtually all my hardwired analog synths can do it, I think only my TB303 cannot (its filter also doesn't self-oscillate or track the keyboard, though). On some synths, there are "tricks" to get the oscs to cancel (e.g. on the MS10, you need to use the pulse waveform and the pulsewidth set to 100% to kill the osc).
geremyf
I just discovered that using the a ringmod output of two simple waves beating against each other (say a sine and saw) makes for an awesome signal to feed into the tELHARMONIC's FM input.
Aaronautical001
Quote:
I just discovered that using the a ringmod output of two simple waves beating against each other (say a sine and saw) makes for an awesome signal to feed into the tELHARMONIC's FM input.


Right! I'll be trying that! thumbs up

Great thread people keep it up.
Prescient Punk
Just realized that when I patch a sine from one osc into a simple on off switch and then to the fm in of another osc I can tune the variations and create note changes with a switch. It has proven to be very fun as lately I've be slaved to using sequencers for this and while this technique is not as versatile sometimes I want to use the sequencer for rhythms that vary from the pitch. And I only have one sequencer. cool

Plus it sounds great as I am essentially FMing the oscillator. Guinness ftw!
Prescient Punk
This just in: A-118 colored noise out to Pittsburgh oscillator sync in, turn up the blue noise and MY ASS IS BLEEDING applause


Edit: creates a smooth pitch shift.
bard1234
Snail wrote:
I never realized a filter could be used by itself as a sound source.


It's a sine of the times.









Sorry applause
dumbledog
I've been knee deep the last week or two, asking sequences out of LFOs, a quantizer and Pamela's by resetting the LFO phase every eight or sixteen steps. Today I let the sequence change up every few bars by triggering an S&H and sending it to the LFO frequency. That of course changes the sequence, but it also slowly evolves as the S&H slowly discharges.
morrison23usa
Snail wrote:
Thanks for sharing... some interesting stuff already! I am looking forward to trying out some of these tricks (including making notes on Maths!).

Today my discovery was that playing with modulars has changed the way I approach non-modular synths. Sat down with my Sub 37 today and what came out was distinctly more experimental and sound-exploration like than anything I would have done before getting started on modular.


+1 to this. Moog mono synth is a whole new experience for me post-modular.
kirklandish
My favorite discovery was in regards to the Optomix.

Trigger to the STRIKE input and an LFO to the CTRL input (with the knob slightly up from full CCW). I played with the timing of the LFO until I established a nice counter rhythm against the gate. Keeping the CTRL level low keeps it nice and subtle.

I was using the E340 Cloud Generator (sine output) as the sound source. This is becoming one of my favorite modules to pair with the Optomix for percussion sounds.
infovore
tylrprtr wrote:
infovore wrote:
Audio-rate sample/hold heavily attenuated into an FM input for a delightful "fizzle" on top of a sound. I might make a short video about this.


I'm having trouble mentally hearing this, so please do post a video!


[/video]

As requested. Sorry it's a tutorial/chat rather than just a 10s clip, but not everybody in this world knows this stuff, so thought I'd tell a story.
TechForze
Thank you for this nice explanation!
eboats
Got a mult and realized how much I needed it. Same goes for a Quantizer - lots of musically interesting possibilities.
enj_music
Whenever I hear fizzle, I think high frequency emphasis more than jitter.
enj_music
Prescient Punk wrote:
This just in: A-118 colored noise out to Pittsburgh oscillator sync in, turn up the blue noise and MY ASS IS BLEEDING applause


Edit: creates a smooth pitch shift.


Not sure what you're talking about - just tried this. All I got were clicks 'n' pops.
msegarra
Audio rate sequencers as Osc? rungler like effect.

need : analog sequencer, osc, mixer.

take osc sine wave and put it into brains clock input.

use pressure points knobs to shape the wave forms from outputs 1-3.

send to mixer with original osc mixed in.

* also interesting is using something like DPO where you can take one of the pressure points channels and input it into 1voct input of OSC 1 or 2. Using the sync feature or FM on DPO also makes for a awesome sound. I use the RXMX to pan through the sounds sources.

also iw as wondering if you modulate the frequency on an osc can you make sort of a chord like effect on the ears by hearing the pattern 1 - 3 - 5 fast enough. i know this would not make a chord but was just interested in the idea.

another idea is sequencing an arpeggiator very fast.

hope some one enjoys this, not sure that its something i came up with by anymeans buts thought it was interesting.
Prescient Punk
enj_music wrote:
Prescient Punk wrote:
This just in: A-118 colored noise out to Pittsburgh oscillator sync in, turn up the blue noise and MY ASS IS BLEEDING applause


Edit: creates a smooth pitch shift.


Not sure what you're talking about - just tried this. All I got were clicks 'n' pops.


When I did this I started fully counter clockwise and then slowly turned the knob clockwise. It created a smooth shift in pitch as I turned. If you turn it up too far you will definitely get a dirtier sound. I suppose I should have clarified a bit more. I was excited.
Paul Perry
Snail wrote:
My small discovery yesterday (which felt like a huge discovery) was using filters in self-oscillation as sound sources -- something I never knew you could do, since you can't do it on a non-modular synth.


Had to play like that for a whole set once (broken keyboard). Second sound source was an echo stompbox which fortunately could also be coaxed into oscillation. Wish the audience had taken more drugs. Although my need was greater than theirs.

Another emergency crowd pleaser: using mains hum as a source, wiping a cable tip over a bald head (I am bald as a coot.) Wish I'd had time to prepare by putting a 9v battery across my ears - might work for CV. hmmm.....
mazzyboy
Mods, is there any chance that this marvellous thread can be stickied?
nedavine
Cool thread.

Manual reset/freeze: Sure most know but a dummy patch cable into some kind of freeze, reset input is fun. I dummy cable into metropolis reset and then just touch the tip of the cable for manual reset and stutters.
etantloh
I think I finally mastered how to navigate the banks and algorithms of the Disting mk3. I know that's super basic and I'll post more, I really just wanted to say +1 for stickying the thread! hihi
sihiL
Today I finally tried out patching a feedback loop on a filter for wilder resonance. I'd known resonance is a feecback loop back into the filter, but I had a lot of fun with this one.

Just mult the output of the filter into a mixer and whatever is next. The output of the mixer goes back into the filter input, other signals can be mixed in as well, but it may get out of control... SlayerBadger!
bradfromraleigh
etantloh wrote:
I think I finally mastered how to navigate the banks and algorithms of the Disting mk3. I know that's super basic and I'll post more, I really just wanted to say +1 for stickying the thread! hihi


I don't think that's basic - actually quite an accomplishment. Lots of good stuff in that module - wish I knew mine better.
ETP
sihiL wrote:
Today I finally tried out patching a feedback loop on a filter for wilder resonance. I'd known resonance is a feecback loop back into the filter, but I had a lot of fun with this one.

Just mult the output of the filter into a mixer and whatever is next. The output of the mixer goes back into the filter input, other signals can be mixed in as well, but it may get out of control... SlayerBadger!


if you go through a vca you get voltage control over resonance
i did this with my doepfer wasp filter. inverting the phase was necasary
franman69
It's interesting as I've been trying to document patches (this is my personality) but I do always let the new patches evolve organically. I think I feel better about writing something down, as it helps me learn what I did and that helps me remember the really cool parts.. I may actually want to recreate some of these patches in the future and I'm only been up and running a few weeks and I've already recorded over a dozen tracks.. No way I'm going to remember all this.

I totally agree that the actual patch creation process is best (for me) done organically.. start with an idea or something I saw a video of and let it evolve from there. Never takes more than an hour or two to have something pretty cool going. I love this sh_t...

Baddcr wrote:
Zube wrote:
XponentOne wrote:
A pen and little post-it notes are good for remembering maths cycle settings (or anything else that doesnt persist on powerdown) for the next session - cheap, hyper useful - have em on your desk thumbs up


+1 to this. I have a little notebook I use to remember cool patches. I practice re-patching these patches from scratch, kind of like how you'd practice a song on piano, for example. It helps me learn, and let's me refine ideas. They're never *exactly* the same of course but it helps me find a balance between composition and improvisation, and it feels really good to be slowly completing tracks!


I can see how this works for some folks, but I trust this to memory, if a patch is good it will come up again naturally... I find any kind of attempt to tame/order the process kills my vibe! I learned, for me, it has to be in the moment, it has to be live!

I totally agree with the idea that patching on the fly is like practicing playing any other instrument thumbs up
kirklandish
Make Noise STO

I've pretty much ignored the S-Gate on the STO input for the last three months, but I just fed an audio rate LFO into it and, WOW, some really nice fuzz tones are in there, particularly if you can get close to the pitch of the SUB.

I'm sure you could use an oscillator for even more controlled results by tracking the pitch of the sequence. The LFO was only tuned to one note in the sequence, so I was in some quasi-dubstep territory.
timoka
a complex lfo into the doepfer pll, pll output used for pinging percussion. really great, chaotic rhythm but with a steady pulse! need to experiment more with cv into the pll...
Aaronautical001
Quote:

I think I finally mastered how to navigate the banks and algorithms of the Disting mk3. I know that's super basic and I'll post....


Dear God! Tell me how you learned this eek! I seem to have a mental block on navigating the thing! Excellent module that makes me feel like an imbecile cry

For my contribution, I discovered that the JAG can do logic (2 is OR, 4 is the Y input, 8 is x input and 6 is AND) I just need to crack the rest of its code now...
etantloh
Quote:
Dear God! Tell me how you learned this eek! I seem to have a mental block on navigating the thing! Excellent module that makes me feel like an imbecile cry



I felt like that too.. to the point of almost talking myself out of it because of the
"menu diving" very frustrating but I finally sat down with a cheat sheet I found in a MW forum here: https://www.muffwiggler.com/forum/viewtopic.php?p=1633480
and the quick reference from ES here: http://www.expert-sleepers.co.uk/downloads/firmware/disting%20mk3%203. 1%20quick%20reference.pdf
Between those 2, after a couple hours it made sense and started to stick. I still have to reference some of the short videos to see some of the functions applied but mostly because I'm pretty new and still learning in general.

Haven't had much time to wiggle lately, but I learned about this Blue Lantern mixer https://www.modulargrid.net/e/blue-lantern-modules-mix-em-up.. A guy replied to a FB post I made asking about mixer suggestions. Wonder how I never came across it when I was looking for one. hmmm.....
hinterlands303
Mikrophonie + envelope follower = my entire case is now an envelope generator! I had a lot of fun playing (light) percussion on my case to generate all sorts of envelopes. I decided to pick up an envelope follower after I recently heard Morton Subotnick give a talk in Detroit (he described how important they were to developing his method of composition). It turns out the mikrophonie is a perfect match for the Ladik envelope follower (which has great features but lacks a preamp).
sihiL
I enjoy this topic, so I'm going to bump it.

Today I learned, that you can get exponential FM from an oscillator with no input for exp.FM by mixing an audio rate signal into the 1v/o-pitch voltage with a DC-coupled mixer. screaming goo yo
sockmonkey
While waiting for a Doepfer PLL, I picked up a Doepfer Min/Max and gave the Navs pseudo-PLL patch a try: http://navsmodularlab.blogspot.de/2012/02/potd-return-of-pll-arabesque .html (based on this patch from dougcl: https://www.muffwiggler.com/forum/viewtopic.php?t=6608. Got some fun, variably trilling textures with two arbitrary oscillators as master/slave (Even VCO and Verbos HO, for instance). Also discovered some musically useful OSC tracking problems along the way... :-)
flo
sihiL wrote:
I enjoy this topic, so I'm going to bump it.

Today I learned, that you can get exponential FM from an oscillator with no input for exp.FM by mixing an audio rate signal into the 1v/o-pitch voltage with a DC-coupled mixer. screaming goo yo


That's because 1V/oct inputs are exponential hihi thumbs up
dysonant
This might be a boring one as it has nothing to do with actually making music.

I installed Parasites on my Clouds and Warps and you need to recalibrate after with specific voltage. After a few disheartening attempts with my BeatStep Pro I learned that Rene is perfect for sending out the exact proper voltage.
Snail
That's good to know, dysonant. Thanks for sharing!

My recent small discovery has been that almost everything in my rack can be used as an oscillator, not just the "oscillators." The Echophon, all my LFOs, filters, Clouds, envelopes... When I started counting sound sources it kind of blew my mind.
tthogs
Today my small discovery was that once you have a nice collection of stack cables, you can get rid of a lot of your mults!
suboptimal
Learned today that the hex screws I bought years ago have all started to strip. Couldn't get one out of a rail and ended up using a hacksaw - there's one HP that won't ever be used again. Somehow this feels appropriate, since the case it's in is housing brutal Metasonix, Trogotronic, and Harvestman modules. Dead Banana

Time for another bag of screws.
Jumbuktu
Today my small discovery was that the resonant sine waves produced by a 4ms SMRF sound wicked through a wavefolder (in my case, the NLC Timbre!).
hallvard
With my a-156 quantizer I get a trigger out when it is quantizing the CV (i.e. when CV in changes enough to warrant a change in CV out). I used this to mute some steps in a sequence by setting their CV to the same as the previous step. Can get some nice variety in a sequence with this.

Pretty basic and something you can do in different ways, but that was my discovery yesterday (hope it still qualifies wink )!
sihiL
A BeatStep Pro can be used as a pulse counter, if you're not using the drum sequencer. Just set the lower row of pads on the drum seq to the corresponding steps, and input an external clock. The BSP will output the same clock, if the clock is steady. With external sync, the clock divider won't work.

The BSP is pretty good for unipolar clocked random as well, but I learned that earlier on. Just use the velocity output of a melody sequencer, and set randomness and probablity to taste. Use a 1-step sequence, and make sure the step is activated. Set velocity to taste. You'll get random gates too. You can even use multiple steps!

I haven't tried it yet, but with octaves or a scale, the pitch output could work pretty well as quantized random voltages.
etantloh
I re-calibrated Clouds after installing the Parasites firmware and WOW Rockin' Banana!

I thought it sounded pretty good before but wasn't sure that the position knob was doing much, and the other knobs seemed to throw things out of hand very easily. After the calibration, it feels like I have much more control and can actually hear differences when adjusting the position knob. Of course, it could have been the source material but it definitely feels like a different module.

Became very familiar with the Disting's quantizer.

Had my first "proper" patch (photo'd, video'd, and recorded about 50 minutes worth) ... Combination of the M32's sequencer (with a neat sequence, tempo all the way CCW), M32's filter in self-oscillation, Wogglebug modulating M32's LFO rate, Tides and Wogglebug modulating Clouds, plus a couple of other tricks involving Maths and Turing Machine (looking at the picture now I'm having trouble tracing the cables). It had interesting melodic parts, with nice atmosphere provided by Clouds, and very interesting and fitting percussion elements... something that evolved on its own without any wiggling. It would make for an interesting 1-2 minute piece but I'll likely add to it and make it a full 3-4 minute album track. It was something I would be inclined to post on FB or wherever but I'll wait for posting things until I can confidently and logically explain the patches.

My Peaks arrived yesterday, and my SQ-1 today. Rockin' Banana! SlayerBadger! thumbs up

On top of that, I'm finally getting the hang of working in Ableton, namely taking the recordings I make in arrangement view and creating clips in session view. I can't believe it took me so long to get into that DAW (Pro Tools was my comfort zone)... the hype is well-founded. What an amazing tool for creating and arranging music!
Snail
A couple of inter-related things today. Was watching Sonicstate's video podcast #447 and about mid-way Nick Batt starts talking about modular synthesis and a performance at Superbooth 2016 by Robert A A Lowe. The other guys kind of start bashing modular as uninteresting, since modular pieces just repeat and don't transition from A to B or the way a normal piece of music, in their mind, should move through sections.

So I'm listening to them, then watching the Lowe performance, then watching Mark Verbos's talk and performance at Superbooth, and after Verbos's performance he talks about how he uses the harmonic oscillator (almost too much, as a cliche he says) to transition between sections of a performance.

Anyway, my small discovery was that you really do need a few tricks up your sleeve to be able to do this if you want to hold an audience's attention through a sustained modular performance. And I realized that I tend to use Clouds in this way -- again almost too much. Once I have something going that I like, but then I want to transition out of it, I throw the Blend of Clouds in all the way to wet. Clouds starts doing crazy but interesting shit that sounds quite different to what was going on before, albeit related of course.

Then I can repatch in the modular something new, because only Clouds is playing, and then shift the blend back into dry to pick up that new patch. I'm trying to think of other tricks I could use that would have a similar effect, so that I don't have to only rely on this.
Snail
etantloh wrote:
Had my first "proper" patch (photo'd, video'd, and recorded about 50 minutes worth) ... Combination of the M32's sequencer (with a neat sequence, tempo all the way CCW), M32's filter in self-oscillation, Wogglebug modulating M32's LFO rate, Tides and Wogglebug modulating Clouds, plus a couple of other tricks involving Maths and Turing Machine (looking at the picture now I'm having trouble tracing the cables). It had interesting melodic parts, with nice atmosphere provided by Clouds, and very interesting and fitting percussion elements... something that evolved on its own without any wiggling. It would make for an interesting 1-2 minute piece but I'll likely add to it and make it a full 3-4 minute album track. It was something I would be inclined to post on FB or wherever but I'll wait for posting things until I can confidently and logically explain the patches.


Quote:
On top of that, I'm finally getting the hang of working in Ableton


Sounds like you're learning a ton. Look forward to seeing the post of that video -- sounds interesting! And are you going to be using Ableton with the modular?[/quote]
mgscheue
Snail wrote:


Then I can repatch in the modular something new, because only Clouds is playing, and then shift the blend back into dry to pick up that new patch. I'm trying to think of other tricks I could use that would have a similar effect, so that I don't have to only rely on this.


In the Gearslutz Q&A with Richard Devine, he talks about doing something similar with the Radio Music modules in his performance system. They let him keep something going while he's transitionsing between patches.
Snail
mgscheue wrote:
Snail wrote:


Then I can repatch in the modular something new, because only Clouds is playing, and then shift the blend back into dry to pick up that new patch. I'm trying to think of other tricks I could use that would have a similar effect, so that I don't have to only rely on this.


In the Gearslutz Q&A with Richard Devine, he talks about doing something similar with the Radio Music modules in his performance system. They let him keep something going while he's transitionsing between patches.


That's a great idea! And thanks to you, one of my small discoveries was that Richard Devine Q&A! Very interesting reading. Interesting that he also records drones and modular stuff into the Radio Music to use to transition. Never occurred to me to do that and I think I'll try it.
BillyB909
Fairly obvious I guess, but running a drum mix into Clouds in Spectral madness mode, then hitting the density and texture inputs with envelopes gives great synced spot fx.

It also turns out - not quite sure how I missed this - that the size of the gate going into the Beat input on the numeric repetitor is then echoed at the various outputs. So if I send it a longish gate from Pams rather than a trigger, then it spits out gates of the same size at each of the outputs, but with specific rhythms. I guess I'd assumed it would be triggers at the outputs, but apparently not.
rayultine
PulpLogic FSR CV into the Brain Seed. New meaning to the phrase "one finger melody" !!!
Roy72
I learnt (last week?) that pings need to be really short to work for pinging filters or LPGs. I had it all wrong, then I tried it using my Befaco Rampage on it's fast setting, and wow, there it is.
happyham
flo wrote:
sihiL wrote:
I enjoy this topic, so I'm going to bump it.

Today I learned, that you can get exponential FM from an oscillator with no input for exp.FM by mixing an audio rate signal into the 1v/o-pitch voltage with a DC-coupled mixer. screaming goo yo


That's because 1V/oct inputs are exponential hihi thumbs up


Here I've been like a dumb ass trying to get exponential fm out of my dixie with the uvca! playing with this led to another totally obvious discovery: the right touch of vibrato on an fm modulator makes for great musical fm sounds. I had been too keen on throwing in the kitchen sink with noise, s and h, and envelopes, but well dosed lfos thicken up the sound very well.
etantloh
Snail wrote:
Sounds like you're learning a ton. Look forward to seeing the post of that video -- sounds interesting! And are you going to be using Ableton with the modular?
[/quote]

As I learn, I'm recording everything into Ableton and using all of that content to create new tracks. I may use Ableton to sequence at some point but I bought an SQ-1 with the idea of going computer-less. One of the reasons for investing in my modular system was eventually wanting to perform with it on its own.. which is a pretty lofty goal especially knowing how much time it takes to really understand the instrument and its capabilities. In the meantime, it's a great way to break out of my VST/Pro Tools rut. I'm not as efficient at composing new material (yet), but exploring new hardware (especially a modular system) and software is like Christmas every day hyper thumbs up
sihiL
Today I learned, that the A-101-2 LPG doubles as a saturation/distortion module in VCA mode with the level and the resonance cranked. Makes for pretty fat sounds! Stick a VCA before it, and you'll only have the added harmonics where you want them in the time domain!
MatthijsKwak
Before buying the Doepfer A-119 envelope follower to incorporate my MFB Tanzbär Lite in my modular setup, I thought I'd try running the signal through the Doepfer A-133 dual polarizer and it works like a charm! Which is great, because I wasn't looking for the 'extra' features of the A-119 and the A-133 can boost two signals seperately for the same price.
Chann3l
Today I learned that if you run and lfo through the a-136 and then modulate the clipping levels with 2 other lfos you get a very interesting modulation source.
tylrprtr
Last weekend, my small discovery was to use one slow cycling channel of Maths to modulate the fall time of another cycling channel of Maths to create a clock that gradually gets faster and then slower again.

Example:
concretic
Today it was wonderful cooperation of Planar with Three Sisters:
Braids out into A input of VCAs and outputs A,B,C,D to Three Sisters audio IN's
mazzyboy
Today I learnt that clock pulses and gates can actually be used as nice clicky sound sources.

Feed these directly into a distorting resonant filter (hello doepfer wasp filter!) and you've got some very nice percussive bleeps.

Carry on and plug this into a spring reverb for space dub bliss.
zolar_czakl
I was stumped by the Clouds Parasites Resonester mode. I finally got over my ego and found mqtthiqs' youtube demo. I've got my SQ-1 cv out to Clouds v/oct, and SQ-1 gate out to Clouds trig, and Batumi modulating some other parameters. It took some trial and error to get the blend settings properly adjusted, but this is awesome!

Looks like 'm gonna need another sequencer. And a Rings. And some other stuff.
calaveras
I discovered that I can't find my Dark Energy power supplies anywhere. Which really sucks because I'd really like to perch them on top of my modular just to use for utility envelopes and oscs.
I've got like one billion 9vdc and 9vac wall warts, but no 12v ac ones!
Oh yeah, and I kind of discovered that the Optomix and WMD offset/invert are more alike than they are different.
poorness
I realize this is kind of a "duh" but...

A couple years ago, I saw a guy take a DSI Mopho Keyboard and polychain it to a Mopho desktop. I thought the duophony it created was insanely cool. I never thought of doing that with modular though... until yesterday. zombie

Dr. Sketch-n-Etch
This isn't synth related, but...

So, you all know that peanut butter on sourdough toast is awesome, right? What I discovered yesterday is that the awesome level is cranked to 11 by sprinkling some cayenne pepper on it. Now I have a snack to rival my all-time favourite: butter, powdered parmesan cheese and tabasco on sourdough toast, plus it's got a pretty low glycemic index (fuckin' diabetes).
calaveras
(throws up in mouth)
infovore
Tides PLL.

I had forgotten about it, and then I remembered it, and made it do nice things - split it about a fifth from the main oscillator, but as the main oscillators timbre changes a little... the PLL skips octaves. Masses of fun. Also, really timbrally interesting, and made me put thoughts of STOs and Mangroves on hold for a bit.
pieter
Dr. Sketch-n-Etch wrote:
This isn't synth related, but...

So, you all know that peanut butter on sourdough toast is awesome, right? What I discovered yesterday is that the awesome level is cranked to 11 by sprinkling some cayenne pepper on it. Now I have a snack to rival my all-time favourite: butter, powdered parmesan cheese and tabasco on sourdough toast, plus it's got a pretty low glycemic index (fuckin' diabetes).


Generally, peanut butter and chilies is a great combination (and halfway towards satay sauce).
southphillysynths
Today I learned that my R*S SSG makes an almost perfect LPG.

I have had lpgs before and I could never seem to really dial them in. The SSG just about does it perfectly.

Just sending a clock to the smooth fm, sending a signal into the smooth side and sending the smooth out as audio sounds like plucking vactrols to me!
bemushroomed
Multed Braids with one input to the Doepfer A-196 PLL and then from the PLL outs back into Braids (Timbre and Color). Wow, really strange things happening here, have never heard my Braids like this. Funny how it even can sound quite out of tune when doing this, though im not even affecting the pitch in any way screaming goo yo
basicbasic
Something i've really come to appreciate lately is that certain filters react very differently depending on how hot the input it. My Elby CMOS/Wasp filter is especially sensitive to input gain, as is the Asys RS-500e.
Outtatune
Found out today by experimentation that my Octatrack can apparently take in and spit out modular levels just fine, this just one week after my Erica MIDI Trigg was updated to work with it.

That's going to save me a tonne of precious HP in my 12U portable rig if I'm not fanatic about:
- Triggering/playing samples from the Octa instead of sample playback modules
- Needing more than four discrete audio outs of the modular
- Having an extra AD/DA in the chain for live (not studio) work
- Using the Octa to sequence trigs and CV to compliment my existing small 4-8 step sequencer modules instead of adding a complex sequencer module.
- And of course to not worry about people throwing stones at me for using an Octa to drive my rig instead of a "control skiff."

It totally has me rethinking case layout and expenditure for the rest of the year, and will force me to finally start putting together my own sample library.

Just need to avoid getting stuck in 4/4 all the time smile.
autopoiesis
Outtatune wrote:
That's going to save me a tonne of precious HP in my 12U portable rig if I'm not fanatic about:
...
- Using the Octa to sequence trigs and CV to compliment my existing small 4-8 step sequencer modules instead of adding a complex sequencer module.
- And of course to not worry about people throwing stones at me for using an Octa to drive my rig instead of a "control skiff."


Be sure to explore the generative sequencing potential of the Octatrack's designer LFOs if you find yourself fantasizing about doing more complex sequencing via some large module that lacks extensive pattern memory and costs over half the price of your OT. If you get to that point, give my tip here a shot: https://www.elektronauts.com/t/octatrack-only-as-a-midi-sequencer/2870 0/68?u=autopoiesis

And it's pretty easy to avoid getting stuck in 4/4 on the OT Miley Cyrus

Anyway, I agree 100% and think it's an endlessly useful and cost effective companion to a modular rig of any size.

Are you doing any kind of external attentuation before running modular-level signals into your OT, or are you just using the gain controls on the OT's mixer?
Outtatune
autopoiesis wrote:

Are you doing any kind of external attentuation before running modular-level signals into your OT, or are you just using the gain controls on the OT's mixer?


Just with the Octa using Thru machines. Roughly -32 from Modular>Octa and +64 for Octa>Modular. The way I'm set up now, of the 8 audio tracks 4 are available for general use and four are tied up as Thru machines, and for MIDI I'm using the first 4 tracks for percussion triggs via the Erica, 5 and 6 for CV/Gate via Yarns, and 7 and 8 are "experimental." I'm looping through the Yarns to the Erica and it seems tight enough for me.

This short track is 100% sequenced via the Octa as a test a few days back, no samples just modular: https://soundcloud.com/user-640965671/test-octatrack-and-erica-midi-tr igger

I'll read those links with interest! Thanks!
jlmitch5
DonKartofflo wrote:
SB-SIX wrote:

Discovered that tides has a sub-oscillator output


how so?


discovered that rings can be a trashy spring reverb/delay thingy hyper



How do you do that?
JozeyWhales
TIL simultaneously sending a trigger into Braids TRIG while in KICK and Maths TRIG CH1 or 4 and using the generated envelope to FM Braids (-FM) will create some very interesting tabla like sounds. Stack/buffer the envelope to Timbre/Color to get even more variation.
Accent
I recently got a Mother-32 to pair with my eurorack, and have found that patching the keyboard out to the buffered mult on the Moog and out to the two oscillator CV inputs on the Benjolin allows the Benjolin to track very well, much better than anything else I've tried. I've really been digging the Benjolin but I've found it a little too wild to be musical, but paired with the Moog in this way it becomes a lot easier to reel it in, and sounds lovely through the Moog filter. It's still wild, but at least I feel like I'm at the controls instead of letting the Benjo run the show, and I can still get plenty weird with Maths, Cold Mac, and the Benjolin CV outputs.
rplktr
These are not discoveries I made today exactly but all of them were huge to me so this offsets the datetime aspect hihi

1. When using PGH Crush, you'll get a much more musical crush amounts if you send your oscillator's 1v/oct to the Sample Rate input as well. You'll need to attenuate but luckily the module has a knob for that. Example how it sounds here.

2. Streams can also be used to amplify line-level input signal to eurorack usable levels. This, plus its versatility as an EG, LPG and envelope follower, makes it one of my favorite modules ever.

3. I only found out how nice uFold can sound when I patched it before the EG, not after. This is a little tricky with the Mother-32 but can be done (use EXT AUDIO). This gives a more delicate and controllable folding amount. But to tell you the truth, uFold works best with sines and zigzag (see Dixie II for example) waves.

4. That's borderline eurorack but... use DC-coupled audio outputs for the most versatile CV setup possible. I'm using a MOTU Ultralite with Reaktor. That's $700 combined for 6 CV outs that I can use for whatever I want. That's 2X the prive of Batumi + Poti but you can use it for LFO, voice tracking, sequencing, random, whatever! It's also fully syncable with my drums, with graphical oscillation output, etc. etc. It's amazing when you try it. While it's not full voltage range, it's more than enough for LFOs and gates. Gives you almost 5 octaves of tracking. It's also extensible with ES-3, should I ever need full range CV, and ES-6 if I need CV from my rack to Reaktor.

Accent wrote:
I recently got a Mother-32 to pair with my eurorack, and have found that patching the keyboard out to the buffered mult on the Moog and out to the two oscillator CV inputs on the Benjolin allows the Benjolin to track very well, much better than anything else I've tried.


Same here, using a buffered mult solved all 1v/oct tracking issues with the Dixie II. thumbs up
Futuresound
If you send the right resets to your CV sequncer, 3 steps is enough for badass techno.
Slabbapabara
Today my small discovery was that you could use filters as a kind of VCA:

Set the filter to lowpass, put the signal you wish to modulate through the filter and a modulator at the cv input. The filter will open according to the modulator.

Awesome if you, like me, don't have a VCA but two filters. thumbs up
Dcramer
pieter wrote:
Dr. Sketch-n-Etch wrote:
This isn't synth related, but...

So, you all know that peanut butter on sourdough toast is awesome, right? What I discovered yesterday is that the awesome level is cranked to 11 by sprinkling some cayenne pepper on it. Now I have a snack to rival my all-time favourite: butter, powdered parmesan cheese and tabasco on sourdough toast, plus it's got a pretty low glycemic index (fuckin' diabetes).


Generally, peanut butter and chilies is a great combination (and halfway towards satay sauce).

Venturing dangerously close to Elvis-deathwich territory MY ASS IS BLEEDING
pieter
Slabbapabara wrote:
Today my small discovery was that you could use filters as a kind of VCA:

Set the filter to lowpass, put the signal you wish to modulate through the filter and a modulator at the cv input. The filter will open according to the modulator.

Awesome if you, like me, don't have a VCA but two filters. thumbs up


You discovered the low pass gate! applause
Slabbapabara
pieter wrote:
Slabbapabara wrote:
Today my small discovery was that you could use filters as a kind of VCA:

Set the filter to lowpass, put the signal you wish to modulate through the filter and a modulator at the cv input. The filter will open according to the modulator.

Awesome if you, like me, don't have a VCA but two filters. thumbs up


You discovered the low pass gate! applause


Oh, I see. Well I'm okey with that too. Thanks for pointing out meh
pieter
Slabbapabara wrote:
pieter wrote:
Slabbapabara wrote:
Today my small discovery was that you could use filters as a kind of VCA:

Set the filter to lowpass, put the signal you wish to modulate through the filter and a modulator at the cv input. The filter will open according to the modulator.

Awesome if you, like me, don't have a VCA but two filters. thumbs up


You discovered the low pass gate! applause


Oh, I see. Well I'm okey with that too. Thanks for pointing out meh


I'm still pretty new to modular, and I often discover things that I'm sure more experienced wigglers see as standard techniques. Doesn't make the discoveries any less fun!

Low pass gates are pretty cool for percussion sounds. I don't have a dedicated LPG module myself, but I'm going to play around with your trick.
DonKartofflo
jlmitch5 wrote:
DonKartofflo wrote:
SB-SIX wrote:

Discovered that tides has a sub-oscillator output


how so?


discovered that rings can be a trashy spring reverb/delay thingy hyper



How do you do that?


red mode, mono voice.
as much negative cv into frequency as you can. play with the knobs.
youve never heard your rings nasty like that!
chimologic
Wait how do you use stream to amplify line level to modular? Also is there a way to get just the envelope follower output out of it?(rather than it being directly routed to the filter?)


rplktr wrote:
These are not discoveries I made today exactly but all of them were huge to me so this offsets the datetime aspect hihi

1. When using PGH Crush, you'll get a much more musical crush amounts if you send your oscillator's 1v/oct to the Sample Rate input as well. You'll need to attenuate but luckily the module has a knob for that. Example how it sounds here.

2. Streams can also be used to amplify line-level input signal to eurorack usable levels. This, plus its versatility as an EG, LPG and envelope follower, makes it one of my favorite modules ever.

3. I only found out how nice uFold can sound when I patched it before the EG, not after. This is a little tricky with the Mother-32 but can be done (use EXT AUDIO). This gives a more delicate and controllable folding amount. But to tell you the truth, uFold works best with sines and zigzag (see Dixie II for example) waves.

4. That's borderline eurorack but... use DC-coupled audio outputs for the most versatile CV setup possible. I'm using a MOTU Ultralite with Reaktor. That's $700 combined for 6 CV outs that I can use for whatever I want. That's 2X the prive of Batumi + Poti but you can use it for LFO, voice tracking, sequencing, random, whatever! It's also fully syncable with my drums, with graphical oscillation output, etc. etc. It's amazing when you try it. While it's not full voltage range, it's more than enough for LFOs and gates. Gives you almost 5 octaves of tracking. It's also extensible with ES-3, should I ever need full range CV, and ES-6 if I need CV from my rack to Reaktor.

Accent wrote:
I recently got a Mother-32 to pair with my eurorack, and have found that patching the keyboard out to the buffered mult on the Moog and out to the two oscillator CV inputs on the Benjolin allows the Benjolin to track very well, much better than anything else I've tried.


Same here, using a buffered mult solved all 1v/oct tracking issues with the Dixie II. thumbs up
giftculture
chimologic wrote:
Wait how do you use stream to amplify line level to modular? Also is there a way to get just the envelope follower output out of it?(rather than it being directly routed to the filter?)


If you put it in envelope following mode, but don't plug anything into the IN jack, you will get the envelope of the signal going into the Excite jack as a CV signal on the output jack
anosou
A fellow wiggler taught me you can make nice sequences with Mutable Instruments Sheep wavetable oscillator in PLL mode at low frequencies and then use the "Smoothness" filtering/wavefolding to get variations on the same sequence.

Just tried that, putting it in a Quantimator for quantization. Stunning stuff! All sequence changes are from the same wavetable, just me wiggling the Smoothness control. This is fun!

[s]http://soundcloud.com/anosou/mattias-spelar-modulsynt-viii[/s]
pugix
Prescient Punk wrote:
Just realized that when I patch a sine from one osc into a simple on off switch and then to the fm in of another osc I can tune the variations and create note changes with a switch. It has proven to be very fun as lately I've be slaved to using sequencers for this and while this technique is not as versatile sometimes I want to use the sequencer for rhythms that vary from the pitch. And I only have one sequencer. cool

Plus it sounds great as I am essentially FMing the oscillator. Guinness ftw!


That gives me an idea for using my Malekko Mute 4. Thanks!
pugix
etantloh wrote:
I think I finally mastered how to navigate the banks and algorithms of the Disting mk3. I know that's super basic and I'll post more, I really just wanted to say +1 for stickying the thread! hihi


And I recently figured out how to select parameters. The instructions said push Z to choose parameter. Took a while to grok the binary led readout.
pugix
southphillysynths wrote:
Today I learned that my R*S SSG makes an almost perfect LPG.

I have had lpgs before and I could never seem to really dial them in. The SSG just about does it perfectly.

Just sending a clock to the smooth fm, sending a signal into the smooth side and sending the smooth out as audio sounds like plucking vactrols to me!


That is interesting. I have several SSGs and will definitely try this.
Robscorch
I burnt out another power supply. MY ASS IS BLEEDING Fun times and it seems everything is on production currently for new UIL regulations. Awesome. thumbs up Well at least I won't be burning down the house anytime soon though now I'm restricted to a skiff and my box. Dead Banana

I have also discovered that the reflex live loop IS the sampler of choice in eurorack currently.
dirtbudda
That it is going to cost me at least $10,000 to finish up 1 case, meh.
rplktr
chimologic wrote:
Wait how do you use stream to amplify line level to modular?


Use the Compressor mode, crank the level up and the EXP/LIN knob all the way to EXP.
poorness
If you plug two LFOs running at different rates into an Intellijel uMod II, you can get some really cool chaotic modulation. Start messing with the switches (sorry, I couldn't do it while holding the camera) and it really gets crazy. The lights tell the story.

Prescient Punk
pugix wrote:
Prescient Punk wrote:
Just realized that when I patch a sine from one osc into a simple on off switch and then to the fm in of another osc I can tune the variations and create note changes with a switch. It has proven to be very fun as lately I've be slaved to using sequencers for this and while this technique is not as versatile sometimes I want to use the sequencer for rhythms that vary from the pitch. And I only have one sequencer. cool

Plus it sounds great as I am essentially FMing the oscillator. Guinness ftw!


That gives me an idea for using my Malekko Mute 4. Thanks!


This would work great with that module. Button switches would be smoother in my opinion than toggle switches, plus that is a mixer as well right?
pugix
Prescient Punk wrote:
pugix wrote:
Prescient Punk wrote:
Just realized that when I patch a sine from one osc into a simple on off switch and then to the fm in of another osc I can tune the variations and create note changes with a switch. It has proven to be very fun as lately I've be slaved to using sequencers for this and while this technique is not as versatile sometimes I want to use the sequencer for rhythms that vary from the pitch. And I only have one sequencer. cool

Plus it sounds great as I am essentially FMing the oscillator. Guinness ftw!


That gives me an idea for using my Malekko Mute 4. Thanks!


This would work great with that module. Button switches would be smoother in my opinion than toggle switches, plus that is a mixer as well right?


Yes. Mute 4 is a unity gain 4-input mixer, with mute buttons for each input. 3 HP width.
atrostor
You can use the Mutable Instruments Peaks as a PWM VCO. In the TAP LFO mode, instead of feeding a below-audio rate pulse as a clock source, feed another oscillator into one of the trigger inputs. This will basically tap the LFO at audio rates, resulting in an a non-LF "O", which tracks the frequency of the master oscillator. Than you can select from the available LFO waveforms (sine, triangle, square, staircase triangle and random). If you pick square, the third knob gives you control over duty cycle (i.e pulse width). Other waveforms sound good as well but my favourite so far is the square.

I don't know if this has been brought up in this thread before but I thought it was pretty nifty.
sihiL
poorness wrote:
If you plug two LFOs running at different rates into an Intellijel uMod II, you can get some really cool chaotic modulation. Start messing with the switches (sorry, I couldn't do it while holding the camera) and it really gets crazy. The lights tell the story.



Works with any bipolar VCA, and would probably be even more fun with mixing! I've been doing this with my A-133 for ages, lots and lots of fun!

My latest discoveries have been with the Disting. There's so much to go through, but it has been great at helping me realize where I might want to take my rack in the future!
pugix
atrostor wrote:
You can use the Mutable Instruments Peaks as a PWM VCO. In the TAP LFO mode, instead of feeding a below-audio rate pulse as a clock source, feed another oscillator into one of the trigger inputs. This will basically tap the LFO at audio rates, resulting in an a non-LF "O", which tracks the frequency of the master oscillator. Than you can select from the available LFO waveforms (sine, triangle, square, staircase triangle and random). If you pick square, the third knob gives you control over duty cycle (i.e pulse width). Other waveforms sound good as well but my favourite so far is the square.

I don't know if this has been brought up in this thread before but I thought it was pretty nifty.


Related to this, I tried triggering the Peaks drums by patching an enveloped audio signal into Excite. The drum does trigger at a certain level of the signal, but the signal itself also bleeds through, for another unexpected effect.
rhythmdial
phase distortion vco into synthrotek dirt into mutable instruments ripples is some kind of sound I like very much!

next up is where to put the frequency central adsr? seriously, i just don't get it
Innerself2007
Jumbuktu wrote:
Today my small discovery was that the resonant sine waves produced by a 4ms SMRF sound wicked through a wavefolder (in my case, the NLC Timbre!).


Good tip might have to try this with my Shapeshifter
Cfcarter
I'm relatively new to the modular world so dont expect any advanced patching from me. BUT, i did "discover" this which sounded pretty cool:

White noise into a VCA
VCA into Doepfer Wasp filter
Resonance all the way up on the Wasp, set to highpass and adjust the frequency to taste
Wasp LP/HP out to a pretty small, short, reverb
Reverb to output

Modulate the VCA with a short snappy ENV, i send trig from Pams workout to Maths, any 8th/16th will do.

Now you got a "real" sounding shaker!! Try adjust the settings on the Wasp and the settings on the envelope. The resonance on the Wasp, as we all know, is special and i find it to give this shaker a lot of realistic sounds!
mharpum
Just got the DLD and have had loads of fun with it so far. Then it occurred to me, I have never put a trigger signal through a delay module before! Probably because I didn't have a dedicated delay module until now.

Not tried this one out yet though but I can imagine if you mod the delay time you can get some cool ratcheting type triggers to use!

Anyone done this yet?
Cfcarter
No, but i will try it tonight! smile
pieter
Is the DLD DC coupled?
erstlaub
That works really well on the echophon too, and particularly when you mix the delayed trig's with the divided/multiplied clock out output too (or send them to different voices etc.)

Re. DC coupling, it sometimes doesn't matter, often things that expect trigger ins can still be triggered by an audio click/ peak regardless in my experience. It's fun to pass audio through a few filters and the filters to trigger ins on slopes etc. and pick out certain transients with the filters to make things happen.
milkyjoe
great thread!
nectarios
I keep getting pleseantly surprised by the Atimatter Brainseed.

Random out to an attenuverter and then, Brainseed Seed In.
Brainseed Seed Out to your VCO v/oct.
Set Brainseed to CV Addressed mode.

As expected the attenuverter controls range of the sequence but as I tweak the attenuverter it also scrubs through extra notes that get spat out the Seed Out.

With one knob, you solo (including some "jazz" notes when you clip the Brainseed's input hihi ) to your heart's content, like so:

sihiL
The A-151 is lovely. Did some audio rate switching for new tones. Discovered that PWM does not do much in that application. I also whipped out some sequencer functionality as well, used it with the 3xMIA and the Disting in quantizer mode. Then I sequenced the racked sequencer with some gates from my BSP into the 151 and my Pitts Envelope. I also put some quantized voltages from the BSP into the Y-input of the disting for more variety. 4 steps can be plenty with resets and transposition, yay!

I really need a clock divider and another mixer at some point, maybe another 151 as well!

Here's a link to the video that made it possible for me to get the sequencer functionality from the 3xMIA+A-151: https://www.youtube.com/watch?v=Yilccmiwa8A
digits
I'm pretty new to Eurorack - so this is indeed a small discovery - but just now I got a grip of how awesome the swing can be on the ustep - had it hitting the strikes on the Optomix being fed by the E350 controlled by some wogglebug randomness- funky shit man I was diggin it hard.
Dr. Sketch-n-Etch
Today, my small discovery was that my favourite sound on a fellow wiggler's album, one that I was hoping to be able to achieve, was actually made using a filter I designed. I'm a pretty happy camper today.
giftculture
Dr. Sketch-n-Etch wrote:
Today, my small discovery was that my favourite sound on a fellow wiggler's album, one that I was hoping to be able to achieve, was actually made using a filter I designed. I'm a pretty happy camper today.


That must be the ultimate good feeling for a tool maker, to know that their tools are making something that they consider beautiful! smile
Daisuk
Dr. Sketch-n-Etch wrote:
Today, my small discovery was that my favourite sound on a fellow wiggler's album, one that I was hoping to be able to achieve, was actually made using a filter I designed. I'm a pretty happy camper today.


You can't say a and not b. Which release, which sound and which filter? smile
Dr. Sketch-n-Etch
Daisuk wrote:
Dr. Sketch-n-Etch wrote:
Today, my small discovery was that my favourite sound on a fellow wiggler's album, one that I was hoping to be able to achieve, was actually made using a filter I designed. I'm a pretty happy camper today.


You can't say a and not b. Which release, which sound and which filter? smile


Release: SB-SIX's EP Paths

Sound: Track 3, "Misadventure", the fizzy open-filter sound on top and in your face at about 1:25 to 2:00 into the track

Filter: Intellijel Polaris
geremyf
Wow. That is an inspiring track. I like many of these sounds...
Daisuk
Dr. Sketch-n-Etch wrote:
Daisuk wrote:
Dr. Sketch-n-Etch wrote:
Today, my small discovery was that my favourite sound on a fellow wiggler's album, one that I was hoping to be able to achieve, was actually made using a filter I designed. I'm a pretty happy camper today.


You can't say a and not b. Which release, which sound and which filter? smile


Release: SB-SIX's EP Paths

Sound: Track 3, "Misadventure", the fizzy open-filter sound on top and in your face at about 1:25 to 2:00 into the track

Filter: Intellijel Polaris


Nice, thanks for sharing. Some great tracks on that record, indeed. And a nice sounding filter too, obviously. Mr. Green
atte
Actually a big one for me:

Tbe BSP doesn't like to have patterns with different sub-divisions on the same track. There's a small timing glitch/delay thing happening. Might not matter to most people, but I run 2x radio music playing beats and "clips" that have to stay 100% in time. A few spots in my live set there were always these small (some large) problems with the beat drifting. I somehow assumed that it was either 1) my samples, 2) my build of the radio music modules, 3) the radio music firmware or 4) my SETTINGS.TXT

Some how I noticed that exactly where the worst hickup always occur, patterns on the RM channel were going from 1/8 to 1/4 sub division. With that straightened out, it's super tight, and I'm one happy camper!

If only they would fix the bugs in the sucker d'oh!
Daisuk
Woooo! BIG discovery for me today. I'm sure some of you know of this technique, but it suddenley dawned on me today (I guess this could be what people mean when they write "sequence the sequencer") ...

So I'm using a Tip Top Z8000 for sequencing (but I guess you can use any sequencer), it doesn't have any in built quantization. Send the sequence out to a VCA (and close it fully), and clock it at say every beat, or every second beat to whatever your BPM is (whatever clock, really). Then sequence a second sequencer (I'm using two Pressure Points and Brains) to open/close this VCA, clock it so that your main sequencer will go through it's cycle one time before your second sequencer steps one step (or, you know, mix this up for further variations). Then the output of the VCA goes to a quantizer.

Great for creating many smaller musical variations of the same melody, so excellent for long sequences. The VCA will basically just limit the CV range that will hit the quantizer, so the notes will vary slightly. Kind of a voltage controlled transposer/note limiter, hah, not really that, but it will do nice things to your sequences.

Add some randomness to how you sequence your second sequencer, and we're into generative territory. hihi
aroom
^^ great tips. Thank for sharing
Artaos
Today I realized that I can use my Mutable Instruments Blinds as a makeshift 4-channel sidechain compressor, for some pumping techno:

Use the large knobs on Blinds to give a unity gain to your inputs, patch the kick drum amplitude envelope as CV for all channels, use the attenuverter to invert the kick envelope and attenuate it. The result is that the inputs will duck in time with the kick, and the amount of effect is dialed in with the CV attenuverters for each channel.
Drakhe
Recently finished building the Penrose Quantizer. While patching today I realized that , depending on how you approach the Penrose, you can use it for different purposes.

First of all, obviously, it's a quantizer.

Then I found, with all notes on, it can serve as a sequencer tuner. Just send the V/Oct into the Penrose and it'll show the current note with a red LED. This way the Penrose serves as a visual queue.

Finaly I found you can use it as a note filter. I know this is essentially the same as a quantizer, it's just a diferent way of thinking about a quantizer. And with it's 12 note buttons, it's dead easy to 'filter' on the fly.
joem
Drakhe wrote:
Recently finished building the Penrose Quantizer. While patching today I realized that , depending on how you approach the Penrose, you can use it for different purposes.

First of all, obviously, it's a quantizer.

Then I found, with all notes on, it can serve as a sequencer tuner. Just send the V/Oct into the Penrose and it'll show the current note with a red LED. This way the Penrose serves as a visual queue.


Ha! I have a Penrose, and wanted to know what notes I was tuning my sequencer to a few times, but I didn't think to use it that way. Thanks!

Another atypical use for the Penrose: I've used mine as a quantized sample and hold by feeding it noise or a LFO and using the trigger to latch on.

It's pretty easy to hook up a sine or triangle LFO to its input and then hook up a square LFO at a different frequency to the trigger and you've got a poor man's Turing machine... kind of. Leave the knob on your sine/tri LFO in place for a pattern, wiggle it a little to get a bit of a different pattern. And if your LFO can reset, then you're even closer to a TM. (I know, I know, it's not really a TM. But for those without a TM, it's closer than nothing.)
Drakhe
joem wrote:
Drakhe wrote:
Recently finished building the Penrose Quantizer. While patching today I realized that , depending on how you approach the Penrose, you can use it for different purposes.

First of all, obviously, it's a quantizer.

Then I found, with all notes on, it can serve as a sequencer tuner. Just send the V/Oct into the Penrose and it'll show the current note with a red LED. This way the Penrose serves as a visual queue.


Ha! I have a Penrose, and wanted to know what notes I was tuning my sequencer to a few times, but I didn't think to use it that way. Thanks!

Another atypical use for the Penrose: I've used mine as a quantized sample and hold by feeding it noise or a LFO and using the trigger to latch on.

It's pretty easy to hook up a sine or triangle LFO to its input and then hook up a square LFO at a different frequency to the trigger and you've got a poor man's Turing machine... kind of. Leave the knob on your sine/tri LFO in place for a pattern, wiggle it a little to get a bit of a different pattern. And if your LFO can reset, then you're even closer to a TM. (I know, I know, it's not really a TM. But for those without a TM, it's closer than nothing.)


Excelent! Even more stuff to use the Penrose for. Turns out quite a varied tool!
calaveras
I was looking into some Wiard stuff and came across the Malekko-Wiard Anti-Envelope which looks like an amazing piece of vaporware.
But then I figured out I can just patch up a penta, some VCAs and a few other bits and bobs to kind of fake what could have been.
It's a lot less than the potential crazy of the anti-envelope.
But it also was a much different use of an unipolar function than I normally do. So I consider that very productive!
I was getting some very 'strummy' types of sounds at some points, and others sounded more like a multi-tap echo.

I always love it when I go into some new territory on my modular and lose utter track of time and space.

I really need to get some VCAs that are DC coupled.
Whelm
This thread is the best.

I'm brand new to eurorack, so I discover a million things every day. Today I realized I can play a crazy techno drum patch using my modular super-theramin. I can't really fully describe the patch without looking at it, but it's two cross-FMed dixies set real low, with the pitch wand also modulating the freq CV of the PGH filter.

It's the least quantized drum patch that has ever existed and warms my heart cockles.

I can't wait to get some dedicated LFOs on this thing.
beem
Two sequences into a switch that's random controlled makes some nice variations. Could be triggers, gates or cv.
starthief
Not a Eurorack tip per se (I'm a couple weeks away from mine), but as I was messing around writing a lo-fi/chiptunish VST plugin, I realized that quantizing envelope levels to 2-4 bits does surprisingly lovely things to the release stage.

AY3 chips had a 4-bit crazy envelope thing, and I believe DMGs (like in the Game Boy) also have 4-bit envelopes.

Having bumps/plateaus in the release stage of an envelope might work nicely even for sound sources that aren't so lo-fi.
robvec
2 simple neat tricks I learnt recently.

Optomix can be used to create a nice snappy vectorial envelope to modulate anything a bit like the Positronic Transient Gate can. Feed the input with a DC offset send it to its destination (wave folder?). Now strike it.

Also the Doepfer 138b mixer can be used to generate offset - a jumper on the back allows the 1st channel to become a DC offset generator. And it still works fine as an input for audio.
Scories
I recently realised that I could sync the sequencer of my JX-3P to a Serge modular (gate out). How nice!
joem
robvec wrote:
Optomix can be used to create a nice snappy vectorial envelope to modulate anything a bit like the Positronic Transient Gate can. Feed the input with a DC offset send it to its destination (wave folder?). Now strike it.


On the latest version (mk. 2), you don't even need to feed it a DC offset, since one is normalled.
Dr. Sketch-n-Etch
(OK, a synth-related discovery...)

Today, my small discovery was that... "Edge" (sawtooth-derived) pulse waves sound a lot different with PWM than "Centre" (triangle-derived) pulse waves. When mixed with other waves (such as a double-frequency sawtooth or sigmoid), the Edge pulse sounds much richer. This is true whether the pulse width is being tastefully modulated, or whether the pulse width is just set to some non-symmetrical static setting.

I made this discovery using my handmade "DIY Dixie" which is a very deluxe version of the Dixie which has all of the waveform options of a Rubicon but does not have TZFM.

My next handmade VCO is definitely going to have faders for waveform mixing. Indeed, I think I'm going to build a little module that sits off to the side of my VCO and just mixes waveforms -- maybe a dual unit for mixing from two separate VCOs. I knew I bought all those used faders from Electronic Goldmine for a reason!

(I also discovered that unfiltered sawtooth waves sound very weird over headphones. I hope that's not just a manifestation of my mild tinnitus.)
lohacker
Dr. Sketch-n-Etch wrote:

(I also discovered that unfiltered sawtooth waves sound very weird over headphones. I hope that's not just a manifestation of my mild tinnitus.)


So I'm not the only one! I have the same feeling, but don't have tinnitus issues for sure, I've guessed this have to be related to psychoacoustic and the absence of room modes in the headphones. I'd like to know more.

Dr. Sketch-n-Etch wrote:

Today, my small discovery was that... "Edge" (sawtooth-derived) pulse waves sound a lot different with PWM than "Centre" (triangle-derived) pulse waves. When mixed with other waves (such as a double-frequency sawtooth or sigmoid), the Edge pulse sounds much richer. This is true whether the pulse width is being tastefully modulated, or whether the pulse width is just set to some non-symmetrical static setting.


Thanks for this comment I have to play more with different pulse settings on my rubicon.
Moog$FooL$
Dr. Sketch-n-Etch wrote:
(OK, a synth-related discovery...)

Today, my small discovery was that... "Edge" (sawtooth-derived) pulse waves sound a lot different with PWM than "Centre" (triangle-derived) pulse waves. When mixed with other waves (such as a double-frequency sawtooth or sigmoid), the Edge pulse sounds much richer. This is true whether the pulse width is being tastefully modulated, or whether the pulse width is just set to some non-symmetrical static setting.

I made this discovery using my handmade "DIY Dixie" which is a very deluxe version of the Dixie which has all of the waveform options of a Rubicon but does not have TZFM.

My next handmade VCO is definitely going to have faders for waveform mixing. Indeed, I think I'm going to build a little module that sits off to the side of my VCO and just mixes waveforms -- maybe a dual unit for mixing from two separate VCOs. I knew I bought all those used faders from Electronic Goldmine for a reason!

(I also discovered that unfiltered sawtooth waves sound very weird over headphones. I hope that's not just a manifestation of my mild tinnitus.)


nanners Rockin' Banana! hyper love
chysn
Last night, I found out that I can use the top channel of my Pittsburgh Modular LFO2 as a sort of delayed trigger. The Pulse output triggers one thing "on the beat," and then the Shape output triggers another thing on the same beat, or a little bit after, depending on the position of the Shape knob.
robin
lohacker wrote:
Dr. Sketch-n-Etch wrote:

(I also discovered that unfiltered sawtooth waves sound very weird over headphones. I hope that's not just a manifestation of my mild tinnitus.)


So I'm not the only one! I have the same feeling, but don't have tinnitus issues for sure, I've guessed this have to be related to psychoacoustic and the absence of room modes in the headphones. I'd like to know more.


Oh my, same here! It sounds like what i only recognize from additive synthesis shenanigans in VST plugins, or weird phase disperser ensembles in Reaktor... Never had it with a VST (virtual analog i mean, not the spectral weird plugins mentioned before). Maybe stuff that reaches lower ultrasound but still interacts with audible frequencies?
autopoiesis
Nothing new here ...

I discovered the Maths comparator patch today, but since I don't have a Maths, I made it work with my Function and a mixer. Given two signals x and y, invert one of them (if y is inverted, the comparison is x > y; if x is inverted, the comparison is x < y), sum them in a unity mixer, send the mixer output into Function's Signal Input, and take the gate out from EOR.

I also remembered reading that Disting's delay algorithms work perfectly well with not only audio but also CV signals, and I finally got to see that. It's Rasta-nana
Futuresound
Today my small discovery was that I thought I was really into microtonal, until I got a quantizer.
mdoudoroff
Today I discovered that you could probably set all of René’s knobs to random positions, glue them in place, and build an entire musical career recycling those same sixteen cv values in endless ways.
mdoudoroff
Stopping the clock on clocked fx and letting them freak out can be a great way to end a track.
greenanother
Fm'ing any oscillator (running through an lpg) with sine waves from the DPO creates some fantastic bell and drum sounds.

EDIT: Added example with Mutable Instruments Braids:

[s]https://soundcloud.com/greenanother/braids-studies[/s]
sendepause
To my small discovery was....

Using a steady voltage source in the slip input of a SCM, use a shuffle out on hihats and gate those with a gate. The by using the steady voltage source and the timed gate (longer or shorter) you can do great shuffling hihats....

Hope i'm clear... help
Endorfinity
...comparator i.e. Doepfer A-167 can be used for waveshaping

patch as follows. by removing one of the signals from A-172 minimum/maximum selector one can have assymetrical waveshaping. more cross modulation can be applied when injecting other signals into remaining inputs of A-172 or In- input of A-167



10vpp triangle wave from MI Tides, various ratios of offset and VCA parameters. one particular combination of modulated Tides and waveshaper sounds almost exactly as Waldorf Wavetable C14 Clipper. that's fucking hardcore.

ignacio
That, like many here, I have an addiction (GAS) and the first step to healing is acknowledgment hihi .
Format32
I made a complete drum beat on my Lifeforms SV1 and Make Noise Functions.. I had no idea what I was doing, just patching somewhat randomly. The problem, I didn't take note of what I was patching so I hopefully can do it again.
eclectics
I often patch a random cv into an attenuator then to the 1v/oct input of an osc.

Realised today that I can use the exp fm of my oscs instead of the 1v/oct input, because the exp fm has a built in attenuator.

Another realisation is that I can a slow square wave from the osc as a clock, then use pwm to get varying gates/triggers

random to z3000 pwm, z3000 on 3hz, sq out to optomix strike.
cheeseandbiscuits
Modcan quad LFO operating at audio rates makes it also a quad VCO with imperfect tracking but great for lots of purposes and probably my most useful module.. Transform knob is great for rich evolving drone tones on the wavetable settings, modulating capabilities are insane.. Using this thing in most every patch now one way or another!!

nanners
CopperHydra
Today My small discovery was that if I use Pamela's workout as a clock divider on the output of the clock of my D-1000 while it's own sequence is playing, and use Pamela's outputs to divide the clock and trigger the drums I want in between those from the D-1000's seq I can instantly create a swing effect by starting Pamela a little bit behind or ahead of schedule. I can either adjust or create a new groove at the touch of a button
poorness
Earlier in this thread, somebody mentioned sequencing the sequencer. I tried that and it is a very cool trick. thumbs up

However, I had a new discovery last night (based on the same idea), randomizing the random. Use two random sources running at different rates (it doesn't have to be clocked), feed them into a VCA and presto.

Wow! Mind blown! Drunk Banana

I was so excited, I made this 2 minute video. lol

demodex
poorness wrote:
Earlier in this thread, somebody mentioned sequencing the sequencer. I tried that and it is a very cool trick. thumbs up

However, I had a new discovery last night (based on the same idea), randomizing the random. Use two random sources running at different rates (it doesn't have to be clocked), feed them into a VCA and presto.

Wow! Mind blown! Drunk Banana

I was so excited, I made this 2 minute video. lol

sweet case!, where can i get one?
poorness
demodex wrote:
sweet case!, where can i get one?


It's a custom job dude. I just put some rack rails in a bento box and mounted a couple 84 hp Z-Rail kits. Put a handle on top, rubber feet on bottom and its good to go.
ignacio
That I could get my cold mac to self-oscillate.
Abyssinianloop
I discovered that I was able to achieve a much better calibration of my Penrose quantizer using a strobe tuner, rather than the scope or dmm that I have.
HowMuchYaBench
Curious to hear what the effect of this would be. I'm not sure I understand the use.

joem wrote:
robvec wrote:
Optomix can be used to create a nice snappy vectorial envelope to modulate anything a bit like the Positronic Transient Gate can. Feed the input with a DC offset send it to its destination (wave folder?). Now strike it.


On the latest version (mk. 2), you don't even need to feed it a DC offset, since one is normalled.
stylesforfree
so many discoveries, using maths to modulate the rhythm of hi hats
MindMachine
My re-discovery was how great inverted envelopes sound into the Frequensteiner.
dashwood
Ants taste like vinegar.
ETP
dashwood wrote:
Ants taste like vinegar.


i thought, they taste like lemons. maybe there are diferent flavoured ants hmmm.....
Carrousel
dashwood wrote:
Ants taste like vinegar.


Full of formic acid ain't they? Very similar to acetic acid. I recently had the misfortune to attempt answering the call of nature in the immediate vicinity of a fire ant hill in Sweden. It didn't end well for my arse-cheeks.
Koryo
Find a picture.

If you are building a module and possibly in doubt, find a photo to help you out.

e.g. I built a Befaco RAMPAGE with the headers on the wrong side ignoring the footprint silkscreen. Lucky for me, no harm was done and all was well when properly replaced.
Koryo
Listen to your Disting.

Whatever you are using your Disting for; most likely, you are needing a new module that fills and expands that focus (fetish).

I'm sure someone has mentioned, at some point, that modules are addictive
.
Fiddlestickz
Twincussion...use A sine out for massive beautiful fat round thunderous sine kick..
ImNotDedYet
Koryo wrote:
Listen to your Disting.

Whatever you are using your Disting for; most likely, you are needing a new module that fills and expands that focus (fetish).

I'm sure someone has mentioned, at some point, that modules are addictive
.


Quite true! I've been exploring precision adders and ASRs a lot lately. wink Think I'm sticking with Disting and the Doepfer quantizer for transposition, but going to get the NLC Squid Axon for a non-disting, non random ASR..
Koryo
Took awhile, but I found C18.

The Modular Addict - Braids (Brad) PCB silkscreen is not the best and the footprint C18 call out is missing.

Solution: go to the Google docs repository for all the Mutable Instruments files:
https://docs.google.com/spreadsheets/d/1KZltEM_g_yhMPhuGk-p82fb1sggsvi 72b_s4ztzFu-s/edit#gid=0 There you will find the BOM and GIThub .brd links to download. Then download and install "Eagle CAD". After doing both of those, open the .brd file in Eagle CAD, hide all the non-top layers that do not have to do with the top silkscreen and values. BAM, there you go. C18.
poorness
Eurorack and bass guitar actually go quite well together...

starthief
If I attenuate a gate signal and use that in the CV input of an LPG, I get a softer attack as well as quieter output.
adam
Koryo wrote:
Took awhile, but I found C18.

The Modular Addict - Braids (Brad) PCB silkscreen is not the best


do you mind, those silkscreens were done by a leading abstract expressionist painter

Dr. Sketch-n-Etch
adam wrote:
Koryo wrote:
Took awhile, but I found C18.

The Modular Addict - Braids (Brad) PCB silkscreen is not the best


do you mind, those silkscreens were done by a leading abstract expressionist painter



This picture is worth exactly the 1000 words it would take to explain why I only build through-hole PCBs.
pieter
Dr. Sketch-n-Etch wrote:
adam wrote:
Koryo wrote:
Took awhile, but I found C18.

The Modular Addict - Braids (Brad) PCB silkscreen is not the best


do you mind, those silkscreens were done by a leading abstract expressionist painter



This picture is worth exactly the 1000 words it would take to explain why I only build through-hole PCBs.


lol

Your quote reminds me of your interview in I Dream of Wires. :-)
adam
Dr. Sketch-n-Etch wrote:
adam wrote:
Koryo wrote:
Took awhile, but I found C18.

The Modular Addict - Braids (Brad) PCB silkscreen is not the best


do you mind, those silkscreens were done by a leading abstract expressionist painter



This picture is worth exactly the 1000 words it would take to explain why I only build through-hole PCBs.


you need the bob ross smd soldering dvd
Koryo
Yes it is a bit impressionistic. At the end of the day, electrons don't really care about aesthetics.

Modular Addict's Brad (Braids) C18 in all it's glory.

adam
if you look at that red pic you'll see the silkscreen is misregistered and has gone over the top of the hasl in some places, printing between the plating and the solder is not going to make for a strong solder joint.

this board went through the hands of the manufacturer, wholesaler, and dealer, before it reached the customer and that wasn't picked up on by any of them, or by the manufacturers automated quality control checks if they do any.

personally i check boards over for things like this before i send them out, had some problems with about 20% of the first batch of boards i did but got them to make some new ones and ordered some more from the new supplier i'd switched to just in case.
pirxthepilot
Today I discovered how amazing the Doepfer A-199 spring reverb sounds.
Xtheunknown
Today I discovered so many surprises when tweaking Shelves (modulated by sample and hold) during a rhythmic ring modulated sequence.
subdo
So today (actually yesterday) I discovered you can mult a signal using a stackable on either the source OR destination. And I thought of course you can it's just metal touching metal and if it didn't work why would they put the stacky jack on both sides? Anyhow it really helps on clocks and signals that are distributed across the whole system. Don't know why it took me years to realize that.
flo
^ The subsequent revelation will be that you can mult to indefinite destinations without ever stacking stackcables on stackcables. hihi thumbs up
pieter
Today my small discovery was that the Volts expander for the Turing Machine gives me much more control over the pitch than Turing's main out, since it is not probabilistic. (Actually I would like to call this more a "Duh!" moment.)
ImNotDedYet
pieter wrote:
Today my small discovery was that the Volts expander for the Turing Machine gives me much more control over the pitch than Turing's main out, since it is not probabilistic. (Actually I would like to call this more a "Duh!" moment.)


It does and it doesn't, at least according to my experience. If you have a "locked in Turing Machine" then I would say you're correct, but when the knob on the Turing is set closer to 12 o'clock and it's more or less completely random, then the Volts knobs corresponding to the voltage added to the pitch and the lit LEDs on the Turing machine can produce a wide array of notes in a scale or not.

It's also great in adding offset for pitches to get lower or higher octaves than the typical out.
pieter
ImNotDedYet wrote:
pieter wrote:
Today my small discovery was that the Volts expander for the Turing Machine gives me much more control over the pitch than Turing's main out, since it is not probabilistic. (Actually I would like to call this more a "Duh!" moment.)


It does and it doesn't, at least according to my experience. If you have a "locked in Turing Machine" then I would say you're correct, but when the knob on the Turing is set closer to 12 o'clock and it's more or less completely random, then the Volts knobs corresponding to the voltage added to the pitch and the lit LEDs on the Turing machine can produce a wide array of notes in a scale or not.

It's also great in adding offset for pitches to get lower or higher octaves than the typical out.


Ah, yes. Thank you for that clarification. I also just now realise that you can take the main out and add the volts out with a precision adder for even more variation.
Carrousel
flo wrote:
^ The subsequent revelation will be that you can mult to indefinite destinations without ever stacking stackcables on stackcables. hihi thumbs up


Oh shit so you can! lol

Never noticed that one.... might save on a few towering pillars of jacks now, ta!
supairaru
ignacio wrote:
That I could get my cold mac to self-oscillate.


tell me more hmmm.....
skunk_hour
That tuning the Rubicon isn't so hard at all, but you absolutely must read the instructions carefully.
akavalve
Cool panning melody using Make Noise Rene:

Setup:

Rene Q-CV out to an OSC.

OSC out multed to the two inputs on Optomix.

Optomix outs to mixer panned left and right.

Rene G-X and G-Y to Optomix Control in.


The end result is that the melody generated by the Rene pans left, right and center depending on the x and y shifts on the grid.

Adding an envelope between the G-X and G-Y outputs and the Optomix gives the panning a bit more subtlety/fluidity.
rayultine
I just fried my own brain last night:

Sent percussive osc (Uoki-Toki pik!) to studio mixer. Sent osc signal to reverb patch on fx processor. Send wet reverb signal back to modular. Plugged reverb signal and output from droning Braids to Disting four-quadrant multiplier algorithm. CV controller Braids osc freq and "scale" of multiplier.

waveshaping/ring modulating/distorting reverb tails!!!

Dead Banana Dead Banana Dead Banana
giftculture
rayultine wrote:
I just fried my own brain last night:

Sent percussive osc (Uoki-Toki pik!) to studio mixer. Sent osc signal to reverb patch on fx processor. Send wet reverb signal back to modular. Plugged reverb signal and output from droning Braids to Disting four-quadrant multiplier algorithm. CV controller Braids osc freq and "scale" of multiplier.

waveshaping/ring modulating/distorting reverb tails!!!

Dead Banana Dead Banana Dead Banana


Sounds very interesting - did you record any of it perchance?
rayultine
giftculture wrote:
rayultine wrote:
I just fried my own brain last night:

Sent percussive osc (Uoki-Toki pik!) to studio mixer. Sent osc signal to reverb patch on fx processor. Send wet reverb signal back to modular. Plugged reverb signal and output from droning Braids to Disting four-quadrant multiplier algorithm. CV controller Braids osc freq and "scale" of multiplier.

waveshaping/ring modulating/distorting reverb tails!!!

Dead Banana Dead Banana Dead Banana


Sounds very interesting - did you record any of it perchance?


Nope, but I will this evening! With the right CV control, it sounds like chattering aliens. Very Autechre!
rayultine
giftculture!
Kind of silly, but here's a little one-take of the patch.

[s]https://soundcloud.com/noiserpuss/013017-fourquadrantmultiplier[/s]
giftculture
rayultine wrote:
giftculture!
Kind of silly, but here's a little one-take of the patch.

[s]https://soundcloud.com/noiserpuss/013017-fourquadrantmultiplier[/s]


Gritty! I bet modulating with a tempo synched LFO or two would make for some nice rhythmic grit and crunch!
Koa
Today I discovered I'm really addicted to gear, and it's affecting me creatively. I need to impose more limitations.
pieter
That's not a small discovery, that's profound.
rayultine
giftculture wrote:
rayultine wrote:
giftculture!
Kind of silly, but here's a little one-take of the patch.

[s]https://soundcloud.com/noiserpuss/013017-fourquadrantmultiplier[/s]


Gritty! I bet modulating with a tempo synched LFO or two would make for some nice rhythmic grit and crunch!


Oh man, not sure why I didn't think of that. I had Maths going crazy with the modulation, but I could have been using my Octocontroller instead. Thanks for the tip. Can't wait to check out all your modular SC jams too
Shledge
That my SQ1 can act like 2 channel cv/gate converter.
zynapse
Making bell sounds with Rubicon. Main mistake, I think, in my previous attempts was applying envelope and filter to the modulating sine wave from Dixie II instead of doing this after FM in Rubicon. Small changes to filter cutoff and resonance in Ripples really change the sound from harsh synth to cleanish bell. Very satisfying...


Dogma
supairaru wrote:
ignacio wrote:
That I could get my cold mac to self-oscillate.


tell me more hmmm.....



Crease is half a Schmitt trigger so you can get it to oscillate
starthief
That if you connect a linear unipolar VCA's inputs "backwards" (audio into the CV, positive voltage into input) you get a half-wave rectifier.
dumbledog
For the last year I've been using Distings for quantizers. Usually I'm using Pentatonic Minor, or Minor Triad or such, because the oOoo "Minor Scale" setting always sounded a bit off to me.

Today I learned why. The minor scale I've been wanting to use of all this time (Natural Minor, or all white keys starting with A) is a completely different setting, oOOO rather than oOoo, which is... uh Jazz Minor or some thing, with the last two scale degrees up a semitone.

d'oh!
hawkfuzz
I can use a gate for the Ch1/4 in on Maths for an ASR... d'oh!
Dr. Sketch-n-Etch
Peanuts are like crack to a chihuahua, and cashews are like meth.

My chihuahua is a crack (i.e., peanut) addict.
Moog$FooL$
Dr. Sketch-n-Etch wrote:
Peanuts are like crack to a chihuahua, and cashews are like meth.

My chihuahua is a crack (i.e., peanut) addict.



is it still alive??? zombie
Dr. Sketch-n-Etch
Moog$FooL$ wrote:
is it still alive??? zombie


Of course, as you well know. She fuckin' LOVES peanuts!!!!!!!!
sendepause
... I put a filtered square wave (audio range) in the v/oct input of my rings and the sound was mental...
dysonant
Wasn't today but learned that the Zorlon Cannon does pretty decent chords.

Radical Ans
Shledge wrote:
That my SQ1 can act like 2 channel cv/gate converter.


I love that so many things today have CV/Gate outputs. Between my beatstep pro, keystep, and KMI Qunexus I have more than enough MIDI to CV converters and they take up 0 rack space.
Radical Ans
infovore wrote:
Audio-rate sample/hold heavily attenuated into an FM input for a delightful "fizzle" on top of a sound. I might make a short video about this.


I just did something similar to this last night by using one of the audio rate outputs on a Make Noise Wogglebug through an attenuation and into the CV of a filter. Sounds really neat on a bandpass.
oranginafiend
That a clocked and out of phase square wave LFO combined with a steady clock and a voltage math/mixer can produce retriggers.
pieter
...that Blinds is great for side-chaining.

I use the drum resonator of the Disting (which, with a Maths-sculpted pitch, makes an awesome kick) and use its envelope-out to duck the volume of a bass line that is going through Blinds. The fact that the envelope amount on the Blinds goes negative makes this possible.
Dr. Sketch-n-Etch
...that if you take a forest walk in the opposite direction that you usually take, it's like a completely different walk.
thomachine
I just discovered how awesome rythms you can make when playing with the QCD!

Basics of the patch is a noise-s/h feedback patch to one channel of the QCD. The rytm produced is triggering one channel of optomix. The cv out of the s/h is multed, and patched through a slew limiter. And then into the cv input of the Rene sequencer. A slow divided clock is clocking the X input on the Rene.

Sorry for the crappy audio. I just moved my modular out of my studio, and dont have a soundcard yet. So i just sent the audio from my pitsburg mixer into the audio input on my imac.

[s]http://soundcloud.com/thomachine/lillestrom-mod-rnd-qcd-rytme[/s]
starthief
Maybe this is a "duh" moment but I realized that PLLs can take a steady, normal tempo clock input, (not just audio rate) and, if the PLL is oddball enough, produce a cool rhythm (or more if it has multiple outputs) rather than just clock multiplications/divisions.

This works quite well with Synchrodyne and its PLL out/phase delta out. Just keep the multiplier fairly low, and play with track speed and damping. (Maybe influence CV?)

It also works with Tides PLL mode and its different outputs, though the character is very different. I have it running now, pinging and modulating different Three Sisters inputs and making a nice little minor key rhythmic ditty.
poorness
There is something about sitting down on a wood floor with just your modular and a set of headphones that is remarkably organic. It almost feels like you're playing an acoustic instrument. Very zen. Om



EDIT: fixed broken image
jesselucas
Probably obvious to most but how influential Buchla designs are on my favorite eurorack modules. Also how useful Todd Barton's writing and videos are: http://toddbarton.com . So many ideas translate to eurorack. Rockin' Banana!
tthogs
I've discovered audio rate sent to the Verbos Scan and Pan creates some awesome effects, especially if you drive the input gain into the really pleasing distortion it makes. I'm increasing and decreasing the audiorate slightly and it is creating these wild pan effects. Scan and Pan is an amazing module.

[s]https://soundcloud.com/earthcry/happy-circuits/s-CSU2g[/s][/s]
starthief
Today my discovery was:

if you're trying to do linear TZFM and the pitch goes wonky, run the modulator through a HPF to get rid of any DC offset. My Synchrodyne, for instance, seems to have almost a +2V offset when I let it run the normalled saw VCO through the filter.
Dr. Sketch-n-Etch
starthief wrote:
Today my discovery was:

if you're trying to do linear TZFM and the pitch goes wonky, run the modulator through a HPF to get rid of any DC offset. My Synchrodyne, for instance, seems to have almost a +2V offset when I let it run the normalled saw VCO through the filter.


Yeah, a HPF is essentially an AC coupler (basically just a fancy term for a capacitor on the input). It's pretty cool!

My little discovery was this: I just discovered that my latest composer-crush, Elliott Carter (born 11 Dec 1908), was exactly one day younger than my favorite composer of all time, Olivier Messiaen (born 10 Dec 1908). Of course, Messiaen only lived to be 83 (died in 1992), while Carter lived to be 103 (died in 2012). Carter published over 20 works in his 100s, and was still composing on the morning of his death.
porphyrion
Musique Concrete composer Pierre Henry was born December 9, 1927 in Paris.

The craziest synchronicity I know of is regarding film directors, Ingmar Bergman and Michelangelo Antonioni both dying on exactly the same day, July 30, 2007. What a devastating day that was for 20th Century cinema!


Dr. Sketch-n-Etch wrote:


My little discovery was this: I just discovered that my latest composer-crush, Elliott Carter (born 11 Dec 1908), was exactly one day younger than my favorite composer of all time, Olivier Messiaen (born 10 Dec 1908).
sihiL
Voltage control of function generator curve:

Mult the output of a function generator into a bipolar VCA, use the other copy of the signal for your desired destination. From the bipolar VCA, patch back into the rise-, fall- or both-input. Positive for logarithmic, negative for exponential, but inverted on the Befaco Rampage (since the both-input is inverted)
Xtheunknown
Dr. Sketch-n-Etch wrote:
Today my discovery was:...
my favorite composer of all time, Olivier Messiaen (born 10 Dec 1908)...


I love playing Messiaen selections in church as preludes, communion meditations and postludes. While not everyone in the congregation embraces his music, there are quite a few devotees. I am planning to record a few of his organ works on my modular, which features quite a few of your modules.
pieter
I discovered Messiaen's organ works via this forum, and I absolutely love it! I can see how some people might have trouble with it during communion, though. I can only play it at home when no other family members are in the room.
Xtheunknown
pieter wrote:
I discovered Messiaen's organ works via this forum, and I absolutely love it! I can see how some people might have trouble with it during communion, though. I can only play it at home when no other family members are in the room.


Some reluctance from my family members as well... but then I can't wait until they are a captive audience in the car!!!
pieter
applause

I would love to hear your interpretation of Messiaen on your modular. Will you publish it?
Xtheunknown
pieter wrote:
applause

I would love to hear your interpretation of Messiaen on your modular. Will you publish it?


Absolutely! Just getting started, so this will take a little while. The first few pieces will be from Le Livre du Saint-Sacrement. Looking forward to your feedback.
pieter
Cool, I'm really looking forward to it!
sihiL
A self-patched Warps + an envelope make a nice, easily repeatable kick drum.
pieter
sihiL wrote:
A self-patched Warps + an envelope make a nice, easily repeatable kick drum.


Hmmm, tell me more.
MarcelP
Xtheunknown wrote:
pieter wrote:
I discovered Messiaen's organ works via this forum, and I absolutely love it! I can see how some people might have trouble with it during communion, though. I can only play it at home when no other family members are in the room.


Some reluctance from my family members as well... but then I can't wait until they are a captive audience in the car!!!


Many years ago my (now ex) wife would use Messiaen as an inducement to good behaviour from the children in the car... "You behave back there or your dad will play THAT tape...". I am happy to say that a number of years later my youngest came with me to a Proms performance of the Turangalila symphony and we came out whistling some of the jollier bits, so no long-term ill effects there.... w00t
Migrigsynth
Today, my small / big discovery was that one patch cord patched in the right spot can make the difference between a magical or a mediocre patch. In my case I was trying to patch a Krell patch on my limited system and it just didn't sound right. I patched one more patch cord and it made all the difference in the patch. Rockin' Banana! SlayerBadger!
sihiL
pieter wrote:
sihiL wrote:
A self-patched Warps + an envelope make a nice, easily repeatable kick drum.


Hmmm, tell me more.


Engage the internal oscillator. I've been using the sine. Patch it back to input 2 from the aux output. Set algo to about nine-ten o'clock (the ring mods), so that there's no signal coming out without opening the VCA on input 2. Mult an envelope to Level1 and Level2. You will probably need an atternuator for the Level1 input, since it controls oscillator pitch. I really like using the analog ring mod algo, since the saturation fattens the kick up nicely. The kick will have more bite if you let the envelope go high enough for distortion on the VCA.
starthief
sihiL wrote:
Engage the internal oscillator. I've been using the sine. Patch it back to input 2 from the aux output. Set algo to about nine o'clock (the ring mods) or around there, so that there's no sound when there's no signal coming out without opening the VCA on input 2. Mult an envelope to Level1 and Level2. You will probably need an atternuator for the pitch input, though. I really like using the analog ring mod algo, since the distortion fattens the kick up nicely.


Clever. I often forget about synthesizing basic kicks since I usually go for sample sets in Maschine, but it's a good way to have more control or get some fun variations.

Rings can do surprisingly good kicks with an envelope into V/OCT. It can also get crazy in a few ways, like "stuck" notes in polyphonic modes, or cranking up damping fully in red mode for powernoise distortion.
Montgomery Word
whenever i'm sick of a patch, just start randomly pulling out/changing cables.

boom a better song.
High Wolf
porphyrion wrote:
Musique Concrete composer Pierre Henry was born December 9, 1927 in Paris.

The craziest synchronicity I know of is regarding film directors, Ingmar Bergman and Michelangelo Antonioni both dying on exactly the same day, July 30, 2007. What a devastating day that was for 20th Century cinema!


Dr. Sketch-n-Etch wrote:


My little discovery was this: I just discovered that my latest composer-crush, Elliott Carter (born 11 Dec 1908), was exactly one day younger than my favorite composer of all time, Olivier Messiaen (born 10 Dec 1908).


For a long time it was believed Shakespeare and Cervantes died on the same day as well...now it seems it actually was like a week apart or something...
sihiL
Stackcables are great. They make a patch easier to read once you get your head around them, and they reduce the clutter that tends to form around mults. They do seem to run a bit short, though.
Jasonic
My latest discovery: Telharmonic -> wave folder -> Wasp filter -> VCA. This chain will make some killer bass. Two separate modulation sources feeding the wave fold and the filter cutoff (wogglebug / noise-> S&H), and you have a recipe for DnB and Dubstep growling basses. I like to use Maths as the envelope to control the VCA, and modulate the fall time with a turing machine. Sort of like a slap bass with long and short notes getting looped in patterns.

I really dig this thread. Great place to share and soak up ideas quickly.
Rockin' Banana! nanners It's peanut butter jelly time! The Chewbacca Defense
hermbot
I sent my Kinks white noise into my optomix and had a wogglebug controlling the opening of the LPG.

It recreated, with startling accuracy, wind noise picked up by a camera. Kind of a neat effect.
confusedmachine
if you decide to buy a little bit of Buchla, you're likely to get some more.
geremyf
Jasonic wrote:
My latest discovery: Telharmonic -> wave folder -> Wasp filter -> VCA. This chain will make some killer bass. Two separate modulation sources feeding the wave fold and the filter cutoff (wogglebug / noise-> S&H), and you have a recipe for DnB and Dubstep growling basses. I like to use Maths as the envelope to control the VCA, and modulate the fall time with a turing machine. Sort of like a slap bass with long and short notes getting looped in patterns.

I really dig this thread. Great place to share and soak up ideas quickly.
Rockin' Banana! nanners It's peanut butter jelly time! The Chewbacca Defense


Which output and which mode of the telharmonic? I mostly get noise (due to the number of voices/waves) when I try to use a wavefolder on the tel. P output I assume? Maybe in shift register mode? What am I doing wrong?
starthief
I can't believe I never thought of this before. d'oh!

I'd often thought of the Vari CV on Mini Slew like the Level input on Tides -- a way to modulate the modulation amount. For multiplying envelopes by velocity, etc.

But Vari CV is bipolar and perfectly happy dealing with audio. The signal generated or slewed by Mini Slew will modulate its level. This makes the Vari Out knob a sort of saturated half-wave rectifier if not near zero, which can be cool.

(Going the other way and using Vari CV to control the level of audio passed through the Mini Slew's input can be dirty fun, since it tends to do things like turn sines into triangles only if their frequency is above some threshold... that usage I already knew.)
Jasonic
Often time i will mix the p and h outputs then into the wave folder. That doesnt matter too much though. As long as your not using the noise output. The interval knob should be fully clockwise, so its playing an octave, or where you can hear all the waves play the same frequency in unison (not a chord). The tonic knob will be close to fully counter clockwise (a low note of your choice). Degree about 12 o'clock. Note cv into the tonic input so you can play bassline from a sequencer.
geremyf
Oh ok. Octave mode. That makes a bit of sense. I'll give it a shot wink
sihiL
I managed to cook my own fluctuating random by using the slewed output of my sample and hold to control the function generator clocking it. Then I added a sequential switch to switch between modulating the rise time and the fall time, and I used another copy of the S&H to drive the switching. It's peanut butter jelly time!
starthief
Filter FM with the Influence input on Synchrodyne.

eek!

I feel like Synchrodyne -- even without the expander -- is a black hole of possibilities. Like maybe I don't need Loquelic after all. Like maybe I should quit my job, move to a remote mountaintop with just Three Sisters and Synchrodyne and dedicate my life to the spiritual pursuit of drones.
khakifridge
...I really don't need to DIY everything. (So this week, several hundred quid down...)
geremyf
I posted in the module thread but: audio-rate triggers Int Dinky's taiko cause it to behave more like a waveshaper. So you can plug you oscillator square wave in the trigger input and use Dinky's out for regular oscillator duties.
poorness
If you feed white noise into a filter and then a VCA, you can get drum sounds... no news there.

But I just realized if you use a bandpass filter, crank the resonance, and then use a snappy AD envelope, you can create springy almost liquidy percussion sounds.
circuitburst
The vocoder algorithm in Disting is great for processing percussion! Using a sawtooth for the carrier (Y) is my favorite method, but using colored noise is interesting too. So fun to hear the percussion mutate while wiggling the frequency knob of the sawtooth oscillator. The Z knob adjusts decay time, so tweaking that yields good results also. Spent an a hour or so mesmerized with the new sounds I was getting using Pico Drums as the modulator (X). Next I need to take advantage of the envelope output (B)...
mwx1010
Probably old hat but discovered you can bitcrush CV as well as audio. Getting some really interesting results with a light dusting of bitcrushing on LFOs.
Fierball
Today my small discovery was, I can play keyboard!

Bought a KeyStep to be able to add a little improv on top of things. I took piano lessons when I was 12, but really haven't been back to playing keys in any serious way since, as I've been content to program sequencers or run semi-random sources through a quantizer.

Today I learned that I can run MYSELF through the quantizer too! I can't ever hit a sour note, and can now do those really cool scale sweeps across the key bed! Rockin' Banana!
Jasonic
mwx1010 wrote:
Probably old hat but discovered you can bitcrush CV as well as audio. Getting some really interesting results with a light dusting of bitcrushing on LFOs.


Wild man!!! I will have to experiment wih this idea. Thanks for sharing.
Jasonic
poorness wrote:
If you feed white noise into a filter and then a VCA, you can get drum sounds... no news there.

But I just realized if you use a bandpass filter, crank the resonance, and then use a snappy AD envelope, you can create springy almost liquidy percussion sounds.


The 4ms Spectral Multiband Resonator is great at making liquid percussion sounds like this. Its a great way to achive a new voice out of this module. I like to feed it with analog white noise instead of the normalized internal white noise, so it doesn't sound loopy. Then tune and lock each frequency band to seperate percussion frequencies (low(kik)mid(snare)high(hats) while feeding the cv inputs with snappy envelopes or triggers.
starthief
Jasonic wrote:
mwx1010 wrote:
Probably old hat but discovered you can bitcrush CV as well as audio. Getting some really interesting results with a light dusting of bitcrushing on LFOs.


Wild man!!! I will have to experiment wih this idea. Thanks for sharing.


Some sound boards/chips for early video games and computers had amplitude "envelopes" quantized to 4 or 8 levels. I haven't tried it in modular yet, but in a lo-fi/chiptunes VST instrument I wrote I found that steppy envelopes could sound pretty neat. grin

(Pitch quantization was an issue on some of them, too.)
Shledge
mwx1010 wrote:
Probably old hat but discovered you can bitcrush CV as well as audio. Getting some really interesting results with a light dusting of bitcrushing on LFOs.


And S&H can be used somewhat like analogue bit-crushing for audio or CV. Change the speed of clock = emulate the change in sample-rate.
Andrew108
My discovery was that a cheap Doepfer filter like the A-102 (which cost 60 euros new), when properly modulated, sounds absolutely insane. I love Doepfer filters.
gis_sweden
Today my small discovery was... CV feedback between OSC and S/H. Kind of… Started with a Todd Barton video that referred
to a video posted by Chris David, “Rob Hordijk masterclass 21-11-15 Sample & Hold”. Fun patch. More info in video description.
Here is my eurorack version of the patch.


----- EDIT -----
Made this some hours later...
>>> Liquid Sound :-) <<<
sihiL
I figured out I could stash dummy cables that are meant for inputs into other inputs, preferrably on passive modules. Used this for switched performance mixing for audio with the 3xMIA and stashed the cables into an Olegtron R2R, which is definitely a safe module to just plug stuff into without caring too much about it. grin
Jasonic
The Music Thing Microphonie is a great module. Its a blast to use its output into a clock input. Tap on the side of your case and you can progress your sequencencers. I have a small crankable music box. If I touch the bottom of the music box to the contact mic, the turning of the crank will send triggers to my clock inputs and drive the sequencers forward. It sort of turns the modular into a giant mechanical electronic music box. My next experiment will be a contact mic on a hihat, maybe you can drive your sequencers with a live drum set. Various triggers from toms and other drums could fire envelopes and all sorts of things.
sihiL
Patching offsets as performance controls. It's driving me a bit more towards wanting to everything in the rack, really, since it's pretty effortless to patch things up to change the entire energy of what's going on with one knob. With a DAW, I'd have to do a bunch of MIDI-learning or automation to achieve the same thing. Not good for my GAS. help

I spent a ridiculous amount of time today just wiggling one knob with a simple riff and a bass drum going on. I patched the offset to control envelope release times only. nanners
indigoid
Splitting the output of a properly overdriven gabber bassdrum patch (Tiptop BD808 + FoH Plague Bearer)

Sending one output into a slowly/gently modulated A-125 phaser, attenuating the output, and mixing it back in

I hope my neighbours weren't too annoyed. It sounded fucking nasty

I also discovered that by modulating the Plague Bearer carefully (still in the gabber bassdrum patch) it can be made to produce all kinds of deranged "squeaky child's toy" noises

TBH I've had the Plague Bearer for quite a while and never really used it much. I don't know why as it's completely fucking badass
kbithecrowing
Today I learned that I value a potentially limited module with an intuitive user interface over a module that can do a lot with a cumbersome user interface.
Jasonic
The Telharmonic makes a nice audio rate CV source with lots of flavors depending on the centroid position.
Here is what I patched: Telharmonic H out to Mult one copy going to the fold amount on a wave folder, and other copy going to mixer for audio. The P out also to a mult. One copy going to CV2 on wasp filter and other copy going to another mixer channel. There is a Rubicon sine wave into the wave folder and then that runs to the input on the Wasp filter and the out of the wasp filter to a 3rd channel. The Rubicon and the Telharmonic are getting the same CV for notes from a sequencer. This is a pretty insane patch. The tuning of the telharmonic and the rubicon can be swept around, and the amount of folding can be swept around. The resonance high on the filter that is being modulated by the telharmonic creates a wonderfull wet texture.
Jasonic
Oh yeah, and a copy of the P out on telharmonic can be plugged into the centroid modulation input. The attenuater then acts as the amount of centroid, but its being modulated via audio rate cv from its own P out. Whew!!
pieter
Today I used the four phase outputs of the WMD PDO (running at LFO speed) to modulate the Loquelic Iteritas. Madness ensues...
djd_oz
Sub basses can be derived from flip flops!

[/video]
Jasonic
The Doepfer Wasp filter with the res all the way up, LP filter cutoff controlled by turing machine can make for some nice liquid water drop style beats. I was feeding it sample loops from my ginko sampleslicer, wih the turing machine also modulating the start point of a drum loop. Im getting these wet rhythmic textures. Very bubbly and easy to lock and unlock the rhythmic loops with the turing machine too.
starthief
Intellijel uFold II can be used in a VCA-like way if you set the symmetry all the way to one extreme and use the Folds CV. With 2 stages there's very little bleed.

All kinds of "wrong" patching works with wavefolders. Some of it produces cool results, some of it is subtle variations on normal behavior.
Koa
poorness wrote:
There is something about sitting down on a wood floor with just your modular and a set of headphones that is remarkably organic. It almost feels like you're playing an acoustic instrument. Very zen. Om



EDIT: fixed broken image


tonight I have discovered that I am really jealous of poorness' kit and wish to be poor and like him <3

big up badmon that is clout nanners
Setfan
TODAY I DISCOVERED: if you are even close to going up to the limit of the Doepfer mini case your wall-socket adapter will fry like stephen. yikes!!
Parnelli
I've been on a discovery mission for a while now, but work has been getting in the way.

Last week I discovered the importance of mixers, especially those that are DC coupled for mixing CV; I'd only been using them for audio up until then.

This week I learned that I am employing my Maths very simply and using it for jobs simple modules will do. I watched a series of videos on it's capabilities yesterday and now I have a new mission, and this one's going to take a while it looks like.

Yesterday I learned that I am not modulating my Pittsburgh Oscillators in nearly enough ways, been thinking inside the box too much, and I didn't know that they could be used as an LFO either.

Now for a day off so I can get some lab time to put some of this learning to practical use!
jwise
Parnelli wrote:
I watched a series of videos on it's capabilities yesterday and now I have a new mission, and this one's going to take a while it looks like.


Which videos in particular were the ones that motivated this?
Parnelli
I started here:

http://www.makenoisemusic.com/modules/maths

and ended up here, but I haven't watched all of this one yet:

https://www.youtube.com/watch?v=0QqcLtHR9tg
starthief
Running audio or CV through Sinclastic Empulatrix's gate/trigger input and taking the audio output makes it distort in cool ways.

Then you can feed an envelope or other audio into the audio input, or self-patch the envelope out into audio in.
cptnal
This was yesterday. Does that count?

Doepfer A183-2 Offset/Attenuator. £40 and 4hp, and turns any bipolar LFO into a melody factory. Sure, there are other things I have that can do a similar job when combined, but I guess the real discovery here is how the smallest, cheapest module in my rack could have such a dramatic impact.

(Actually not the smallest, but I left that in for effect Mr. Green )
dysonant
This might be obvious, but it is still really cool. Input a sound source into the ALL on Three Sisters output the HIGH and CENTRE to a left and right channel. Sweep the frequency knob for stereo filtering madness. I've now done this with several filters that have multiple outputs.
Bartimaeus
khakifridge wrote:
...I really don't need to DIY everything. (So this week, several hundred quid down...)


It's a hard pill to swallow >.<
1n
A147-2 is a modulation marvel. I've been making surprise melodies with just this, R*S DUSG and Voltage Block and Noise Reap 12db VCF. It's helping me understand what CV is.

Slow learning, but its building.

-----------------------------

Currently: https://www.modulargrid.net/e/racks/view/500807
starthief
Yesterday's small discovery: Jones O'Tool Plus is really useful and helps one make all kinds of small discoveries Mr. Green Being able to visually compare a module's input and output simultaneously, or the response of two similar but different modules (e.g. LPGs) is really useful. Correlating that with what I hear is educational.

For instance, I found that turning the symmetry knob just a little bit off center on a uFold is almost equivalent to inverting the phase.

0-Coast's "Multiply" is very similar to (but a little less smooth sounding than) uFold's Folds, and its "Overtone" is more similar to DPO's "Shape" than I expected but with more emphasis on the spike.
Jasonic
Just got a Basimilus! The attack knob introduces noise when turned ccw passed zero. If you invert a gate signal, and feed it to the Attack cv input, it makes a nice snare to go along with all the crazy rhythmic noise. What a module!
Dr. Sketch-n-Etch
djd_oz wrote:
Sub basses can be derived from flip flops!

[/video]


Sub basses are always derived from flip flops (or, more typically, flip-flop-based counters). I don't actually know any other way to do it.
starthief
This was more of a small discovery several days ago finally confirmed, but:

The Universal 3.5mm TRS to 1/4" TS Adapters from Control are actually good. hihi

They don't wobble, crackle, fall out or otherwise suck, unlike every similar adapter I've tried, which I'm throwing away now. Patch cables are a little bit of a tight fit, though that eases a little with use. I've got them in the front of my Saffire Pro 40, in my Behringer mixer and my DI box.
funky catsmell
today i learned that it's just not worth cheaping out on the power supply and distribution

i've been running everything off a meanwell rt-65b and homemade busboards, and while it's mostly ok (the eowave orage likes to be influenced by other VCOs when nothing is plugged into the v/oct input...), my livewire frequensteiner decided after the latest reconfiguration that it is absolutely not happy any more and is humming and buzzing about it no matter what i do. a few hours (i reworked the boards several times in case that was the issue) and a lot of frustrating bolting and unbolting modules and plugging headers in blind later and i still don't have it behaving angry
jhsa
Lesson learned, quantizer is needed after sequential switch when using it to combine different already quantized sequencers. Guess it's the same as with passive mults. Should've known that instead of spending a good time wondering why octave jumps were sounding wrong.
NMNMNMNMNMN
Today I learned I've been under utilizing my filters. Did the resonance mod on the Doepfer A-124 to make it self-resonate. When I was doing some tests I cried a little inside.



https://www.youtube.com/watch?v=zv9OnKPP_u4
cptnal
Using pitch to modulate modulation. "Keyboard follow" without the keyboard.
Jasonic
Yesterday I discovered that the Telharmonic sounds amazing running through the Roland Bitrazor. All the high frequency harmonics give the Bitrazor a lot to work with as far as down sample distortion. The roland LP filter really complements pads from the telharmonic too creating a wide range of contrasting sound. From soft and warm (no distortion and lower filter cutoff), to bright freezing screaming distortion (more distortion high filter). If you have both of these modules, give it a try. Disappointed you will not be!
Dr. Sketch-n-Etch
Today I discovered that Alec Baldwin is a huge Yes fan. Here's a link to his blog "Here's the Thing" with a very entertaining hour-long interview with Jon Anderson...

Here's the Thing, Page 2
kay_k
I cleaned up my stuff and found out my racks are packed.. I have 4HP left but modules w/ 44HP not even in the rack sad banana
iSapien1956672
I discovered Wednesday how my Dual VCA worked. I bought the thing because the dude selling it at the show had this wicked sound coming through it.
Came home and it just sat there in place for about 2 months. I finally connected it to my Theramin module and the thing came alive when my hand got too close. Now I use my Noise Reap ISD Sampler with it all the time feeding through the Theramin.
Then I sat in front of my rig and just looked at everything... this does this, and that does that... hmmm it kinda all clicked.
I'm 8 months new to modular and I'm learning something new every day.
Mostly by chance.
microfauna
Dr. Sketch-n-Etch wrote:
djd_oz wrote:
Sub basses can be derived from flip flops!


Sub basses are always derived from flip flops (or, more typically, flip-flop-based counters). I don't actually know any other way to do it.


Voltage controlled slopes (e.g. Maths) can be used as frequency dividers.
bobdylan
I'm loving this thread!! Gotten a ton of ideas for my next sit down...

One small thing I learned the other day was that the drum gate outputs on my beatstep pro can be used to sequence gate triggers to things... I've been sequencing the freeze on my clouds to trigger on specific notes lately... Nothing too complex but this realization has opened up a world of possibility in my system.
starthief
Clock divider into burst generator into the clock divider's reset function. You can get some interesting alternating counts that way. thumbs up
CopperHydra
E355 as audio rate vco, modulate lfo2 cv at audio rates, set lfo2 to phase mode, mult either lfo out to morph cv and start with it attenuated to 0. Then find a sweetspot with the knobs on the left half.
Dr. Sketch-n-Etch
microfauna wrote:
Dr. Sketch-n-Etch wrote:
djd_oz wrote:
Sub basses can be derived from flip flops!


Sub basses are always derived from flip flops (or, more typically, flip-flop-based counters). I don't actually know any other way to do it.


Voltage controlled slopes (e.g. Maths) can be used as frequency dividers.


Yes, it turns out that putting a ring-mod in the feedback loop of an opamp provides a way to get sub-octave sine waves. So there are other ways to do it.
itsritual
Just found out Elements has a chord mode. Can't wait to go back home and try it out.
Final_Instrument
Switching grids to gate mode and triggering rings in the Easter egg mode, some cool stuff
mrerdat
Disting's clocked MIDI file playback is more useful for long, complicated sequences than using a x0x sequencer to do it. It's way faster for me to enter MIDI on the computer and then export it than to program it on the euro. x0x is more useful for short sequences and key changes imo.
SunSpots
I learned I need to modulate things more, because they tend to sound much neater

I also learned that the google app for the Erica Synths Pico Drum module is freaking so slick and simple to use. Going to make a stack of samples and upload them asap.
wsy
Just found out my Clouds has been in reverb mode since time immemorial.

Now to try this "Rings into Clouds" thing I've read so much about.

.... maybe while reciting the lord's prayer backward, see what happens?

- Bill
Final_Instrument
wsy wrote:
Just found out my Clouds has been in reverb mode since time immemorial.

Now to try this "Rings into Clouds" thing I've read so much about.

.... maybe while reciting the lord's prayer backward, see what happens?

- Bill


Should go clouds into rings just to piss them off even more
fjoesz
I learned that the Loquelic Iteritas is one badass mofo
starthief
The A-196 PLL is a good friend to a Double Helix. cool
Hallmar
Today(or rather yesterday) I discovered that I can use the quantermain app on Ornament & Crime as an octave transposer for all of my oscillators.

René quantCV -> O&C CV1
Then use the other 3 CV inputs as octave transpose in for 3 destinations.
And then I can define which notes to use for each channel(note mask).

Was starting to think about selling it but now I'm convinced not to!

Although imo the Piqued mode is useless. The envelope only goes up to +5V... So using it as an envelope for my Sisters filter will not work very well. (unless I'm missing something
mrerdat
Today I learned that you could do logic operations with Disting. If you sum together multiple gates and then patch them into input X while using Disting mode A7 (comparator), output A is an OR gate and output B is an NOT gate. SlayerBadger!
BaloErets
Today instead of starting my sequence and gating my envelopes within the range of /4 or x4 of whatever my original clock is, I started my evening building a patch based off of /2.6 or the master clock. Starting this way give the perception that your /2.6 clock is actually x1, because you have nothing else to reference it from. I felt that starting off of this base, I got so many more creative clocking options when selecting common even values. Now that the even values are adding the syncopated/odd time signatures to the original rhythm, all those modules that are limited by simpler clocking options can now become sources of irregularity.
BaloErets
Hallmar wrote:
Today(or rather yesterday) I discovered that I can use the quantermain app on Ornament & Crime as an octave transposer for all of my oscillators.

René quantCV -> O&C CV1
Then use the other 3 CV inputs as octave transpose in for 3 destinations.
And then I can define which notes to use for each channel(note mask).

Was starting to think about selling it but now I'm convinced not to!

Although imo the Piqued mode is useless. The envelope only goes up to +5V... So using it as an envelope for my Sisters filter will not work very well. (unless I'm missing something


If you mean globally, then I think "useless" is a strong and subjective term. Perhaps less useful in your mentioned scenario, but in my experience of about 80-100 modules that I have owned, I would say that 70% of them have modulation inputs that are expecting 0-5v if unipolar, and -5/5v if bipolar.

It's nobody's fault because standards are lacking. I have post-it notes to remind me of the voltage range of the more eccentric modules thumbs up
SunSpots
If I keep the wmd Ssm more simple it works exactly like I wanted. It can be crazy, but I want it more simple for moving percussion sounds around
namon
CopperHydra wrote:
E355 as audio rate vco, modulate lfo2 cv at audio rates, set lfo2 to phase mode, mult either lfo out to morph cv and start with it attenuated to 0. Then find a sweetspot with the knobs on the left half.



Okey dokey. Be right back
bougie
TIL That if you send gates to the play input on the phonogene while its recording, you'll get some kind of octavey pitch drift when playing back. It plays back at normal speed when the gate was high during recording, and octaved up when the gate was low.
cptnal
If you trigger the Track and Hold half of the Doepfer A148 with a gate of 0% from Pam's you can turn it into another Sample and Hold without faffing about with the jumpers on the back. Not with 100% width oddly enough - you still get the odd slip.
fjoesz
sticking a guitar in MI Ears brings o whole new dimension to the modular world
Bjarlstedt
...I finally found out why my trigger input on Braids was all skewed. When I got a grip on this "problem" the thing sounded quite nice and together with the DLD it sounded great. Thank you Braids!
Hallmar
BaloErets wrote:
Hallmar wrote:
Today(or rather yesterday) I discovered that I can use the quantermain app on Ornament & Crime as an octave transposer for all of my oscillators.

René quantCV -> O&C CV1
Then use the other 3 CV inputs as octave transpose in for 3 destinations.
And then I can define which notes to use for each channel(note mask).

Was starting to think about selling it but now I'm convinced not to!

Although imo the Piqued mode is useless. The envelope only goes up to +5V... So using it as an envelope for my Sisters filter will not work very well. (unless I'm missing something


It's nobody's fault because standards are lacking. I have post-it notes to remind me of the voltage range of the more eccentric modules thumbs up


Well the standards are clearly stated in the Doepfer technical specs.

"Control voltages, as produced by modulation sources like the LFO and ADSR, are typically from -2.5 V to +2.5 V (5 Vpp) for LFOs, and from 0 V to +8 V for ADSRs. In addition the signal levels are usually specified in the module description."
http://www.doepfer.de/a100_man/a100t_e.htm

Same goes for the GrandPa from Bastl, the output amplitude(atleast on my DIY version a year ago) was way too low. Was kind of annoying to have to boost it with an amplifier and so forth.

It's always easier to attenuate a signal then to boost it.
So it would make WAY more sense to have the envelope from O&C up to +8v and then you can attenuate it(attenuation is even built into the Piqued firmware!) so it doesn't make any sense to me to have it at only +5v.

Edit: Don't get me wrong though I LOVE the O&C. But this particular thing annoys me.
jwise
Bjarlstedt wrote:
...I finally found out why my trigger input on Braids was all skewed. When I got a grip on this "problem" the thing sounded quite nice and together with the DLD it sounded great. Thank you Braids!


So why was the trigger input skewed?
mookmoof
Simple to get End of Rise with comparator. When the signal crosses the threshold of the comparator only for the duration of a pulse- tada! end of rise. Attenuate envelope if necessary to achieve
uebl
.. that O_C's Piqued allows to use e.g. A, B, or C's end-of-cycle to trigger D eek!
novim
Pam's New Workout as Octo-offset: with Level turned down to 0, you can still output a steady Offset voltage.
uebl
novim wrote:
Pam's New Workout as Octo-offset: with Level turned down to 0, you can still output a steady Offset voltage.


Awesome!
subdo
Not really eurorack but last night I learned that the BSP sends a start/stop signal on the ring of the clock output. All this time I've been using one of the drum triggers as a reset when I can just use a TRS to 2xTS cable like come with the QuNexus cable pack.
Shledge
Star splitters are stereo, so they technically can mult two separate signals at once with the right cables. cool
Eurtrude
subdo wrote:
Not really eurorack but last night I learned that the BSP sends a start/stop signal on the ring of the clock output. All this time I've been using one of the drum triggers as a reset when I can just use a TRS to 2xTS cable like come with the QuNexus cable pack.


You just made my day !!! applause
Eurtrude
microfauna wrote:
Dr. Sketch-n-Etch wrote:
djd_oz wrote:
Sub basses can be derived from flip flops!


Sub basses are always derived from flip flops (or, more typically, flip-flop-based counters). I don't actually know any other way to do it.


Voltage controlled slopes (e.g. Maths) can be used as frequency dividers.


hmmm..... Could you explain this tip a little bit please ? I can't figure out how it can be done and why it's doing that...

Just by sending some audio into the input off Maths and playing with the slope parameter ?
Carrousel
Feed a signal into ch1 input. Take signal out from EOR. Increase rise time to drop the frequency. Maths always completes its rise portion, so the frequency drops as rise time increases; but still related to the signal in since that tells it when to start rising. I'm an electronics novice but I believe maths is behaving like a flip-flop here so Doc Sketch is probably still correct.

Edit: or perhaps you want the ch1 trigger input? Can't remember hmmm.....
technicoloraudio
The harsh reality that Rosie sums both inputs to stereo and AB is not LR. I recognize that the effect return can be used as a split stereo input, but devastation had already set in.
atte
The notes of the synthrotek APC when changing the "one" knob or sending cv into CV1 is the overtone series in reverse hmmm.....
anathem
Maybe a really simple thing (i'm a newbie), but I discovered yesterday that you can put audio signals into maths, attenuate them, invert them, and then pick them up into the different outputs!

Seems like there is also something interesting to do with the EOC and EOR outputs.
Bjarlstedt
I found an electric wood router in my relative's garage today that will help me put my power module on the side of the case. Finally..
BenignToxicity
... another "ah-ha!" moment from a newbie.
Taking a random s/h (level-adjusted, 20% or so) from Pamela and feeding it into a Doepfer A-156 quantizer (set to chord mode) sounds good... but when you take much slower 16-step sequence from Rene and apply it to the quantizer's transpose input... structured randomness that moves with a sense of purpose.

Yeah... I know... standard stuff... but I only just got the A-156 and it's all a voyage of discovery.
Risc_Terilia
anathem wrote:
Maybe a really simple thing (i'm a newbie), but I discovered yesterday that you can put audio signals into maths, attenuate them, invert them, and then pick them up into the different outputs!

Seems like there is also something interesting to do with the EOC and EOR outputs.


You can also use the slew as a filter on audio.
Eurtrude
Raven_Martin wrote:
Feed a signal into ch1 input. Take signal out from EOR. Increase rise time to drop the frequency. Maths always completes its rise portion, so the frequency drops as rise time increases; but still related to the signal in since that tells it when to start rising. I'm an electronics novice but I believe maths is behaving like a flip-flop here so Doc Sketch is probably still correct.

Edit: or perhaps you want the ch1 trigger input? Can't remember hmmm.....


Oh ok... Thanks for the answer !! I didn't know maths behaves like a flip flop here... I'll try it smile
akavalve
Added an A-136 between sequencer (Rene) and quantizer (uScale).
Easy to produce all kinds of melodic variations from the subtle to the extreme.
zengomi
akavalve wrote:
Added an A-136 between sequencer (Rene) and quantizer (uScale).
Easy to produce all kinds of melodic variations from the subtle to the extreme.


applause
Dr. Sketch-n-Etch
My guitar technique has been improving steadily for the last little while, mostly because I have been playing a lot more, and with a lot more intention.

However, today I feel as if I have made somewhat of a breakthrough. I now feel as if my technique on the electric guitar is roughly equivalent to one of the guitar players I have always admired: Martin Barre. I proved this to myself by playing Minstrel in the Gallery from memory, note perfect, without any anxiety or stress. One of the keys to this is my choice of pick.

I have used more or less every sort of pick imaginable. They all have different sounds, different attacks, different feels, and they lend themselves to different playing techniques and abilities. However, I feel as if I have now found the perfect pick for me, the one that allows me to play more or less exactly what I hear in my head, without hesitation. It is this big triangular medium-gauge Gibson pick (of which, luckily, I have about 100).



This pick has just exactly the right amount of flex, it is big enough that I don't have to worry about dropping it, and the corners are soft enough that it lends itself to very rapid and very precise alternate picking. Now I just need to join a band.
Johnnyfive
my discovery was that a gate patched into a vca and multed to an envelope which controls the vca, and then patched into a filter, with the low end cranked on the mixer, can make a really quite passable kick.
cptnal
Dr. Sketch-n-Etch wrote:
My guitar technique has been improving steadily for the last little while, mostly because I have been playing a lot more, and with a lot more intention.

However, today I feel as if I have made somewhat of a breakthrough. I now feel as if my technique on the electric guitar is roughly equivalent to one of the guitar players I have always admired: Martin Barre. I proved this to myself by playing Minstrel in the Gallery from memory, note perfect, without any anxiety or stress. One of the keys to this is my choice of pick.

I have used more or less every sort of pick imaginable. They all have different sounds, different attacks, different feels, and they lend themselves to different playing techniques and abilities. However, I feel as if I have now found the perfect pick for me, the one that allows me to play more or less exactly what I hear in my head, without hesitation. It is this big triangular medium-gauge Gibson pick (of which, luckily, I have about 100).



This pick has just exactly the right amount of flex, it is big enough that I don't have to worry about dropping it, and the corners are soft enough that it lends itself to very rapid and very precise alternate picking. Now I just need to join a band.


...kept waiting for the Eurorack tie-in. So disappointed when it never arrived. cry

I thought you were going to give us something like, "I've discovered Rings makes a much more interesting noise when you use it as a guitar pick."
Dr. Sketch-n-Etch
cptnal wrote:
...kept waiting for the Eurorack tie-in. So disappointed when it never arrived. cry

I thought you were going to give us something like, "I've discovered Rings makes a much more interesting noise when you use it as a guitar pick."


I put my guitar through my modular on occasion, but I haven't made any videos. The key component: my handmade clone of the Doepfer A-119 preamp/envelope follower. That makes a pretty decent interface for electric guitar and modular. Running the guitar through all those fancy Intellijel filters also sounds great. The guitar would sound amazing through a Morgasmatron, especially now that it has that Proco Rat distortion circuit in it. With an Intellijel pedal interface to control cutoff or a decent envelope follower, and some creative FM going on, I reckon that the Morgasmatron would be a pretty effective guitar synthesizer. You could use the XFader as a ringmod with one filter self-oscillating and the other filtering the guitar. I gotta try this.
Hey_Steve86
I discovered recently that if you take the v/oct out of a sequencer or midi to cv converter and invert it. Then apply it to say the fall cv of Maths which is controlling your vca, you get low notes that have a longer decay time, but as you play higher notes the envelope gets snappier.

Fun for when you want bass notes to ring out a bit, but want sharper high notes.
pieter
Today, I discovered that a large barber's neck brush is ideal for dusting my modular synth.
Johnnyfive
Dr. Sketch-n-Etch wrote:
The guitar would sound amazing through a Morgasmatron, especially now that it has that Proco Rat distortion circuit in it.


this is the first i've heard about this... could you elaborate a bit?
Richie Jape
using a tape loop's audio into the disting envelope follower and then tweaking the cv from the envelope follower to find the sweet spot through rene and a quantizer to make some beautiful sequences over a non synced tape loop - BLISS
Dr. Sketch-n-Etch
Johnnyfive wrote:
Dr. Sketch-n-Etch wrote:
The guitar would sound amazing through a Morgasmatron, especially now that it has that Proco Rat distortion circuit in it.


this is the first i've heard about this... could you elaborate a bit?


There are a couple of threads about it. Maybe watch this video for a start:

moremagic
Dr. Sketch-n-Etch wrote:
My guitar technique has been improving steadily for the last little while, mostly because I have been playing a lot more, and with a lot more intention.

However, today I feel as if I have made somewhat of a breakthrough. I now feel as if my technique on the electric guitar is roughly equivalent to one of the guitar players I have always admired: Martin Barre. I proved this to myself by playing Minstrel in the Gallery from memory, note perfect, without any anxiety or stress. One of the keys to this is my choice of pick.

I have used more or less every sort of pick imaginable. They all have different sounds, different attacks, different feels, and they lend themselves to different playing techniques and abilities. However, I feel as if I have now found the perfect pick for me, the one that allows me to play more or less exactly what I hear in my head, without hesitation. It is this big triangular medium-gauge Gibson pick (of which, luckily, I have about 100).



This pick has just exactly the right amount of flex, it is big enough that I don't have to worry about dropping it, and the corners are soft enough that it lends itself to very rapid and very precise alternate picking. Now I just need to join a band.
just in case you run out, those picks are shape 346
it was a catalog number back in the 50s for some brand ive forgotten, but fender and others call them that now too
Cortega
Hey_Steve86 wrote:
I discovered recently that if you take the v/oct out of a sequencer or midi to cv converter and invert it. Then apply it to say the fall cv of Maths which is controlling your vca, you get low notes that have a longer decay time, but as you play higher notes the envelope gets snappier.

Fun for when you want bass notes to ring out a bit, but want sharper high notes.



applause applause applause
The Junglechrist
You can damp the LxD by patch negative signal to the CV input when you strike it ! It sound marvelous !
R.U.Nuts
The Junglechrist wrote:
You can damp the LxD by patch negative signal to the CV input when you strike it ! It sound marvelous !


Yeah. This also works with the DPO strike input. I also discovered that recently.
starthief
Today I found a matrix mixer really does a lot for drone tracks. love I think for my purposes, switching out Frames for an A-138m was the right move.

The switches on Stoicheia and Klasmata (which flip between trigger mode, gate mode (flip-flop) and off) make the modules extra playable.

Modulating Dynamo's threshold CV input for modulated compression is one thing, but feeding it envelopes while something with just slight dynamics variation runs through the input is something else.

I think I found a weak point in the wall between drone and dark techno and it's sort of crumbly. Like crushed Oreos, only blacker. hmmm.....
AndiSt
That badly soldered modules (for example, from garage-company-type-of manufacturers...) can short circuit and have the potential to set your rack on fire. So for the next purchase, remember...
1) You get what you pay for
2) Test modules carefully, especially the ones from niche providers and from DIY folks

waah
starthief
I bought one of these from Amazon, because if I'm going to get a Behringer Neutron, I need a surface to keep it on. I've got it set up above my Mantis right now.



It's overkill for the Neutron, but I note that it's about the right size for a 9U x 104HP case. It'd also probably be useful as a sort of over-desk pedalboard, moderate sized keyboard stand, standing desk platform or whatever. It's rated for 100 pounds, but you'll want to make absolutely sure the knobs are cranked tight so it doesn't tilt and dump its contents... something to check on every once in a while.

Now I just need the synth(s) to go on it. Mr. Green
akavalve
Clocking a 2Hp Euclid from a really simple pattern instead of straight clock gives nice variation while preserving the fundamental rhythm.
Addled
That I can take the clock out of my 4MS QCD and put that into my midi to CV module clock in, then send that clock out via midi to control outboard delay/echo times.
Dr. Sketch-n-Etch
AndiSt wrote:
The badly soldered modules (for example, from garage-style manufacturers...)


I build stuff in my garage, and my modules are not badly soldered. They're quite well soldered, thanks.
Xtheunknown
With all my focus on complex patches lately, I built a simple Krell over the weekend using only a Richter square wave into a Make Noise LxD with a Maths voltage-controlled envelope as the sound generating pathway. The organic acoustic quality of the LxD was stunning! Sometimes really simple is better...
nigel
Dr. Sketch-n-Etch wrote:
AndiSt wrote:
The badly soldered modules (for example, from garage-style manufacturers...)

I build stuff in my garage, and my modules are not badly soldered. They're quite well soldered, thanks.

You're obviously an actual garage manufacturer, not a garage-style manufacturer.
cptnal
nigel wrote:
Dr. Sketch-n-Etch wrote:
AndiSt wrote:
The badly soldered modules (for example, from garage-style manufacturers...)

I build stuff in my garage, and my modules are not badly soldered. They're quite well soldered, thanks.

You're obviously an actual garage manufacturer, not a garage-style manufacturer.


I thought an actual garage manufacturer would manufacture garages... hmmm.....
AndiSt
nigel wrote:
Dr. Sketch-n-Etch wrote:
AndiSt wrote:
The badly soldered modules (for example, from garage-style manufacturers...)

I build stuff in my garage, and my modules are not badly soldered. They're quite well soldered, thanks.

You're obviously an actual garage manufacturer, not a garage-style manufacturer.

No, I am a fire fighter who saved his rack from going up in flames.
Dr. Sketch-n-Etch
AndiSt wrote:
nigel wrote:
Dr. Sketch-n-Etch wrote:
AndiSt wrote:
The badly soldered modules (for example, from garage-style manufacturers...)

I build stuff in my garage, and my modules are not badly soldered. They're quite well soldered, thanks.

You're obviously an actual garage manufacturer, not a garage-style manufacturer.

No, I am a fire fighter who saved his rack from going up in flames.

I just sent a couple of PCBs to a fellow in France. I soldered them up yesterday, in my garage (just the jumper wires -- he'll have to install the actual components). After I soldered all the joints and snipped off all the excess wire, I carefully inspected all the joints in front of a strong light with my reading glasses on. Every solder joint was a perfect little shiny cone.

Good soldering is good soldering, no matter where it is done or by whom.
Dr. Sketch-n-Etch
Today my small discovery was: Flatwound strings are freaking awesome! After playing an Ibanez hollowbody with them on in the store, I bought a set of d'Addarios to put on my Woodburn J-7.
AndiSt
Dr. Sketch-n-Etch wrote:
AndiSt wrote:
nigel wrote:
Dr. Sketch-n-Etch wrote:
AndiSt wrote:
The badly soldered modules (for example, from garage-style manufacturers...)

I build stuff in my garage, and my modules are not badly soldered. They're quite well soldered, thanks.

You're obviously an actual garage manufacturer, not a garage-style manufacturer.

No, I am a fire fighter who saved his rack from going up in flames.

I just sent a couple of PCBs to a fellow in France. I soldered them up yesterday, in my garage (just the jumper wires -- he'll have to install the actual components). After I soldered all the joints and snipped off all the excess wire, I carefully inspected all the joints in front of a strong light with my reading glasses on. Every solder joint was a perfect little shiny cone.

Good soldering is good soldering, no matter where it is done or by whom.

And bad soldering is bad soldering, whether it is done in a garage or a forest; the relevant message being that a faulty circuit can potentially set your house (and garage) on fire.
MarcelP
cptnal wrote:
nigel wrote:
Dr. Sketch-n-Etch wrote:
AndiSt wrote:
The badly soldered modules (for example, from garage-style manufacturers...)

I build stuff in my garage, and my modules are not badly soldered. They're quite well soldered, thanks.

You're obviously an actual garage manufacturer, not a garage-style manufacturer.


I thought an actual garage manufacturer would manufacture garages... hmmm.....


That would be a manufacturer of actual garages?
Johnnyfive
Dr. Sketch-n-Etch wrote:
Johnnyfive wrote:
Dr. Sketch-n-Etch wrote:
The guitar would sound amazing through a Morgasmatron, especially now that it has that Proco Rat distortion circuit in it.


this is the first i've heard about this... could you elaborate a bit?


There are a couple of threads about it. Maybe watch this video for a start:



Sorry, to be more specific: i was aware of the distortion circuit, but didn’t realise it was based on a Rat circuit. Would be curious to know how closely it adheres to the Rat design.
mattsb
Nothing is worse than GAS when you've ordered three things and they are

a - Stuck in customs
b - Almost done assembly and about to be shipped to dealers
c - Not available yet.

Can I not just order something and have it arrive quickly to give me some GAS satisfaction ? I had to go to the local music store on the weekend to buy some velcro cable organizers just to scratch my itch.
starthief
mattsb wrote:
I had to go to the local music store on the weekend to buy some velcro cable organizers just to scratch my itch.


lol

I think the worst is when the postal tracking info says "Due today by 8 PM" and it's 8:15PM, the last update was 3 AM and the module was 300 miles away.

...now that I check it this morning, the status is still the same except they've dropped the estimated arrival. Good ol' "2-day Priority Mail" taking six days as usual very frustrating
Synthetica
I have discovered when I find a new module that I absolutely have and would solve all my needs, it seems every one else does too, buys up the supply and it is not in stock anywhere in the world.
cptnal
hihi Word.

Related - My small discovery is it's not a module that will solve all my needs. It's patch cables.
mattsb
Quote:
I have discovered when I find a new module that I absolutely have and would solve all my needs, it seems every one else does too, buys up the supply and it is not in stock anywhere in the world.


This..

1 on my list above was going to be a Just Friends which I had seen in stock at Control. So I thought about it for 2 days, watched videos, decided I had to have it, back to Control.

OUT OF STOCK.

Not available anywhere else in North America either.


Ordered a Mangrove instead before they ran out . w00t
jwise
mattsb wrote:
1 on my list above was going to be a Just Friends which I had seen in stock at Control. So I thought about it for 2 days, watched videos, decided I had to have it, back to Control.

OUT OF STOCK.


So you are telling me that my discovery today should be to order Magneto?
Hale
My small discovery: Feeding a low amplitude sine LFO from batumi into Mangrove's formant with the knob at just the right spot makes for amazing subtle pitch changes in the sequence that make it almost sound like a saxophone.

Edit:
[s]https://soundcloud.com/mayorbeats/mangrove/s-4HEZk[/s]
Dr. Sketch-n-Etch
Today I discovered that I'm not the only Wiggler with a King Crimson-related avatar (I'm looking at you, Synthetica!).

I also discovered that Holland is actually called the Netherlands. (Who knew? seriously, i just don't get it )
cptnal
Dr. Sketch-n-Etch wrote:
I also discovered that Holland is actually called the Netherlands. (Who knew? seriously, i just don't get it )


(...everyone outside of North America. thumbs up)
electricfence
Dr. Sketch-n-Etch wrote:
I also discovered that Holland is actually called the Netherlands. (Who knew? seriously, i just don't get it )


It gets worse: just wait until you find out what language the Pennsylvania Dutch speak.
electricfence
My small discovery today is that feeding my Wogglebug's woggle CV output into the delay CV input of my simple WL Delay module and cranking the feedback up can smear the staccato percussive sounds that I'm feeding into the delay into wah wah guitar sounds when the woggle circuit is running fast enough -- a transformation akin to slipping from Windham Hill into Black Sabbath.
grep
Sending a 4x and 2x gate from Pam's into the logic section of Kinks and then sending the max output to Rings strum input is very satisfying.
yamzini
Been experimenting with patching noisey drones into the dfam through the external it and shaping them through the velocity, which can add nice slap to a bassline type thing or turn an arpeggio into a hybrid snare/chime.
Audiodog
jwise wrote:
mattsb wrote:
1 on my list above was going to be a Just Friends which I had seen in stock at Control. So I thought about it for 2 days, watched videos, decided I had to have it, back to Control.

OUT OF STOCK.


So you are telling me that my discovery today should be to order Magneto?


Yes, without doubt
ZargZorg
When you're drunk, you spend more money.
rnordac
A quick way to get Wogglebug's stepped random out to send random voltage in the positive And negative range is to patch one of wogglebug's audio outputs into it's external input and turn the ego/id knob all the way ccw. It seems obvious to me now since it's basically just a sample and hold on a bipolar audio signal but I never thought to use WB's audio outs for this purpose until I did it by accident!
R.U.Nuts
Another cool thing about the Makenoise Wogglebug I discovered lately: If you plug an audio source into the influence in you can basically turn the XOR audio output into a noise output. If you have an attenuator or VCA between the audio source and the influence in you can blend between the original XOR sound and noise.
emilng
You can get some interesting results by connecting an envelope to a reverb/delay/other audio effect before hooking it into your VCA.
Addled
My Beatstep pro died recently and work is slow so I have to hold off on getting a replacement. As a result I've been trying different methods of sequencing using both arpeggiators from Ableton and also my QPLFO. Today my small discovery was learning what I can do if I actually make use of the ping functionality on my QPLFO to modulate a filter or PWM. Kind of a no brainer but I'm slow.
starthief
Crossfold is a really good partner for Plaits (and I'm going to bet Warps is too).

Crossfading between the two outputs works really nicely with a lot of models.

Wavefolding the Harmonic Oscillator model is pretty special too. thumbs up
leftbracket
Under the right circumstances, saws and pulses can in fact be very effective sources of audio-rate modulation. Currently enjoying feeding µFold some of them (and then modulate pulse width MY ASS IS BLEEDING )
bmoren
Modulating a LPG with an LFO which is being modulated by another LFO through a LPG at near audio rate to create a kind of warble within of my chord organ!
SCOOBA_TANK
grep wrote:
Sending a 4x and 2x gate from Pam's into the logic section of Kinks and then sending the max output to Rings strum input is very satisfying.


ooooooooooooohhhhhh... i like this. (currently running to try it out myself) THANKS!
JakoGreyshire
SCOOBA_TANK wrote:
grep wrote:
Sending a 4x and 2x gate from Pam's into the logic section of Kinks and then sending the max output to Rings strum input is very satisfying.


ooooooooooooohhhhhh... i like this. (currently running to try it out myself) THANKS!


So, whats coming out of the Max output? Isn't it just a 4x gate? I just tried it with the Distings Min Max algo... I'm confused ... maybe kinks has different logic...?
attacca
Today I figured out how to calibrate my ADDAC 207. I have had it for about a year and I could never get it in tune so I rarely used it. I also opened up my KeyStep and calibrated it to 3 decimal places.
The Junglechrist
I just managed (totaly by accident) to create pulse with modulation sounds using the quantized random voltage part of my recently aquired Random Sampling from Verbos. As it is one of the thing that is missing from a Verbos based system that make me very happy !
It might work with other circuit of the same type I think.

To achieve this you need to plug a wave (triangle sounded best to my hears), and take the n + 1 out as your sound source. If you move the distribution knob you will hear the pulse moving. So then you need to a DC coupled mixer, put your "guide" wave at full volume and then any modulation signal to the amplitude you like.

Fire more question if you have some ;-)

Edit : Here is a small video of it : https://www.instagram.com/p/BiBoabzAZ2j/
Just another rookie
I don’t have enough patch cables!

And that really sucks......
Shledge
Just another rookie wrote:
I don’t have enough patch cables!

And that really sucks......


Like VCAs, you'll never have enough.
BenJBX
I learned how to use a single channel of blinds to scale and offset LFO signals to use with unipolar modulation inputs. The previous method I used tied up 2 channels.

I also learned that you can get a perfectly acceptable kick drum by putting an unprocessed clock pulse into a self oscillating filter's linear cv input with the frequency turned right down. It's not an 808 but for jamming it works fine.
cptnal
BenJBX wrote:
I learned how to use a single channel of blinds to scale and offset LFO signals to use with unipolar modulation inputs. The previous method I used tied up 2 channels.


I'm no Mutable fanboi, but Blinds kicks serious butt as a utility. To drop another Muff's cliché, I use it in every patch. SlayerBadger!
atrostor
BenJBX wrote:
I learned how to use a single channel of blinds to scale and offset LFO signals to use with unipolar modulation inputs. The previous method I used tied up 2 channels.

I also learned that you can get a perfectly acceptable kick drum by putting an unprocessed clock pulse into a self oscillating filter's linear cv input with the frequency turned right down. It's not an 808 but for jamming it works fine.


It's worth mentioning for the uninitiated that this done by patching your signal into not the IN input but into the CV input, and using the small knob to scale and the big knob to offset your signal.
BenJBX
atrostor wrote:
BenJBX wrote:
I learned how to use a single channel of blinds to scale and offset LFO signals to use with unipolar modulation inputs. The previous method I used tied up 2 channels.

I also learned that you can get a perfectly acceptable kick drum by putting an unprocessed clock pulse into a self oscillating filter's linear cv input with the frequency turned right down. It's not an 808 but for jamming it works fine.


It's worth mentioning for the uninitiated that this done by patching your signal into not the IN input but into the CV input, and using the small knob to scale and the big knob to offset your signal.


Indeed and thanks for expanding on that so succinctly It's peanut butter jelly time!
rayultine
I just got a Mutable Instruments Ears, so I'm currently making all sorts of discoveries with electro acoustics and envelope followers smile
FraMauro
I realised that instead of using any old cable, if I only use my grey Doepfer cables for CV I can follow my patches better.
danishchairs
Today I learned that envelopes often/sometimes get retriggered before they finish making their shape. (I got my first envelope module recently.)

I am thinking that a piano has an independent envelope for every key, which doesn’t get retriggered when you play another note. And at least one other envelope for the entire mix (and more, if you have more than one pedal). Wow!
Tonefloat01
1. I need more patch cables.
2. I need about 2 dozen 6” patch cables.
3. I need some stackables...
4. I need to buy a single large case but can’t do DIY.
Dead Banana
Jasonic
The Mysteron through the Wasp filter can be a really funky thing. Getting a future 70s dirty harry wah guitar sound.
Controlling the wasp filter with a mix of lfo and attenuated woggle bug. Both clocked. Just imagine wacachicka wacachicka. The two sexiest animals on the farm..... Brown chicken brown cow.
rayultine
Timing of Reaper and Abstract Data Octocontroller is SO tight, that I can glitch my DAW by tweaking CPU-heavy VST plugins, and my DIN-sync'ed TR-606 and Knit Rider are still on the money.
Spiff
I'm pretty new to the modular world and most days seem to involve myself saying "right, of course I can do that" ...
Chozal
Sq1 through a 189 is instant fun ! And reducing the sample rate of the cv gives this weird timing meaning that two oscs clocked from the same source suddenly push against each other grin
cptnal
Watching video demos of modules I don't own and instead of thinking "want", thinking "how can I do that in my rack?" can lead to all sorts of fun experiments. This is fun!
leftbracket
I'm finding that a lot of the sounds I love from wavetable modules are attainable (and still have a useful range of modulation) with just two oscillators and a wavefolder. That sure saves a cash-strapped student like me a good amount of money and HP in the future!
starthief
TIL that Teletype, Mimetic Digitalis, and Marbles together make one heck of a rhythmic brain -- but that I still want to keep my G8 around to support them.

And that a Doepfer PLL set to low range can do fun little rhythmic ornamentation useful for hi-hat-like parts. (I'd done a little clock mangling with a Syncrodyne before, but hadn't thought to use the Doepfer...)

And that Rings can do some respectable tablas.
starthief
Function + Shades + VCA = compressor great for taming feedback.

Frequency shifter in a spring tank loop = awesome.

Tapping two different points in a feedback loop for mid/side audio = tremendous.

An analog step sequencer makes a decent input into Mimetic Digitalis CV inputs with no worries about sync.
starthief
Patching a slow clock into a multiplier (like Marbles) and watching the LEDs helps with timing manually played parts.
Jasonic
My discovery today was:
I figured out how to get a nice ratcheting trigger pattern using Maths.
-A simple trig pattern into the trig input.
-The Cycle input has a Gate signal in from CR. Turning on and off when you want the ratcheting sound.
-The Both input has a rounded random CV input (many shapes can be used here, a clocked ramp LFO is nice).
-The Rise and Fall times can be moved around, but I like them just on the edge of audio rate.
-The trig output goes to a fast reacting trig in. Like the BSA which can handle audio rate trig input.

andybizarre
starthief wrote:
Tapping two different points in a feedback loop for mid/side audio = tremendous.


I`m curious, can you elaborate? Maybe some patch examples? hyper
Dr. Sketch-n-Etch
The other day, I discovered that Staedtler Lumocolor fine tip permanent markers are vastly superior to Sharpie ultrafine markers for correcting PCB transfers.

The Lumocolor makes a darker mark and requires no "going over" to cover the area. Even a section of missing trace can be quickly drawn in with one stroke. Also, the Sharpie tip tends to dry out often, requiring having a piece of newspaper handy to scribble on to draw the ink back into the tip. The Lumocolor tip never dries out, and also feels smoother in use. Also, the Sharpie tends to erase itself when you go over it again unless you are very careful, thus requiring application of many layers and careful inspection. The Lumocolor doesn't seem to erase itself at all. Finally, the Lumocolor marks do not fade or wear off at all in the etching bath.
starthief
andybizarre wrote:
starthief wrote:
Tapping two different points in a feedback loop for mid/side audio = tremendous.


I`m curious, can you elaborate? Maybe some patch examples? hyper



What I had set up was, in Field Kit FX:

spring reverb out -> (A) -> VCA -> frequency shifter -> (B) -> spring reverb in

(A) was multed to Function, and the negative output mixed with a positive offset in Shades to control the VCA (to suppress it when the feedback got too loud)

(A) and (B) sound slightly different. I panned them into inputs in my DAW, treated as a mid/side pair, and used MSED to convert to normal stereo. (So it sounds wide, but not panned in an unbalanced way.)
Dr. Sketch-n-Etch
Today my small discovery was:

One multiplier (ringmod or balanced multiplier) is cool, but two in series is so much cooler.

Tonight I set up this simple patch: 3 sine VCOs tuned to random pitches, the 1V/Octave inputs taken from the 3 outputs of an Analog Shift Register. One VCO is patched to the X input of a multiplier (essentially like the Intellijel uMod, although I've made some changes to the circuit). Another VCO is patched to the Y input. The output of this multiplier is patched to the X input of a second multiplier, and the third VCO is patched to the Y input of this second multiplier.

Hence, with each clocking of the ASR, each VCO is producing a different pitch. Two of these are the modulating frequencies of the two multipliers, and the third is the input carrier frequency. The multiplied output under these circumstances is very rich. Multiplying twice is so much richer than multiplying only once.

Also, I was clocking the ASR with the Trigger output of my keyboard, and the input to the ASR was the CV output of my keyboard. This is a lot of fun to play.

I've got all the X and Y polarity switches, and these have a significant and interesting effect on timbre. However, if both X switches are set up or down the signal disappears entirely.

I've also put variable "Squish" circuits (single-stage wavefolders) on both multipliers, like the one on the new Rubicon 2. This really adds a lot of emphasis to the timbres, but a little goes a long way. Also, with the two Squish circuits in series set to subtle and slightly different settings, some very interesting waveshaping can be obtained.

Hence, Small Discovery 2: Wavefolders in series are somewhat more interesting than single wavefolders. Even though the uFold is three folding stages which can be switched on or off, two in series with different folding intensities gives different results.

I may make a small video later. In the meantime, here's a picture of the dual multiplier -- I'm pretty damn happy with it (this could just as easily be two separate 1U multipliers):

cptnal
This is a most excellent patch, sir. Modified it slightly by not changing the oscillators pitches, but modulating the modulation with LFOs and VCAs. With a bit of through-zero at the end of the oscillator chain there's some seriously deep textures going on. we're not worthy

Edit: Oh, all right then. Since you asked. Mr. Green
[s]http://soundcloud.com/cptnal/ring[/s]
Dr. Sketch-n-Etch
Hey cptnal, that sounds really great! I'm presuming that the organ-like drone is the 3VCO-2Mod patch. It makes a really awesome "sonic carpet" for other things to be put on top of.

These are the kinds of patches that I like, because they are made from dead conventional analog building blocks, but they sound really rich. I'm a little bit dubious about all of this digital stuff that is coming out, and I wonder how much "staying power" it's all going to have going forward. In 20 or 30 years, if any of this crap survives and becomes "vintage," I have a feeling that it's going to be the analog stuff.

Here's a video of my patch:

Blairio
Dr. Sketch-n-Etch wrote:
Hey cptnal I'm a little bit dubious about all of this digital stuff that is coming out, and I wonder how much "staying power" it's all going to have going forward. In 20 or 30 years, if any of this crap survives and becomes "vintage," I have a feeling that it's going to be the analog stuff.


Mmm, the D50 was 30 years old last year, and that fully digital gem has been recently reincarnated as the D-05. And of course there's the Yamaha DX7 (35 years old), the Sequential Circuits Prophet VS (32 years old) and the Wave PPG 2.2 (37 years old). Damn these outliers!

I don't know how modules like MI's Braids, Rings, and Plaits will stand the test of time. I really hope they do (not least because I own 'em all!). They are well designed and well made from quality components. Likewise my ModCan FMVDO. Yes, analog VCOs can deliver FM, but the ModCan's fm is stable across 7 octaves, and it has cool wavetables too. No digital = no wavetables.
Dr. Sketch-n-Etch
I actually believe that there is now simply so much eurorack gear out in the world that it will never be "scarce" and will thus never acquire the sort of collectible cachet of the early synths.
Blairio
True enough. Maybe the future classics will be softsynths? Nord Modular has already assumed cult, if not classic, status.
geremyf
Dr. Sketch-n-Etch wrote:
Hey cptnal, that sounds really great! I'm presuming that the organ-like drone is the 3VCO-2Mod patch. It makes a really awesome "sonic carpet" for other things to be put on top of.

Here's a video of my patch:



Very Dark Side of the Moon my friend.
Heliophile
...that the Doepfer A-160 clock divider actually takes any gate or trigger and doesn't need a steady clock. Patching a channel of Grids into the A-160/A-161 combo produces all kinds of wonderful rhythmical divisions!
cptnal
Dr. Sketch-n-Etch wrote:
Hey cptnal, that sounds really great! I'm presuming that the organ-like drone is the 3VCO-2Mod patch. It makes a really awesome "sonic carpet" for other things to be put on top of.

These are the kinds of patches that I like, because they are made from dead conventional analog building blocks, but they sound really rich. I'm a little bit dubious about all of this digital stuff that is coming out, and I wonder how much "staying power" it's all going to have going forward. In 20 or 30 years, if any of this crap survives and becomes "vintage," I have a feeling that it's going to be the analog stuff.

Here's a video of my patch:



Thanks for the kind words, Doctor. This one definitely has legs. Still to try:

Using a shift register as per the original spec
Using random to modulate the indices (rather than plain triangles)
Integrating the wave folding (sorry, squish) into the ring mod chain instead of at the end
There will be more nanners

Funny, I've tried chains of multiple AM and FM, but never got around to RM. We'll never get to the bottom of this rabbit hole, and that's why we love it. w00t
Moog$FooL$
Dr. Sketch-n-Etch wrote:
Hey cptnal, that sounds really great! I'm presuming that the organ-like drone is the 3VCO-2Mod patch. It makes a really awesome "sonic carpet" for other things to be put on top of.

These are the kinds of patches that I like, because they are made from dead conventional analog building blocks, but they sound really rich. I'm a little bit dubious about all of this digital stuff that is coming out, and I wonder how much "staying power" it's all going to have going forward. In 20 or 30 years, if any of this crap survives and becomes "vintage," I have a feeling that it's going to be the analog stuff.

Here's a video of my patch:




thumbs up nanners SlayerBadger! no worries Doc..... u & your designs will always have "staying power" with us!!!

fap fap fap... fap fap fap... fap fap fap... razz razz
gis_sweden
Dr. Sketch-n-Etch wrote:
Today my small discovery was:
One multiplier (ringmod or balanced multiplier) is cool, but two in series is so much cooler.

applause Lovely! I have a diy passive ring mod... Great fun. But your module really something!

Inspired by previous posts (for example by starthief) I started to experiment with including my spring reverb
in feed back a patch. The spring is a great source of uncertainty. Inspiering! Thanks a lot.
First sound https://freesound.org/people/gis_sweden/sounds/429526/
sendepause
Today - actually yesterday - my small discovery was:
Using a befaco rampage as an VCO can be massive fun, even more when run through a Timo Rozendal logic module, mixed with a high freq Lfo. Then through an optomix and you get the growling sound in this video. More patch info in the video.

SCOOBA_TANK
sendepause wrote:
Today - actually yesterday - my small discovery was:
Using a befaco rampage as an VCO can be massive fun, even more when run through a Timo Rozendal logic module, mixed with a high freq Lfo. Then through an optomix and you get the growling sound in this video. More patch info in the video.



This is killer!
starthief
Today my small discovery was that when Sound Forge crashes, it can utterly destroy the file it had open, and I should always make a copy before editing very frustrating Especially if I unpatched everything before finishing my edits.
lisa
Batumi can be used as one to four oscillators. thumbs up
pixelforest
my small discovery today was READ. THE. MANUAL. everytime, several times. i had been started to feel kinda bummed about my arpitecht because i couldnt do anything other than arpeggiate between the notes it was masked to. turns out i had been trying to transpose the root rather than using the transpose input which actually works the way i wanted, i can now do arps that are just octave jumps, transposing masks around, etc.

I have to keep reminding myself that no matter how confident I may feel, the people who designed and built the module took the time to document everything that I may not discover or figure out just by playing with it.
starthief
starthief wrote:
I should always make a copy before editing very frustrating


This morning's small discovery was remembering that my working folder for musical projects is synced with Box, so I actually did have a copy of the recording.

nanners
sendepause
SCOOBA_TANK wrote:
sendepause wrote:




This is killer!


Thanx! Great that you likes it love
geremyf
Yesterday I learned that I am still, even after 3 years, utterly dependent upon Metropolis to make anything that approaches 'music'. seriously, i just don't get it
Bjarlstedt
Today my small discovery (a discovery that I don't really like) was that I can't see why I wouldn't sell my Just Friends to fund an Analog 4 confused
cptnal
geremyf wrote:
Yesterday I learned that I am still, even after 3 years, utterly dependent upon Metropolis to make anything that approaches 'music'. seriously, i just don't get it


Sounds as good a reason as any to get rid of it. (Challenge yourself!) thumbs up
Bjarlstedt
cptnal wrote:
geremyf wrote:
Yesterday I learned that I am still, even after 3 years, utterly dependent upon Metropolis to make anything that approaches 'music'. seriously, i just don't get it


Sounds as good a reason as any to get rid of it. (Challenge yourself!) thumbs up


I agree. But this is coming from someone that gives the modules just a month or two of that hassle you're mentioning. If I haven't found my way in using them in an appealing way I sell them and move on. Would love to have more of your patience though.
MvK
I've only read the first 6 pages of this great thread, learned much, loving it!
today my small discovery was:

mixing CVs can be problematic because the sum can be too much. When attenuating the sum the single sources can get too weak. Example: Summing an LFO and an ENV to modulate cutoff; while the LFO is high the added ENV an top of that gets the sum out of the interesting territory of the filter. Of course we can attenuate everything, but with the following tip we can retain the signalstrength of both modulation sources:

mult the LFO into an inverter (polarizer) add positive offset that it swings between 0V - xV. Put this into the cv-in of an VCA amlipying the ENV. Sum the result with the original LFO. Now the env is strongest when the LFO is at minimum and vice versa. 3 Channels of the Vermona Quardopole can do that.
Tonefloat01
Custom Eurorack cases are f#cking expensive..... Dead Banana
Tonefloat01
pixelforest wrote:
my small discovery today was READ. THE. MANUAL. everytime, several times.



And THIS...100% THIS! very frustrating
Dr. Sketch-n-Etch
MvK wrote:
mixing CVs can be problematic because the sum can be too much.

You might want to try summing CVs into a buff mult. This will average rather than add the voltages. That might be an effect you would like.
ookrsia
Dr. Sketch-n-Etch wrote:

You might want to try summing CVs into a buff mult. This will average rather than add the voltages. That might be an effect you would like.


But cause buffered multiples often have only one input, does that mean that if you send multiple sources (like through a passive multiple of some sort) to the buff mult it will average the incoming signals instead of distorting or such? So you can use buff mults as summing unity mixers?

Thanks
reodjectz
Dr. Sketch-n-Etch wrote:
MvK wrote:
mixing CVs can be problematic because the sum can be too much.

You might want to try summing CVs into a buff mult. This will average rather than add the voltages. That might be an effect you would like.


What? "summing CVs into a buff mult... will average rather than add the voltages"

1st off what buff-mult has more than 1 in (don't say Make noise CV buss because it isn't buffered). And what do you mean by average?
poorness
I think he’s saying you could sum first (with a mixer or whatever you’re using today) then send the summed output into a buff mult. The outputs should be ducked slightly because it’s buffered.
reodjectz
poorness wrote:
I think he’s saying you could sum first (with a mixer or whatever you’re using today) then send the summed output into a buff mult. The outputs should be ducked slightly because it’s buffered.


Humph. why not just attenuate on the mixer? And by "ducked slightly" do you mean soft-clipping?
Snail
After being away from this forum for a little while, I'm happy and surprised to see this thread still going after two years. There's a lot of neat things in here, as well as some basic wisdom about approaching modular. Looking forward to reading through all the posts and learning from you all.
rnordac
Dr. Sketch-n-Etch wrote:
Today my small discovery was:

One multiplier (ringmod or balanced multiplier) is cool, but two in series is so much cooler.

Tonight I set up this simple patch: 3 sine VCOs tuned to random pitches, the 1V/Octave inputs taken from the 3 outputs of an Analog Shift Register. One VCO is patched to the X input of a multiplier (essentially like the Intellijel uMod, although I've made some changes to the circuit). Another VCO is patched to the Y input. The output of this multiplier is patched to the X input of a second multiplier, and the third VCO is patched to the Y input of this second multiplier.

Hence, with each clocking of the ASR, each VCO is producing a different pitch. Two of these are the modulating frequencies of the two multipliers, and the third is the input carrier frequency. The multiplied output under these circumstances is very rich. Multiplying twice is so much richer than multiplying only once.

Also, I was clocking the ASR with the Trigger output of my keyboard, and the input to the ASR was the CV output of my keyboard. This is a lot of fun to play.

I've got all the X and Y polarity switches, and these have a significant and interesting effect on timbre. However, if both X switches are set up or down the signal disappears entirely.

I've also put variable "Squish" circuits (single-stage wavefolders) on both multipliers, like the one on the new Rubicon 2. This really adds a lot of emphasis to the timbres, but a little goes a long way. Also, with the two Squish circuits in series set to subtle and slightly different settings, some very interesting waveshaping can be obtained.

Hence, Small Discovery 2: Wavefolders in series are somewhat more interesting than single wavefolders. Even though the uFold is three folding stages which can be switched on or off, two in series with different folding intensities gives different results.

I may make a small video later. In the meantime, here's a picture of the dual multiplier -- I'm pretty damn happy with it (this could just as easily be two separate 1U multipliers):



Thank you for sharing this great idea!! I used it as a jumping off point in a patch today, had never tried ring modulating a ring modulated signal. I made a video of a little bit of the noodling:

cptnal
rnordac wrote:
Dr. Sketch-n-Etch wrote:
Today my small discovery was:

One multiplier (ringmod or balanced multiplier) is cool, but two in series is so much cooler.

Tonight I set up this simple patch: 3 sine VCOs tuned to random pitches, the 1V/Octave inputs taken from the 3 outputs of an Analog Shift Register. One VCO is patched to the X input of a multiplier (essentially like the Intellijel uMod, although I've made some changes to the circuit). Another VCO is patched to the Y input. The output of this multiplier is patched to the X input of a second multiplier, and the third VCO is patched to the Y input of this second multiplier.

Hence, with each clocking of the ASR, each VCO is producing a different pitch. Two of these are the modulating frequencies of the two multipliers, and the third is the input carrier frequency. The multiplied output under these circumstances is very rich. Multiplying twice is so much richer than multiplying only once.

Also, I was clocking the ASR with the Trigger output of my keyboard, and the input to the ASR was the CV output of my keyboard. This is a lot of fun to play.

I've got all the X and Y polarity switches, and these have a significant and interesting effect on timbre. However, if both X switches are set up or down the signal disappears entirely.

I've also put variable "Squish" circuits (single-stage wavefolders) on both multipliers, like the one on the new Rubicon 2. This really adds a lot of emphasis to the timbres, but a little goes a long way. Also, with the two Squish circuits in series set to subtle and slightly different settings, some very interesting waveshaping can be obtained.

Hence, Small Discovery 2: Wavefolders in series are somewhat more interesting than single wavefolders. Even though the uFold is three folding stages which can be switched on or off, two in series with different folding intensities gives different results.

I may make a small video later. In the meantime, here's a picture of the dual multiplier -- I'm pretty damn happy with it (this could just as easily be two separate 1U multipliers):



Thank you for sharing this great idea!! I used it as a jumping off point in a patch today, had never tried ring modulating a ring modulated signal. I made a video of a little bit of the noodling:



Kewl! applause
cptnal
And while we're at it, I just found out that Shapeshifter can do some incredible bell sounds just by patching an envelope into its internal FM. This is fun!

Tends to be more "convincing" (bell-y) at higher pitches, so it complements my A110-4, which is really good in lower registers. w00t
bmoren
using the bipolar attenuverter on maths all the way to negative to close a vca with an AR envelope instead of open it.

maybe obvious, but new to me, and it opens up a world of possibility!
JakoGreyshire
Two ring mods in series....

Makes me want to go try two Karplus-Strong delays in series...

hmmm..... hmmm.....
BLX
sendepause wrote:
Today - actually yesterday - my small discovery was:
Using a befaco rampage as an VCO can be massive fun, even more when run through a Timo Rozendal logic module, mixed with a high freq Lfo. Then through an optomix and you get the growling sound in this video. More patch info in the video.




I agree this is beautiful... Drinking
cptnal
...that you should always make adjustments to your workstation incrementally. Let me explain...

Last night I had the bright idea of rearranging my workspace. I can't recall my reasoning, but somehow I thought that by moving things from a vertical (i.e. into the air) arrangement to a horizontal (i.e. across the desk) arrangement would leave me the same, or more, space to work. Needless to say when this was all arrayed before me it was a total mess. As I saw 200+ hp stretch across my field of view I realised I don't even have any patch cables that long. Luckily nothing was damaged, but I did spend the rest of the evening putting everything back exactly the way it was.

Heed well my tale of woe, gentle wigglers, and don't let this be you. waah
The Junglechrist
I just realise that the combination of the Dr. Octature in LFO mode + the Verbos Scan & Pan open up a crazy world of spacial madness !
dthorn
Unipolar audio sources like the Doepfer PLL and VCS modules make great modulators for AM synthesis. If you sum unipolar audio with an envelope and feed the result to the CV input of a VCA (with another audio signal patched to the VCA's audio input), the level of the audio rate modulator increases and decreases inversely to the level of the EG, disappearing completely when the envelope is at its highest point and creating a kind of varying soft clipping crossfading effect as it fades in and out.
leftbracket
Audio-rate PWM. SlayerBadger!
cptnal
My Tangle Quartet Voltage Controlled Attenuators can actually be Voltage Controlled Amplifiers if I override the 5V normalled to the control pots with a higher offset.

This is why you should always read the manual.

And when you're done reading the manual, read the manual again.

And just when you think you know everything there is to know about an apparently simple module, go back and read the manual again.
pieter
I discovered this a few weeks ago: use a sequential switch to send only the occasional note through a long reverb. This creates a sense of wide space without completely overwhelming the soundscape with layered reverb. Some reverb modules have CV control over the dry/wet mix, but closing the mix typically cuts off the reverb. Here's an example:

[s]https://soundcloud.com/pieterkok/walking-through-moma[/s]
motorhead412
i discovered that using a Landscape Stereo Field to modulate Rings results in some wonderfully bonkers sounds.
Jasonic
Today I figured out a nice way to write out patches in notes using 3 letter abbreviations. It looks kind of like a strange math. Left column is always outputs, and right column is always inputs. Each row of text is a patch cable.
So for example, this is notes on a common clocking setup I do to get started on a patch with my system.

CR CLK - MLT 3
CR RST - MLT 4
MLT 3 - SA CLK
MLT 4 - SA RST
MLT 3 - BSP CLK
MLT 4 - OC RST
MLT 4 - RCD RST
SA CLK - GRD CLK
SA RST - GRD RST
CR 8 - MLT 1
MLT 1 - TM CLK
MLT1 - RCD CLK
MLT1 - OC CLK
RCD 2 - WB CLK
RCD 8 - SQ8 CLK
dooj88
using the EOSG output from the morphagene as a clock can be really cool to play with running into a clock divider. modulating the gene size or morph window with a sequence clocked from the divider gives you a variable clock rate thats a predictable pattern (due to the size of playback audio changing and splice gate position moving around.)

completely obvious and predictable in retrospect, but a fun discovery nonetheless. cool applications for generative stuff.


Jasonic wrote:
Today I figured out a nice way to write out patches in notes using 3 letter abbreviations. It looks kind of like a strange math. Left column is always outputs, and right column is always inputs. Each row of text is a patch cable.
So for example, this is notes on a common clocking setup I do to get started on a patch with my system.

CR CLK - MLT 3
CR RST - MLT 4
MLT 3 - SA CLK
MLT 4 - SA RST
MLT 3 - BSP CLK
MLT 4 - OC RST
MLT 4 - RCD RST
SA CLK - GRD CLK
SA RST - GRD RST
CR 8 - MLT 1
MLT 1 - TM CLK
MLT1 - RCD CLK
MLT1 - OC CLK
RCD 2 - WB CLK
RCD 8 - SQ8 CLK


Addled
Today my discovery was the function of clocked randomness. So many possibilities!
Dr. Sketch-n-Etch
Today, my small discovery was:

I built a small PCB for a fellow Wiggler that transforms a triangle and square wave from a Dixie to a square wave tuned a perfect 5th higher. The heart of this circuit is an XOR gate, which I made by stringing four NAND gates together in the time-honored way. For this I required a CD4011 chip.

So, I am making two PCBs for this fellow, but I only had one CD4011 chip. However, I got to thinking, maybe I could make an XOR gate from NOR gates instead. Well, I couldn't, because it takes five NOR gates to make an XOR gate. However, if you use four NOR gates in exactly the same configuration as the NAND gates, you get an XNOR gate. Of course, with an XNOR gate, the perfect fifth signal comes out inverted. That's part one of the discovery.

Part two of the discovery is this: The four NOR gates on a CD4001 chip are arranged in exactly the same way as the four NAND gates on a CD4011 chip. I have half a dozen CD4001 chips in my stash. Hence, I was able to simply replace the CD4011 chip with a CD4001 chip, and the 5th generator still works perfectly.

All hail Demorgan's Theorem!
andybizarre
Dr. Sketch-n-Etch I assume this is about the FM-aid-thing from the other TZFM thread, right? Will this be hooked up on the Dixie or make a module on its own?
cptnal
Not necessarily today, but a creeping realisation that the whole nomenclature surrounding sequencers is wrong.

For a start, the name. "Multiple offset generator" might be a better description. And they all (mostly?) have an input that says "clock". A better way to describe this might be, "step advance" (but I can see how "clk" makes more efficient use of limited panel space).

Once you get to thinking about "sequencers" in these terms they suddenly start to look a lot more useful... This is fun!
MarcelP
Verbos Multistage has that more generalised approach to sequence/voltage generator functions, naming and labelling. It’s not all about the notes (though it does that nicely too).
cptnal
MarcelP wrote:
Verbos Multistage has that more generalised approach to sequence/voltage generator functions, naming and labelling. It’s not all about the notes (though it does that nicely too).


Really Buchla in 3U though. Mr. Green
bwhittington
pieter wrote:
I discovered this a few weeks ago: use a sequential switch to send only the occasional note through a long reverb. This creates a sense of wide space without completely overwhelming the soundscape with layered reverb.


Clever!
insoul8
bwhittington wrote:
pieter wrote:
I discovered this a few weeks ago: use a sequential switch to send only the occasional note through a long reverb. This creates a sense of wide space without completely overwhelming the soundscape with layered reverb.


Clever!


Yea, that's a good one. I use my seq switch for that a lot.
poorness
Another fun thing to do with a sequential switch...

Send an LFO into the switch, send one of the switch's outputs to whatever you want to modulate. Then leave the other outputs unpatched.

If it's a 3 position switch, the modulation will only be active 1/3 of the time (provided everything is in time with the master clock). However, if you start messing with the switch's speed and the LFO rate... it can get really random.
dumbledog
I reverse engineered the code for the Piques envelope generator app in Ornament and Crime and wrote a Python script to generate attack/decay values that "nearly sync" with any given tempo. Fed to a separate quantizer, this lets me use a looping envelope (aka an LFO) to make sequences of whatever length I'd like which slowly move over time. Kinda like a Turing machine but I prefer the results here.
cptnal
poorness wrote:
Another fun thing to do with a sequential switch...

Send an LFO into the switch, send one of the switch's outputs to whatever you want to modulate. Then leave the other outputs unpatched.

If it's a 3 position switch, the modulation will only be active 1/3 of the time (provided everything is in time with the master clock). However, if you start messing with the switch's speed and the LFO rate... it can get really random.


Kinda like track and hold, except the "hold" value will be 0V.

More generally, I like to use switches like this to create gaps - in modualtion, tiggers, clocks... This is fun!
Thinbishop
As I've recently gotten into modular, I've realized that I should have waited for my case shipped to order more modules.

Now I have a table full of modules with no rack and no power...

help
Dr. Sketch-n-Etch
andybizarre wrote:
Dr. Sketch-n-Etch I assume this is about the FM-aid-thing from the other TZFM thread, right? Will this be hooked up on the Dixie or make a module on its own?


This is just a thing that you feed a triangle and square from a Dixie or Rubicon to, and it generates a square which is a perfect fifth higher. It's a little daughterboard that can be connected to specific points on the PCBs of those modules, or plugged into the jacks.

As a single or dual unit, it would make a nice little 2HP thingy to install between a couple of Dixies. If it were hardwired, it would only have an output jack. Otherwise, it would have three jacks. No knobs, no buttons.

I could build one for whoever wanted it, but the PCB is thicker than 2HP. It is even a tiny bit thicker than 4 HP, so it would take up a bit more space in the back. Also, my builds are only through-hole, so shit's big (the PCB is 2" square).
BaloErets
Today I learnt the value (again) of the simplest of utilities, such as attenuation and VCAs.

Having a Sine wave feeding a Sample and hold that is just a bit slower than the clock of the sample and hold. So you get repeats, but those repeats become out of phase, so you get repetitions that evolve on a scale-level. Attenuating the Sample and hold voltage outputs leads to more repetitions (less choices for the Quantizer to quantize to). Then sending instead that through a VCA, I almost had a Turing Machine thing happening where I could voltage control the chance of repetition.

The melody was nice too... should have recorded it all. Damn I can't wait for my 4ms Wav Recorder to be released w00t w00t
SCOOBA_TANK
BaloErets wrote:
Damn I can't wait for my 4ms Wav Recorder to be released w00t w00t


You’re in luck!

IT'S RELEASED!
R.U.Nuts
BaloErets wrote:
Today I learnt the value (again) of the simplest of utilities, such as attenuation and VCAs.

Having a Sine wave feeding a Sample and hold that is just a bit slower than the clock of the sample and hold. So you get repeats, but those repeats become out of phase, so you get repetitions that evolve on a scale-level. Attenuating the Sample and hold voltage outputs leads to more repetitions (less choices for the Quantizer to quantize to). Then sending instead that through a VCA, I almost had a Turing Machine thing happening where I could voltage control the chance of repetition.

:


Now if you replace the sine with a square and omit VCA and quantizer you get random gates. Square frequency and pulsewidth change the pattern and probability of gates going high.
If you have a quantizer that outputs a trigger on each voltage change at it's output: Square>VCA>clocked S&H>quantizer= random rythm generator. -VCA contols the amount of triggers happening in a given time. Slightly open it up manually for a steady pulse train or open it up with CV for all kinds of burst patterns. Hard-sync the square to a division of the clock driving the S&H for looping patterns. Changing the scale of the quantizer will then change patterns non-destructively.
andybizarre
BaloErets wrote:
Today I learnt the value (again) of the simplest of utilities, such as attenuation and VCAs.

Having a Sine wave feeding a Sample and hold that is just a bit slower than the clock of the sample and hold. So you get repeats, but those repeats become out of phase, so you get repetitions that evolve on a scale-level. Attenuating the Sample and hold voltage outputs leads to more repetitions (less choices for the Quantizer to quantize to). Then sending instead that through a VCA, I almost had a Turing Machine thing happening where I could voltage control the chance of repetition.

The melody was nice too... should have recorded it all. Damn I can't wait for my 4ms Wav Recorder to be released w00t w00t


Great patch, tried & liked it. Did you use unipolar or bipolar LFO to feed the S&H?
cptnal
andybizarre wrote:
BaloErets wrote:
Today I learnt the value (again) of the simplest of utilities, such as attenuation and VCAs.

Having a Sine wave feeding a Sample and hold that is just a bit slower than the clock of the sample and hold. So you get repeats, but those repeats become out of phase, so you get repetitions that evolve on a scale-level. Attenuating the Sample and hold voltage outputs leads to more repetitions (less choices for the Quantizer to quantize to). Then sending instead that through a VCA, I almost had a Turing Machine thing happening where I could voltage control the chance of repetition.

The melody was nice too... should have recorded it all. Damn I can't wait for my 4ms Wav Recorder to be released w00t w00t


Great patch, tried & liked it. Did you use unipolar or bipolar LFO to feed the S&H?


If you use a bipolar signal you're going to have to offset it at some point anyway, because few VCOs will respond to negative voltages. My tools of the trade here are Blinds or Doepfer's A183-2. One of my favourite patches too. It's peanut butter jelly time!
authorless
cptnal wrote:
andybizarre wrote:
BaloErets wrote:
Today I learnt the value (again) of the simplest of utilities, such as attenuation and VCAs.

Having a Sine wave feeding a Sample and hold that is just a bit slower than the clock of the sample and hold. So you get repeats, but those repeats become out of phase, so you get repetitions that evolve on a scale-level. Attenuating the Sample and hold voltage outputs leads to more repetitions (less choices for the Quantizer to quantize to). Then sending instead that through a VCA, I almost had a Turing Machine thing happening where I could voltage control the chance of repetition.

The melody was nice too... should have recorded it all. Damn I can't wait for my 4ms Wav Recorder to be released w00t w00t


Great patch, tried & liked it. Did you use unipolar or bipolar LFO to feed the S&H?


If you use a bipolar signal you're going to have to offset it at some point anyway, because few VCOs will respond to negative voltages. My tools of the trade here are Blinds or Doepfer's A183-2. One of my favourite patches too. It's peanut butter jelly time!


What VCO doesn't respond to negative voltages? A lot of quantizers cannot quantize negative voltages because it requires a separate operation that quantizing positive voltages. But I am pretty sure all VCOs can handle negative voltages just fine.
starthief
authorless wrote:
What VCO doesn't respond to negative voltages?


Pretty much all the Noise Engineering VCOs (Ataraxic Translatron, Manis Iteritas and Cursus Iteritas confirmed)

Hertz Donut mk2
Kermit reacts to negative voltages, but not at 1V/OCT
Not sure about other Harvestman stuff, but I think all the mk2 stuff ignores negative voltages
cptnal
Quanitzers indeed. I must have had my LI in mind when I said VCOs. zombie
pieter
Is this a typical difference between analog and digital VCOs?
starthief
I'd be more surprised to find an analog VCO that didn't respond to negative voltages than a digital one, but I'm not sure it's "typical." Mutable and Synth Tech both work with negative voltages.
ldd23
Made a patch with Wavedrum -> Peak&Hold (trigger) -> Echophon (tempo) to try to have the Echophon play in time with my drumming. It sort of did, but mostly did weird stuff because it couldn't track the irregular triggers.

So I put the Doepfer PLL in the chain, Peak&Hold (trigger) -> PLL -> Echophon (tempo) and now it plays in time with me, and stays mostly steady.
SunSpots
Simply amplitude modulation with a sine wave LFO can sound REALLY cool on a pitched down vocal sample. You can 1v/oct the LFO and it sounds like you're pitching the sample but in a different way than just pitching the sample. Very fun technique.
Jasonic
Today I discovered:
The Stepper Acid CV and Gate outs to the Bassimilus pitch and trigger inputs and then the Bassimilus out to the Wasp filter is a wild acid adventure. Lots of modulation points.
Jasonic
And today I discovered:
The Keystep and the Mysteron are best friends.
Chugging Beers
robkramble
The Wogglebug is:

1. Still as much fun as the first day I got it
2. Capable of processing CV, not just generating it
3. Quite organic and fascinating when altering pitch CV, particularly using the Woggle out while modulating all other controls (including the clock you feed it)

I learned this over the course of the last couple days and spit it back out in the form of this weird ambient/drone "patch" that I later touched up in Live:

[s]https://soundcloud.com/rob_conduit/time-immemorial[/s]
Dr. Sketch-n-Etch
Today, my small discovery was...

KENNY BURRELL !!!!!!!

This is the guitar player I've been trying to emulate, without even knowing it. I can hear that he's using most of the same voicings I'm using -- ones that are relatively easy to grab, but sound good, and his melodic approach is very similar to mine, with short snatches of melody between and on top of the chords. I'm all inspired to transcribe some of his stuff and maybe really learn to play jazz. I'm not gettin' any younger!
electricfence
Dr. Sketch-n-Etch wrote:
I'm not gettin' any younger!


Have you tried plugging yourself into one of these: https://www.modulargrid.net/e/intellijel-triatt ? It does inversion, and lots of other stuff. Miley Cyrus
MarcelP
Dr. Sketch-n-Etch wrote:
Today, my small discovery was...

KENNY BURRELL !!!!!!!

This is the guitar player I've been trying to emulate, without even knowing it. I can hear that he's using most of the same voicings I'm using -- ones that are relatively easy to grab, but sound good, and his melodic approach is very similar to mine, with short snatches of melody between and on top of the chords. I'm all inspired to transcribe some of his stuff and maybe really learn to play jazz. I'm not gettin' any younger!


Nice! I saw him live at Yoshis in SF about 10 years ago - great style! Appeared to be a taskmaster of a band-leader given his grumpy on-stage persona.

You may not be getting any younger but your time is up once you stop getting any older.
cptnal
Today my small discovery was...

Make Noise are really generous with their power ribbons, which makes all the difference when it's a bit of a stretch to the nearest header. w00t
Funky40
since i´m back to patch again since i have my E370 which makes the waist of time worth it wink :

PEG:
i used to modulate one unit from the other in the past,
but now i "discovered" that i just could modulate one unit by itself, hehe. wink
in my case the modulation of the "curve" parameter was giving me a nice shift in beat and thus a nice rhytmic touch. Great.
the resultuing beat was very unexpected.


chronoblobb: (just updated to newest FW, not shure how much important this is)
i allways jammed manually in tape mode ( time and Feedback), but now i do modulate the time parameter from the sequenzer. ( in tape mode)
wow, i get super cool drifts in pitch that match perfectly with my sequenze from E370 giving the whole sequenze a completly new touch and appearance not possible by just patching the E370.
....a closer look showed that "overlapping" sounds, original + delayed one were a huge part of making some tones really fat while the tape effect pitchshift was the other part.
chronoblobb is back to be a winner, now with new FW ( less noise when cranking FB. and probably the changed tapeeffect-pitch behave beeing part of it ) (while i think i liked the old FW better for wild manual wiggles , the new FW definitly sounds fantastic when sequenzed )


E370:
bahh, winner !
hehe
Struggle
Today I discovered that Pressure Points doesn’t like having a iPad (or Bluetooth?) nearby. I was using the iPad to control a H9 and took me forever to take my patch apart to realize why Pressure Points was glitching out and everything sounded terrrible.
cptnal
Struggle wrote:
Today I discovered that Pressure Points doesn’t like having a iPad (or Bluetooth?) nearby. I was using the iPad to control a H9 and took me forever to take my patch apart to realize why Pressure Points was glitching out and everything sounded terrrible.


Maybe jealousy rather than Bluetooth? hihi
shredsickgnar
Today I clocked the Wogglebug V1 with the Sub wave output of my STO. Then inserted the Shapewave output into the Ring Mod and Heart-In inputs of the Wogglebug. I was able to then tune the Smooth and Woggle VCOs and get some really awesome bell tones out of the Ring Mod output. Especially if I mixed a little bit of the STO's Sine wave back in through the Optomix.

After having the WoggleBug V1 for years this is the first time I've used the Audio outputs for anything musical.
placebo92
Today I realized how great a delay can be as a modulation source. Vco>delay>mult>VCO's FM input yields interesting results.
pieter
placebo92 wrote:
Today I realized how great a delay can be as a modulation source. Vco>delay>mult>VCO's FM input yields interesting results.


Oooh, I am going to try that!
stamppotwortel
that Evaton Nomad is not only a great/strange noise source, but also a fantastic distortion unit. Audio-rate signal into CV-input (just a saw wave will do just fine), gives great results. Tweaking the tuning gives new timbres of distortion.
BaloErets
Part of the beauty that is working within a totally modular system is to be inspired by it's limits rather than to feel encumbered by them thumbs up
rlevine
placebo92 wrote:
Today I realized how great a delay can be as a modulation source. Vco>delay>mult>VCO's FM input yields interesting results.


This sounds rad. Gonna give it a go. thumbs up
cptnal
You can use a clock divider as a sequencer. smokin'

(Or anything else that gives out gates. Just mix 'em up and send 'em to a quantizer.)
MarcelP
cptnal wrote:
You can use a clock divider as a sequencer. smokin'



And now - rotate!
cptnal
MarcelP wrote:
cptnal wrote:
You can use a clock divider as a sequencer. smokin'



And now - rotate!


hmmm..... ...64 steps? woah
andybizarre
cptnal wrote:
You can use a clock divider as a sequencer. smokin'

(Or anything else that gives out gates. Just mix 'em up and send 'em to a quantizer.)


I was thunderstruck when I read about this some months ago in another thread after being in Euro for like more than 2 years. It just never appeared to me that attenuated gates are most useful voltages. seriously, i just don't get it

My favourite modules atm for this are the Pittsburgh Timerunner (clock divider with logic switches) and the humble Doepfer A-138b (exponential DC-coupled mixer, makes it a lot easier to dial in those first 2-3 octaves, plus jumper selectable offset normalized to the first input, if unused)
starthief
andybizarre wrote:
cptnal wrote:
You can use a clock divider as a sequencer. smokin'

(Or anything else that gives out gates. Just mix 'em up and send 'em to a quantizer.)


I was thunderstruck when I read about this some months ago in another thread after being in Euro for like more than 2 years. It just never appeared to me that attenuated gates are most useful voltages. seriously, i just don't get it


You can also use a matrix mixer and get multiple pitch CVs for each gate combination smile

I plan to try this with a divider and Livestock Electronics Maze -- a fifth gate to step through the matrices and change the tuning intervals eek!
andybizarre
starthief wrote:
andybizarre wrote:
cptnal wrote:
You can use a clock divider as a sequencer. smokin'

(Or anything else that gives out gates. Just mix 'em up and send 'em to a quantizer.)


I was thunderstruck when I read about this some months ago in another thread after being in Euro for like more than 2 years. It just never appeared to me that attenuated gates are most useful voltages. seriously, i just don't get it


You can also use a matrix mixer and get multiple pitch CVs for each gate combination smile

I plan to try this with a divider and Livestock Electronics Maze -- a fifth gate to step through the matrices and change the tuning intervals eek!


As a matrix mixer evangelist, I already patched this with an A-138-m. It quickly got out of control and I got discouraged. Maybe I need to attenuate the gates before entering the matrix mixer. With linear mixers it`s quite difficult to dial in multiple pitches of the same gate combination in a melodic useful way. I just have to try harder.
starthief
Attenuating the gates first could help.

Also I was working with 5V gates; with 8V or 10V gates I could see it being more difficult to dial in.
starthief
Today:

-- Lots of Marbles patching tricks. Self-patching into Steps to switch from stepped to sliding. Using it as a quantizer, and variations on that.

-- LS-1 Lightstrip into a quantizer. Why did I never think of that before?

-- Rings feeding a PLL and an envelope follower to control a VCA, for much, much nastier sounds. Maybe feedack into Rings
starthief
I found a gold mine of weirdness!

Take an E352/E370 in Cloud mode, or some other richly detuned/swarmy voice. Mult the audio through an A-196 PLL. Try these with various settings on the PLL and various detune amounts:

-- a VCA (E370 into the input, PLL the CV)
-- max / analog OR logic
-- ModDemix
-- a comparator
-- a wavefolder or other distortion & its wet/dry mix (Crossfold works well)
-- a filter & its FM input
-- a vocoder
-- etc.

And then for enhanced weirdness, you can put that PLL after an amplitude VCA in your patch so it loses coherency as the note fades. This is probably too much weirdness for most cases though.

And as always with PLLs, you can patch its output through a clock divider or a trigger sequencer, or patch one into its loop to multiply the frequency instead.
globalwm
Picked up this book that was recommended on another Muff's thread:

The Acoustical Foundations of Music - by John Backus (second edition)

(pg. 26 - sinusoidal curves)

Anyway, what I learned this evening involves the traditional sine wave that I had seemingly taken for granted. At its peak (amplitude - positive or negative), speed is zero since it is at rest for an instant. And when amplitude is neutral, speed is at its maximum (in either direction: positive or negative).

Misk
^^^
Like an elliptical orbit!

Maybe I've played too much kerbal space program back in the day tho...
R.U.Nuts
globalwm wrote:
Picked up this book that was recommended on another Muff's thread:

The Acoustical Foundations of Music - by John Backus (second edition)

(pg. 26 - sinusoidal curves)

Anyway, what I learned this evening involves the traditional sine wave that I had seemingly taken for granted. At its peak (amplitude - positive or negative), speed is zero since it is at rest for an instant. And when amplitude is neutral, speed is at its maximum (in either direction: positive or negative).



If you could ride a bike along a sinewave, you would have zero gravity at it's upper peak.
lisa
I find rearranging the rack as boring as reinstalling all the software when getting a new computer. Dead Banana
moremagic
globalwm wrote:
Picked up this book that was recommended on another Muff's thread:

The Acoustical Foundations of Music - by John Backus (second edition)

(pg. 26 - sinusoidal curves)

Anyway, what I learned this evening involves the traditional sine wave that I had seemingly taken for granted. At its peak (amplitude - positive or negative), speed is zero since it is at rest for an instant. And when amplitude is neutral, speed is at its maximum (in either direction: positive or negative).

note the cosine graph below it gives the instantaneous velocity of the sine function

knowing how to use a modular rly helped me get thru calculus this summer
cptnal
moremagic wrote:
globalwm wrote:
Picked up this book that was recommended on another Muff's thread:

The Acoustical Foundations of Music - by John Backus (second edition)

(pg. 26 - sinusoidal curves)

Anyway, what I learned this evening involves the traditional sine wave that I had seemingly taken for granted. At its peak (amplitude - positive or negative), speed is zero since it is at rest for an instant. And when amplitude is neutral, speed is at its maximum (in either direction: positive or negative).

note the cosine graph below it gives the instantaneous velocity of the sine function

knowing how to use a modular rly helped me get thru calculus this summer


The what what of the what? The reason I ask is that it may give me clues about what to do with the cosine output of my QZVCO.
mgscheue
moremagic wrote:


knowing how to use a modular rly helped me get thru calculus this summer


It’s great to make connections like that. I teach math, including trig and calculus, and I’ve actually used scope traces from the modular to help demonstrate some concepts.
FraMauro
cptnal wrote:
Today my small discovery was...

Make Noise are really generous with their power ribbons, which makes all the difference when it's a bit of a stretch to the nearest header. w00t


Absolutely! This is definitely one of those things where an extra couple of inches makes it better.
R.U.Nuts
mgscheue wrote:
moremagic wrote:


knowing how to use a modular rly helped me get thru calculus this summer


It’s great to make connections like that. I teach math, including trig and calculus, and I’ve actually used scope traces from the modular to help demonstrate some concepts.


You are my hero. I often think if we had modulars at school I actually would have been at least not a total loser in maths
R.U.Nuts
...well. Sorry. Doublepost.
moremagic
cptnal wrote:
The what what of the what? The reason I ask is that it may give me clues about what to do with the cosine output of my QZVCO.
o k, you were saying that when the sine wave is at its peak/trough, it stops moving for an instant before changing directions? and its changing fastest at the zero crossings?
the cosine function (90 deg out of phase) is at 0 when the sine function is peaking, so the cos 0V is equal to the rate the sine is changing
(when the sine is fastest crossing zero is conversely when the cosine is reaching its highest [or lowest] voltage)
Votron
I love this thread!

Today I learned that if I patch an inverted envelope into my filter frequency with the filter fully open I create a fake Side-Chain Effect
and the best part is that no VCA is needed!
cptnal
moremagic wrote:
cptnal wrote:
The what what of the what? The reason I ask is that it may give me clues about what to do with the cosine output of my QZVCO.
o k, you were saying that when the sine wave is at its peak/trough, it stops moving for an instant before changing directions? and its changing fastest at the zero crossings?
the cosine function (90 deg out of phase) is at 0 when the sine function is peaking, so the cos 0V is equal to the rate the sine is changing
(when the sine is fastest crossing zero is conversely when the cosine is reaching its highest [or lowest] voltage)



I actually get that now! It's like you just told me the number I first thought of. woah

Guinness ftw!

Not sure it helps me with the QZVCO, but one profound insight is enough for one day. thumbs up
mgscheue
R.U.Nuts wrote:


You are my hero. I often think if we had modulars at school I actualutly would have been at least not a total loser in maths


Thank you! I'm not sure that it's not more mystifying than anything else to students, but I think it's fun and I hope they like it, too. I really should do more of that. As for being a loser, pretty much everyone feels that way. It just takes a lot of patience and practice. Keep at it!
sleepmute
My small discovery: modulating Polaris' cutoff at audio rates is how you get those cool format/frog sounds in Mylar's Atlantis video and Intellijel's Polaris demo.

Using the Shapeshifter makes this particularly easy as I can use oscillator 1 as the sound source and oscillator 2 to modulate. Turns out it works best with quantization on and osc2 fully clockwise.
gis_sweden
Sometimes you think modular, sometimes you don’t. Yesterday I did. Why not put the wave shaper AFTER the delay? And I did. Well, the earth keep on turning, but cool anyway…
Sound example : [s]http://soundcloud.com/gis_sweden/wave-shaper-after-delay[/s]
starthief
Hmm, thought I posted one but it didn't go through:

- E370 cloud mode with squares is a great source to sync another VCO, or feed a slope generator or PLL.

- Audio rate squares (or indeed, cloudy squares) into Tyme Sefari's play input is all kinds of fun. Modulate sampling frequency smoothly and maybe sequence or randomly step the loop start. Something needs to be in the buffer but it doesn't much matter what. smile
starthief
To get softer, more pleasant hardsync sounds:

VCO 1: sine
VCO 2: sine or triangle; sync to VCO 1.
AM VCO1 with VCO2.
Adjust and/or modulate VCO2 freq and AM amount to taste.

This is easily done in Hertz Donut.
KimDeeKay
lisa wrote:
I find rearranging the rack as boring as reinstalling all the software when getting a new computer. Dead Banana


I am also not a great fan to play Tetris when new modules arrive. meh
But I had to integrate Eloquencer and Assimil8or. seriously, i just don't get it
Alternative: no new modules hihi
starthief
Is it fair to call it "my small discovery" when I saw it in a Learning Modular video? hihi

cptnal
starthief wrote:
Is it fair to call it "my small discovery" when I saw it in a Learning Modular video? hihi

[video]https://www.youtube.com/watch?v=IOmW9v91Hok[/video]


Well, you discovered the video. I hadn't noticed this one before, thanks. thumbs up
ookrsia
starthief wrote:
Is it fair to call it "my small discovery" when I saw it in a Learning Modular video? hihi

[video]https://www.youtube.com/watch?v=IOmW9v91Hok[/video]


I came here to post the exact same thing. cool
Shledge
You can apply effects to CV if you have a disting, since it's completely DC coupled. Put an envelope through a reverb cool
starthief
Shledge wrote:
You can apply effects to CV if you have a disting, since it's completely DC coupled. Put an envelope through a reverb cool


I've used it to delay pitch CVs, for example going into the modulator in an FM patch so each new note jogs a little bit before settling into place. But it didn't occur to me to try the reverb algo with it thumbs up
Sleipnir
starthief wrote:
Is it fair to call it "my small discovery" when I saw it in a Learning Modular video? hihi

I've done that by layering EGs and FGs and LFOs via VCAs, but that certainly simplifies the hell out of things.
Must. Resist. Urge. To. Test. All. Filters. Immediately. zombie
Johnnyfive
starthief wrote:
Shledge wrote:
You can apply effects to CV if you have a disting, since it's completely DC coupled. Put an envelope through a reverb cool


I've used it to delay pitch CVs, for example going into the modulator in an FM patch so each new note jogs a little bit before settling into place. But it didn't occur to me to try the reverb algo with it thumbs up


This reminded me, I’ve always meant to try using the disting delay as a clock multiplier
starthief
Sleipnir wrote:
Must. Resist. Urge. To. Test. All. Filters. Immediately. zombie


Belgrad is the answer.

It'll go negative with some configurations, but if that bugs you a full-wave rectifier will sort it out, or use a bipolar VCA. Bias is also helpful since sometimes the "resting" state has an offset.

There's about 20 million things you can do with that. For instance, mult your pitch into Belgrad's V/OCT and go for audio rate AM. If you hit it just right it can have fantastic results.
dumbledog
Yeah my eyes about popped out when I saw that LM video. Never would have thought of that and now I'm wondering how it would work if you ran an envelope through, say, a spring reverb or Xaoc's Drezno. I never really thought about mangling envelopes like that.
starthief
I did run envelopes through my tanh[3] when it arrived -- it does a nice job of making expo envelopes kind of "sticky" without simply making them linear or logarithmic.

Now I'm trying all kinds of stuff with envelopes. Tromso & a slew, Tyme Sefari... cool
Keltie
starthief wrote:
Is it fair to call it "my small discovery" when I saw it in a Learning Modular video? hihi



Yeh, this is cool. It reminds me of something I read somewhere ( hopefully not right here, up thread d'oh! ) .... filters are kinda slew limiters. Slew limiters are kinda filters.
roolbg
Having branches in latched mode with a VCS is more fun than with a sequential switch
chess1
Just got a FR Transient and realized how integral Program Change commands can be for created glitch/idm sound. Not only for voices but also for effects which I am currently using in combintation with manually pressing the mute channel on my mixer whilst changing effects programs in my rack.
Lux A Turner
Felt kinda pleased this morning, as I solved a little problem all by my little self...

I've been using VCV Rack as a sandbox to test ideas and module combinations, a part of the 'My First Modular' design process (I want it to be a mostly generative / ambient - oriented setup). Having worked out how to use LFO+Clock into S/H and out to VCO (via a Quantizer), to create a random melody, I then wanted to trigger a fresh envelope for each new note, but...

The notes were all different lengths - some very long ones, interspersed with rapid runs of short ones and some middling length ones in between (as the LFO was giving out a sine wave) - so I couldn't just use the clock to trigger the envelope, without the longer notes sounding all 'lumpy'.

What to do? hmmm.....

I hadn't used logic modules at all before, but I eventually sussed it by using the AND section of the 'Boole' module by TheXOR, so that the envelope was only triggered when there was a clock pulse and a note change (duh!).

OK - it wasn't absolutely perfect, but it worked for 99% of the notes, just missing out on the smallest tonal intervals.

My remaining question: Now I've worked that out, I'd like to incorporate a logic module into said First Modular and the Intellijel Plog looks like the one to use, to replicate this discovery IRL. Is that the right choice, or are there others I should consider?
rayultine
Plog is a very expensive "jump into the deep end with logic" kind of module. It is super powerful! I use my 2hp Logic all the time, which just does AND and OR.
cptnal
Lux A Turner wrote:
Felt kinda pleased this morning, as I solved a little problem all by my little self...

I've been using VCV Rack as a sandbox to test ideas and module combinations, a part of the 'My First Modular' design process (I want it to be a mostly generative / ambient - oriented setup). Having worked out how to use LFO+Clock into S/H and out to VCO (via a Quantizer), to create a random melody, I then wanted to trigger a fresh envelope for each new note, but...

The notes were all different lengths - some very long ones, interspersed with rapid runs of short ones and some middling length ones in between (as the LFO was giving out a sine wave) - so I couldn't just use the clock to trigger the envelope, without the longer notes sounding all 'lumpy'.

What to do? hmmm.....

I hadn't used logic modules at all before, but I eventually sussed it by using the AND section of the 'Boole' module by TheXOR, so that the envelope was only triggered when there was a clock pulse and a note change (duh!).

OK - it wasn't absolutely perfect, but it worked for 99% of the notes, just missing out on the smallest tonal intervals.

My remaining question: Now I've worked that out, I'd like to incorporate a logic module into said First Modular and the Intellijel Plog looks like the one to use, to replicate this discovery IRL. Is that the right choice, or are there others I should consider?


A VCA will give you a simple AND gate: trigger goes in the input, clock goes in the CV in, AND comes out the output. thumbs up

You might also look at the Doepfer A166.
Lux A Turner
rayultine wrote:
...I use my 2hp Logic all the time,...
cptnal wrote:
A VCA will give you a simple AND gate: trigger goes in the input, clock goes in the CV in, AND comes out the output...

Thanks for the tips, guys. I'll check 'em out.
smoo
My todays discovery: Wooow, ZDSPs carx TimeDomsin bundle makes the ZDSP to my top delay. And I have The rainmaker, Dub Jr. and others. I would buy the Zdsp just for those 3cards. ( love the chorus and halls too)
funky catsmell
maths can be used as a kinda-sorta-2bit-dac. seems obvious, but i got a little sequence going by patching my barton dual logics into the center two channels and taking sum out to a quantizer. with a bit of tuning you get three possible notes; both off, one on, both on. if you have your attenuverters set differently you can get four(?) notes.

Actually, typing this out, is there any reason the left and right channels couldn't be used too? with attack and release set fully ccw? hmm. Also to be tried: running at audio rates and directly monitoring the sum output to hear the generated waveform.
FraMauro
placebo92 wrote:
Today I realized how great a delay can be as a modulation source. Vco>delay>mult>VCO's FM input yields interesting results.


I never thought of that, it sounds like there's a world of possibilities with that!
cptnal
FraMauro wrote:
placebo92 wrote:
Today I realized how great a delay can be as a modulation source. Vco>delay>mult>VCO's FM input yields interesting results.


I never thought of that, it sounds like there's a world of possibilities with that!


A variation on that, which I use a lot, is to have two VCOs controlled by a shift register, with one VCO FMing the other. You needn't be monitoring both VCOs. placebo92's method saves a VCO but sacrifices a delay. Down to the needs of the patch I guess...
Ish
Me? I discovered that, even though I do not have any gear that uses dinsync, I can split the dinsync output of the Beat Step Pro using a y cable splitter, giving me a clock out of one bit and a sustained 5v voltage when the sequence is running (i.e. gate high associated with run/stop). Invaluable with my Tempi, or even to my logic flip flops in the case.

Haven't tested this yet, but it saved me from buying a uMidi module for this gate high functionality.
Shledge
Not a surprise considering dinsync is just a 24ppqn clock and start signal. I do similar to sync my PNW.
windchill
My recent discovery wasn't a specific technique, which I knew about already. Instead it was discovering the astonishing beauty, complexity, and control that it's capable of if you work with it for a while.
It's an old idea but it was recently explored extensively by Keith Fullerton Whitman in his Generators series:

Run an LFO into a Sample and Hold triggered by a separate clock. By adjusting the relationship between the clock and the LFO cycle speed you can control the 'sequences' that are created and how they evolve. Resetting the LFO periodically allows you to create fixed loops. Modulating the speed of the LFO or changing its waveform will change the sequence.
Run this sequence into a shift register and on to multiple VCOs and all sorts of magic starts to happen.

Throw in multiple LFOs, S&Hs, Wave folders, etc, and you can generate full-on evolving compositions that morph and phase - and all without painstakingly punching hundreds of notes into an ER-101 hihi
Shledge
Essentially a poor man's turing machine?
dumbledog
windchill wrote:
My recent discovery wasn't a specific technique, which I knew about already. Instead it was discovering the astonishing beauty, complexity, and control that it's capable of if you work with it for a while.
It's an old idea but it was recently explored extensively by Keith Fullerton Whitman in his Generators series:

Run an LFO into a Sample and Hold triggered by a separate clock. By adjusting the relationship between the clock and the LFO cycle speed you can control the 'sequences' that are created and how they evolve. Resetting the LFO periodically allows you to create fixed loops. Modulating the speed of the LFO or changing its waveform will change the sequence.
Run this sequence into a shift register and on to multiple VCOs and all sorts of magic starts to happen.

Throw in multiple LFOs, S&Hs, Wave folders, etc, and you can generate full-on evolving compositions that morph and phase - and all without painstakingly punching hundreds of notes into an ER-101 hihi


This has been my life for much of my modular journey. One fun thing to do is to divide your clock by, say, 8 and reset the LFO phase with it. Then you have a consistent, repeating sequence.

Another cool trick is to let the LFO freerun, but have it ever slo slightly out of phase with your tempo. If you're at 120 bpm (or half a second per quarter note), set its frequency to, say, just under or over two seconds. As it moves out of phase with your clock the sequence will change. The new Xaoc Zadar is excellent for this as you can set the looping time very exactly.
huffnPuff
Yes, but running on the collusions of two free running oscillators. I was playing on a variation of this today using two pulses to drive a digital shift register with switchable feedback and a DAC output. In effect a digital sample and hold that feeds back.

Every ratio sings a different song, and you can run that at audio rates.
huffnPuff
Another aha moment was using a gate processor as a voltage controllable clock divider. Obvious I guess and you can do this with Maths etc.
windchill
Shledge wrote:
Essentially a poor man's turing machine?


I would argue that it's better than a turing machine because you are in full control of the components that are generating the sequence, and can intervene or extend at any point in the process.
cptnal
Not really Turing Machiney. Any pattern would repeat predictably if you multiplied the period of the gate LFO and the CV LFO, rather than lockable random. The fun is that it's kinda predictable and kinda not. This is fun!
windchill
cptnal wrote:
Not really Turing Machiney. Any pattern would repeat predictably if you multiplied the period of the gate LFO and the CV LFO, rather than lockable random. The fun is that it's kinda predictable and kinda not. This is fun!


True, but a network of 3 LFOs, all modulating each other's speed, with a modulated wavefolder operating on an OR of their outputs would get pretty random.

Or I could run the LFO generated sequence into my Wogglebug and add a controllable degree of randomness.
sasbom
I learned recently that multi output oscillators are awesome.

Putting a saw into a filter while sending the triangle wave output
to the filter freq too, creates a reallly thick brassy sound.

I use the eowave fluctuations magnetiques for this a lot of the time,
because it has 1 global mod input and 2 extra mod inputs per filter.
I'd put the triangle wave in one of two filters and then modulate the other
one with a envelope or something.

I also like to plug the triangle wave in the PWM input, and using the pwm
saw. I don't know what that looks like on the oscillocope (mainly because I
don't have one) but it sounds great. Also boosts the signal a great deal, so be
wary of your ears.
cptnal
windchill wrote:
cptnal wrote:
Not really Turing Machiney. Any pattern would repeat predictably if you multiplied the period of the gate LFO and the CV LFO, rather than lockable random. The fun is that it's kinda predictable and kinda not. This is fun!


True, but a network of 3 LFOs, all modulating each other's speed, with a modulated wavefolder operating on an OR of their outputs would get pretty random.

Or I could run the LFO generated sequence into my Wogglebug and add a controllable degree of randomness.


Not a "but" - you can do that too. That's the beauty of this patch - you can introduce so many variations. It's a classic, like the Krell, and I often use it as a starting point. SlayerBadger!

And, sasbom, this is also why Dixie kicks serious ass. thumbs up
attacca
R.U.Nuts
windchill wrote:
My recent discovery wasn't a specific technique, which I knew about already. Instead it was discovering the astonishing beauty, complexity, and control that it's capable of if you work with it for a while.
It's an old idea but it was recently explored extensively by Keith Fullerton Whitman in his Generators series:

Run an LFO into a Sample and Hold triggered by a separate clock. By adjusting the relationship between the clock and the LFO cycle speed you can control the 'sequences' that are created and how they evolve. Resetting the LFO periodically allows you to create fixed loops. Modulating the speed of the LFO or changing its waveform will change the sequence.
Run this sequence into a shift register and on to multiple VCOs and all sorts of magic starts to happen.

Throw in multiple LFOs, S&Hs, Wave folders, etc, and you can generate full-on evolving compositions that morph and phase - and all without painstakingly punching hundreds of notes into an ER-101 hihi

Also: If you use the square output of your LFO as the input of your S&H you get a random gate sequencer. Changing the frequency will change the gate pattern, changing the pulsewidth will change the density of gate-high states.
sasbom
[quote="cptnal"][quote="windchill"]
cptnal wrote:

And, sasbom, this is also why Dixie kicks serious ass. thumbs up


xD I'll stick with my humble ladik oscillators, thank you!
The thing ladik o-110's have over the dixie is the extra 1v/oct input,
which if you like transposing sequences, is GREAT.

I do like intellijel tho, I have a triatt with their old robot hart logo on it,
and I adore it very much.
Sleipnir
sasbom wrote:
Putting a saw into a filter while sending the triangle wave output to the filter freq too, creates a reallly thick brassy sound.

The other cool thing is put the saw through the filter, and have the sine/tri bypass the filter. Then when you crank the resonance, you keep the beef.
cptnal
[quote="sasbom"]
cptnal wrote:
I'll stick with my humble ladik oscillators, thank you!
The thing ladik o-110's have over the dixie is the extra 1v/oct input,
which if you like transposing sequences, is GREAT.


On the Dixie it's called FM2. w00t

But yeah, I wish I'd discovered Ladik earlier in my wiggling career. My rack might look a whole lot different than it does.
sasbom
Sleipnir wrote:

The other cool thing is put the saw through the filter, and have the sine/tri bypass the filter. Then when you crank the resonance, you keep the beef.


grin yeah thats right, that's the reason why I keep the ms20 on
osc1 tri and osc2 saw all the time.

cptnal wrote:

On the Dixie it's called FM2. w00t

But yeah, I wish I'd discovered Ladik earlier in my wiggling career. My rack might look a whole lot different than it does.


hahaha, right now, about 50% of my rack real estate has been dedicated to my lord and saviour VJ! Ladik's exellent made me comfortable enough to start getting some modules and ruin my life (in a good way) with modular synths.

Also the o-110 sine output (which isn't really a sine but hey, beating a triangle wave hard enough to produce a sine is hard anyway) is affected by
the PWM knob a bit, you can sort of "sharpen" the overtones a bit.
It makes the sine a bit easier to hear, a lot of the time I find it just drowns so I prefer the tri instead.

I discovered that I can sort of "jump start" the A-143-2 quad adsr from mr Doepfer to do LFO type stuff, by bridging the end of decay trigger to the gate after triggering it with a long attack. From then on, you can shorten the attack and the looping will commence. It's a bit unwieldy but it works.
A new "jumpstart" is required after a reboot though haha
starthief
Feedback loop:

limiter -> EQ -> reverb -> wavefolder -> pitch shifter

There are about 12 million different things you can get out of this setup: shimmer reverb, ever-shifting drones, steady feedback screams, infinite crash cymbals, metallic background ambience, complex Shephard tones etc.

And of course you can feed it audio, and have the limiter duck the feedback while something else is coming in...
starthief
Take a very slow, smooth LFO, and use it to modulate something.

Then feed the LFO's CV input with a rhythmic sequenced trigger, attenuated to taste, to create small jumps in the LFO's output.

thumbs up
roolbg
Track and hold: finding it so much more fun than sample and hold.
userfriendly
Color coded cables are fantastic. Each cable length has its own color. It is a little bit harder to track the patch, but I can patch so much more quickly because I know what patch cable will reach where. plus, un patching and actually rehanging the cables is a breeze.

p.s. I got the Modular Addict cables and good grief they are SO nice.
reekster
I realized even though sometimes I think I have too many cables, I keep buying more. Normal cables, then Noodles, now a batch or right angle cables.

I learned having an Oscilliscope like the MORDAX Data is invaluable for understanding what’s going on in my system. Invaluable
Tonefloat01
That I don’t need an SSL or API console in order to have a great sounding track! SlayerBadger! Guinness ftw!
cptnal
If I pull the clock on my RCD when all the lights are on (easier to catch it in gate mode), each lit division continues to give out a 8.85V offset. Very handy! w00t
huffnPuff
... that the Random*Source SEQ8XL doesn't like the pulse output of the Synchrodyne Expand - it's skipping the odd step. So why am I sharing thing? First because it helps to put a LPF in between the "glitchy" clock and the sequencer trig input.

But wait!

Turn the filter resonance on and the SEQ8XL starts grooving. Playing with the resonance and cutoff frequency changes the groove. I think this is adding audio rate ripples to the slow square. I need to explore this further, e.g. what this trick does to modulation.
cptnal
Reset inputs aren't just for setting the counter back to zero! Well, they are, on the face of it, but you can get some weird-ass crazy rhythms when you start messing with the divisions. hyper
hlprmnky
That the uVCF I bought used thinking “eh, I suppose a VCF would be good to have, even though the voices in my rack (Plaits and BIA) don’t require one per se” is secretly some superior alien tech salvaged from the Roswell crash. I spent an hour yesterday feeding this beast a sine wave and modulating FM1 and FM2 while wiggling Q and Freq around, and it was simply stunning. What a powerhouse of a module behind a humble, clean little faceplate!
cptnal
hlprmnky wrote:
That the uVCF I bought used thinking “eh, I suppose a VCF would be good to have, even though the voices in my rack (Plaits and BIA) don’t require one per se” is secretly some superior alien tech salvaged from the Roswell crash. I spent an hour yesterday feeding this beast a sine wave and modulating FM1 and FM2 while wiggling Q and Freq around, and it was simply stunning. What a powerhouse of a module behind a humble, clean little faceplate!


Have you seen this? Frank Murder is a wizard with the uVCF. SlayerBadger!



He has a few more on the uVCF and VCAs that are worth watching too. thumbs up
Alliex
cptnal wrote:

A VCA will give you a simple AND gate: trigger goes in the input, clock goes in the CV in, AND comes out the output. thumbs up
I find myself using the Livestock MIR for logic as much or more than I use it as a proper VCA. With 2 inputs per channel and positive and inverted outputs, you can do AND as well as OR and get a + and a - from each.
Futuresound
cptnal wrote:
If I pull the clock on my RCD when all the lights are on (easier to catch it in gate mode), each lit division continues to give out a 8.85V offset. Very handy! w00t


Okay, I've thought about this for a while, but I'm stumped. Why is having multiple 8.85V sources very handy?
Sleipnir
... that using an ASR (SynthTech E102 in my case) to control parameters of percussion gives you that nice “rolling“ feel that good human drummers have.
Example: out1 to HH VCA, out2 to HH decay time.
Kinda like a phase shifted LFO, but with more control of the waveform.

Using this today was the first time I haven’t thought “I could do better with a drum machine.”
Band
Zerstorte Zelle
...That less is more.
cptnal
Futuresound wrote:
cptnal wrote:
If I pull the clock on my RCD when all the lights are on (easier to catch it in gate mode), each lit division continues to give out a 8.85V offset. Very handy! w00t


Okay, I've thought about this for a while, but I'm stumped. Why is having multiple 8.85V sources very handy?


Well, frinstance sometimes you just want your shit to pass through before you've got your modulation sorted out. I kinda dug that hole myself when I ditched most of my VCAs with knobs on. zombie (Bigger case!)

TBH my RCD isn't not in use so often for it to be that handy, but it's nice to know all the same.
SunPulse
That on the Ladik C-012 Precision Slew Limiter: If you daisy chain the 2 slew limiter sections together and then set one section to Up and the other section to Down, that you will have independent control over the rising and falling slew rates.

Buchla 222e
Futuresound
cptnal wrote:
Futuresound wrote:
cptnal wrote:
If I pull the clock on my RCD when all the lights are on (easier to catch it in gate mode), each lit division continues to give out a 8.85V offset. Very handy! w00t


Okay, I've thought about this for a while, but I'm stumped. Why is having multiple 8.85V sources very handy?


Well, frinstance sometimes you just want your shit to pass through before you've got your modulation sorted out. I kinda dug that hole myself when I ditched most of my VCAs with knobs on. zombie (Bigger case!)

TBH my RCD isn't not in use so often for it to be that handy, but it's nice to know all the same.


thumbs up
Jasonic
Akemie's Castle sounds insane when ran through a wave folder.
R.U.Nuts
... After a few good minutes of panically troubleshooting my freshly built DIY case I found out that Doepfer now ship their DIY PSUs with a wall wart that has a built in on/off switch. - Which was off when I plugged it in the first time. -That moment when you don't know wether you should be mad at youself because of your own stupidity or just be happy that all turned out well...
starthief
Take a sound source, mult it into a ringmod and through something else into the other ringmod input.

If that "something else" is a bandpass filter or resonant LPF, you can get surprisingly unstable and weird results -- possibly silence depending on the frequency range. (Got this idea from the RMA Monobius pedal.)

If it's a delay with feedback and you've got a pitch sequence going, it'll of course ringmod against its previous frequencies.

If it's a slew, you can get different rectification effects, and if you control the slew time/shape with an envelope you have a dynamic waveshaper.

If it's a PLL, it can come out a little bit tamer than typical PLL sounds but still a bit crazy -- and instead of having the PLL follow the sound source, you can have it follow the ringmod output.
joeSeggiola
That the Morphagene can engage recording into a new splice with trigger inputs. You can records seamless loops, splice after splice, automatically, just by sending a trigger into both REC and SPLICE every time the sequence re-starts.
ggillon
joeSeggiola wrote:
That the Morphagene can engage recording into a new splice with trigger inputs. You can records seamless loops, splice after splice, automatically, just by sending a trigger into both REC and SPLICE every time the sequence re-starts.


With the new firmware you can edit the options so that you only need to trigger REC to record in a new splice hihi
Risc_Terilia
You can use a ring mod to blend between filter types by routing dry into the ring mod input and your unipolar control CV into the other, then combine with your low pass signal and the unipolar control CV blends between high and low pass.

Take it further by using an all-pass filter to freely control phase instead of the ring mod which just goes between two phases - I haven't tried it so report back if you do!
gregab
instead of sending a clock into my 4ms rotating clock divider it occurred to me to send the gates from my sequencer into it. I multed the v/oct output from the sequencer to a second oscillator. But instead of sending it the sequencer’s gate output directly I played around with sending it different outputs from the RCD letting it join in on every 3rd, 5th, etc note. Then I started multing those together so the second oscialltor would play on both the 1/3 and 1/5 divisions. And also ran the v/oct output through maths to transpose it. The result was a Nice harmony accompanying the melody I sequenced that still sounded independent.
R.U.Nuts
gregab wrote:
instead of sending a clock into my 4ms rotating clock divider it occurred to me to send the gates from my sequencer into it. I multed the v/oct output from the sequencer to a second oscillator. But instead of sending it the sequencer’s gate output directly I played around with sending it different outputs from the RCD letting it join in on every 3rd, 5th, etc note. Then I started multing those together so the second oscialltor would play on both the 1/3 and 1/5 divisions. And also ran the v/oct output through maths to transpose it. The result was a Nice harmony accompanying the melody I sequenced that still sounded independent.

You can take this one step further by plugging the different outputs from your RCD into clock inputs of S&H modules and multing your sequencer's pitch CV into the signal inputs of the S&Hs. Then plug the S&H outputs into the 1V/oct inputs of your VCOs.
sasbom
https://soundcloud.com/sasbom/pwm_undertone/s-uLxMz

hey guys, I did something REALLY WEIRD and I don't really know why this works.

I got a PWM pulse, initial PWM on max setting so small pulse signal,

pulse out -> SARA VCF in -> notch out -> PWM in

_____________________-> LP out -> MIX OUT

Manipulating the "state knob" in the middle, it sort of morphs the notch out
from LP to notch to HP, and I left it somewhere between HP and Notch I think,
at 2 o clock.

The thing thats interesting is that this makes the frequency drop, an octave,
but also a 5th from what I can hear. This is REALLY weird and I haven't a clue as to why this happens. I know the Maths subharmonics trick, and this seems kind of similar, but a little more stable.

Does anyone have any clue?
I thought it could be that the feedbackloop kind of blocks certain parts of the tone so only lower freqs could go through. Anyway, take a listen to the sample posted above.
Spiff
Whising I had a module for tuning then realizing that I can use Ableton's tuner plug-in!
Dcramer
Risc_Terilia wrote:
You can use a ring mod to blend between filter types by routing dry into the ring mod input and your unipolar control CV into the other, then combine with your low pass signal and the unipolar control CV blends between high and low pass.

Take it further by using an all-pass filter to freely control phase instead of the ring mod which just goes between two phases - I haven't tried it so report back if you do!

woah damn why didn’t I think of this evil
vibralux
Well today I was totally blown by a simpliest concepts - I got the channel strips
from Feedback Modules - their clones of KM60, BX-8 and Mackie CR mixers.
I run some kicks and snares thru those channels and crancked the gain - OMFG... I mean the amount of different colors You can achieve with this simple operation plus this super simple EQ is astonishing and just kills most distortion plugins. And its not just for modular. An excellent tool for mixing. I am about bo buy BX-8 as they are all over ebay really cheap. For techno and house its a must for me.
npseaver
When quantizing with the uScale II (which only accepts positive voltages), if you're wishing you'd started lower, you can just run the quantized output through an inverter! (Which, duh, but it only just occurred to me, and almost always sounds better than whatever I'd been doing in the positive direction?)
cloudleft
Using S&H at audio rate for tone-shaping. Clock the S&H with a rising edge from one VCO, and write to it with the wave output from another VCO, and just dial it in. Lots of fun.
lisa
I just realized that the middle knob of Warps is called Timbre. I always thought it was a crossfader between input one and two. d'oh! It is, as you all know, for the first algorithm but not for the rest of them. I've actually always patched Warps with two sound sources because I thought that was needed to get any result. Right now I'm using it for waveshaping of a single oscillator. screaming goo yo
mhtones
I just realized that the WMD/SSF Minislew can be used as a ring modulator. The bipolar vari cv is brilliant!
zerodivide
for some reason, I didn't realize till this week that I can use my 0-coast as a Midi to CV converter using "Midi B's" outputs on the bottom left. I'm now playing my eurorack modules via Ableton Push 2 which is incredible. Really drives home what a bargain the 0-coast is if you look at it as a collection of function modules
zerodivide
userfriendly wrote:
Color coded cables are fantastic. Each cable length has its own color. It is a little bit harder to track the patch, but I can patch so much more quickly because I know what patch cable will reach where. plus, un patching and actually rehanging the cables is a breeze.

p.s. I got the Modular Addict cables and good grief they are SO nice.


I just realized this the other day and regret now all my random cable color purchases razz
starthief
lisa wrote:
I've actually always patched Warps with two sound sources because I thought that was needed to get any result. Right now I'm using it for waveshaping of a single oscillator. screaming goo yo


grin

Have you used the internal oscillator? In sine mode, it does nice TZFM (using the 1 input) and can also waveshape that.
vromr
Today my small discovery was ...
… that modular polyphony is an uneconomical fool's errand.
Bjarlstedt
I’ve been on a hunt for a foot controller module to use with my morphagene, just for rec on and off. Today I plugged a contact microphone into the rec input and taped it on the floor. Works like a charm.
R.U.Nuts
Instead of sequencer>quantizer>slew limiter>VCO do sequencer>slew limiter>quantizer>VCO.

Now if you set the slew to the fastest slew rate you have your original sequence. Increase the slew a little and you get a slew effect just like with the traditional signal chain since the quantizer updates so fast that the stepping is not noticeable for your mere human perception. Once you Increase the slew rate further you get all kinds of trills, glissandos and arpeggios. Increase the slew further and the slew limiter will not be able to catch up with the fast stepping of the sequence and you get a sequence that is slower and lower in pitch than the original sequence but still in tune due to the quantizer
rayultine
this week I have enjoyed running sequenced CV -> phaser -> quantizer
sasbom
vromr wrote:
Today my small discovery was ...
… that modular polyphony is an uneconomical fool's errand.


Not with Ladik it aint

@R.U.Nuts

Thats a pretty neat idea! Ill have to do that sometime.
MAXTHEDOG
My Shapeshifter Osc2 doesn’t register octave changes from Rene2 if set to quantised intervals!
Had me questioning whether the new(to me) Rene2 was faulty.....
motorhead412
2hp Cat into Rings is surprisingly cool
Heliophile
motorhead412 wrote:
2hp Cat into Rings is surprisingly cool

YES! Good one!

My discovery the other day was that you can make a very nice complex envelope, suitable for clap sounds, by AND-combining a regular envelope with some slow digital noise (from Doepfer A-117, Malekko Noise or Braids, for example).
starthief
Start with a VCO that has multiple outputs including a square, or use a comparator to derive a square.

Patch the square to trigger Function/Maths/etc. at audio rate. Dial in some appropriate rise/fall times and shape (linear seems good here).

Patch the Function output and another wave (triangle or sine) from the VCO into a VCA (try either way, but I think VCO into the input works better).

Modulate the rise/fall times on Function using an envelope, LFO or whatever.

You probably want to keep the rise time short enough so it doesn't do the subharmonic division thing, but maybe that floats your boat.

Alternately, you can trigger Function from a different VCO tracking the same pitch and try different ratios.

(This all came from an attempt at windowed sync which didn't really work, but produced neat sounds.)
circuitburst
starthief wrote:
Start with a VCO that has multiple outputs including a square, or use a comparator to derive a square.

Patch the square to trigger Function/Maths/etc. at audio rate. Dial in some appropriate rise/fall times and shape (linear seems good here).

Patch the Function output and another wave (triangle or sine) from the VCO into a VCA (try either way, but I think VCO into the input works better).

Modulate the rise/fall times on Function using an envelope, LFO or whatever.

You probably want to keep the rise time short enough so it doesn't do the subharmonic division thing, but maybe that floats your boat.

Nice one, thanks. I tried this patch yesterday and really liked the results. I found that tweaking the linear/exp knob on my Intellijel Quad VCA slightly away from full linear provided some further pleasing timbre adjustment.
srsly never
starthief
Today my small discovery was... I've been mastering wrong eek!

I was still kind of fighting the Loudness War though apparently a truce has been called.
cptnal
starthief wrote:
Today my small discovery was... I've been mastering wrong eek!

I was still kind of fighting the Loudness War though apparently a truce has been called.


Nope, sorry. You're going to have to explain that one... seriously, i just don't get it
starthief
cptnal wrote:
starthief wrote:
Today my small discovery was... I've been mastering wrong eek!

I was still kind of fighting the Loudness War though apparently a truce has been called.


Nope, sorry. You're going to have to explain that one... seriously, i just don't get it


I'd been trying to get everything as close to -0.3dBFS peak level and about -12 to -10dB RMS loudness, without murdering my dynamic range too harshly. I came up with the numbers based on listening to and measuring a few other albums from a few years ago.

But from what I've read, MP3 encoders should have peaks no hotter than -1dBTP and short-term loudness of -7 LUFS. Loudness standards vary a lot, but some streaming services normalize to -14 LUFS, and I've seen recommendations anywhere from -9 to -16. A European broadcast standard wants -23 LUFS {I'm not going to worry about that one).

These standards are no doubt based on mainstream music with acoustic instruments and vocals; whether heavier compression is "bad" for what I'm making is much less clear. But it does tell me I don't have to try so hard for loudness and should leave a little more headroom for peaks.

I never even did LUFS metering before. Every time I saw a metering plugin I skipped over it because it seemed boring d'oh! The free version of Youlean seems pretty good though.
cptnal
starthief wrote:
cptnal wrote:
starthief wrote:
Today my small discovery was... I've been mastering wrong eek!

I was still kind of fighting the Loudness War though apparently a truce has been called.


Nope, sorry. You're going to have to explain that one... seriously, i just don't get it


I'd been trying to get everything as close to -0.3dBFS peak level and about -12 to -10dB RMS loudness, without murdering my dynamic range too harshly. I came up with the numbers based on listening to and measuring a few other albums from a few years ago.

But from what I've read, MP3 encoders should have peaks no hotter than -1dBTP and short-term loudness of -7 LUFS. Loudness standards vary a lot, but some streaming services normalize to -14 LUFS, and I've seen recommendations anywhere from -9 to -16. A European broadcast standard wants -23 LUFS {I'm not going to worry about that one).

These standards are no doubt based on mainstream music with acoustic instruments and vocals; whether heavier compression is "bad" for what I'm making is much less clear. But it does tell me I don't have to try so hard for loudness and should leave a little more headroom for peaks.

I never even did LUFS metering before. Every time I saw a metering plugin I skipped over it because it seemed boring d'oh! The free version of Youlean seems pretty good though.


thumbs up
MvK
today my small discovery was that by using one ore more VCAs a polarizer and an offset you can get many different shapes out of one function generator.

Selfmodulating rise an fall time is nice but has 2 disadvantages: 1. it changes the overall time of the function and 2. it changes the source function to something else. Of course it works for many things nicely.

But I was in a situation where I had no envs left and using the same decay envelope on a filter and a vca just didn't work.

I'm sure I'm not expressing it in a mathematical correct way, maybe someone can help me with that.

Assuming you have a linear decay envelope going from 1 to 0:

A) multiplying the source with itself, it still goes from 1 to 0 but in the middle its 0.25 ( 0.5²) making it exponential

B) Multiplying the source with it negative offsetted by 2 makes it log.

flip the polarity of the soucefunction (-1...0) and add an offset of 2 (meaning twice the amplitude of the sources maximum (1...2) multiply that with the source and voila.

Endless variations are possible the only thing that is important is that the source function goes from 1 to 0 ( like 5v to 0v) and the multiplicator starts at 1 (5v) Using other things as multiplicators like synced LFOs gives many results.

Setting this up on the vermona quadropol is so nice. you can finetune and cv everything.
starthief
MvK wrote:
multiplying the source with itself


I'd thought about that before but not really played with it or carried it to some conclusion. Crossfade with the original to dial in the amount of curvature, use an exponential VCA, etc. Instruo tanh[3] or a very gentle wavefolder could yield some interesting results too, and all of this would work well on VCOs as well (especially with a VC crossfader).
kpreid
MvK wrote:
I'm sure I'm not expressing it in a mathematical correct way, maybe someone can help me with that.

I'll see what I can do:
MvK wrote:
A) multiplying the source with itself, it still goes from 1 to 0 but in the middle its 0.25 ( 0.5²) making it exponential

This is not exponential, but quadratic (f(x) = x² = x * x). If you have a^b, then if a is the variable and b is the constant it's a power function (or a one-term polynomial); if b is the variable and a is the constant then it's an exponential function.
MvK wrote:
B) Multiplying the source with it negative offsetted by 2 makes it log.

f(x) = x * (2 - x) = 2x - x². This is a quadratic polynomial — it's much like the previous but flipped upside down and offset. Comparison of log and quadratic:



They're both curving generally similarly (being "concave functions") but there's some differences, like that the quadratic slows down at the top rather than being closer to linear, and the log goes to negative infinity fast at the bottom (though a log response in an analog system will be truncated at some point, of course).

In general, multiplying a signal with some offset/scaled copy of itself (any number of times) gets you a polynomial function. The thing these have in common with exponential functions is that they're simple functions that aren't linear, and sometimes that's all you need. If you multiply 3 copies of the input with the right scale/offset you can even get curves that zigzag.
MvK
kpreid wrote:
MvK wrote:
I'm sure I'm not expressing it in a mathematical correct way, maybe someone can help me with that.

I'll see what I can do:


thanks a lot!!!

Id love to have a oscilloscope for that.
Cortega
starthief wrote:
......

I was still kind of fighting the Loudness War......


Make Love Or Art Not War hihi
reekster
I can run a clock into the input of a sample and hold module.
cptnal
reekster wrote:
I can run a clock into the input of a sample and hold module.


Ooo, yeah! Or use a variable pulse rate square and you've got an ad-hoc Bernoulli gate. SlayerBadger!

(Or even non-variable if you're happy with 50/50 chance.)
hlprmnky
starthief wrote:
Start with a VCO that has multiple outputs including a square, or use a comparator to derive a square.

Patch the square to trigger Function/Maths/etc. at audio rate. Dial in some appropriate rise/fall times and shape (linear seems good here).

Patch the Function output and another wave (triangle or sine) from the VCO into a VCA (try either way, but I think VCO into the input works better).

Modulate the rise/fall times on Function using an envelope, LFO or whatever.

You probably want to keep the rise time short enough so it doesn't do the subharmonic division thing, but maybe that floats your boat.

Alternately, you can trigger Function from a different VCO tracking the same pitch and try different ratios.

(This all came from an attempt at windowed sync which didn't really work, but produced neat sounds.)


I tried this today with a DPO, using Osc B square and Osc B final, and it made such a gloriously thick (thicc?), crunchy, filthy sound! I threw a slow, six-step sequence on 1V/Oct in a low-ish octave and just giggled to myself while patching modulation to the LFO rise/fall times and the mod bus. Thanks!
starthief
My small discovery today is put your phone in airplane mode while recording. d'oh!

My first take was really good up to that point... my next five takes were not so hot.
R.U.Nuts
Don't know if this is already documented somewhere:

Maths' faux delay:

- use CH 4 as an envelope for a synth voice (so no cycle mode). Open up the VCA, VCF, LPG, whatever with it. Set it to a percussive envelope with minimum attack and a decay time of your liking.
- set up CH 1 similarely. The only difference: The decay time should be multiple times longer than the decay of CH 4.
- mult your trigger into both CH 1 and CH 4 trigger inputs.
- now plug the output of CH 1 into the CV input of a VCA and plug the EOC output of CH 4 into the signal input of that VCA.
- then plug the output of the VCA into the signal in of Maths CH 4.
- now start a slow trigger sequence to trigger Maths.

Maths' CH 1 opens up the VCA and passes the triggers from CH 4 EOC back into it's input -but with a decaying amplitude due to the decay of CH 1 resulting in CH 4 retriggering with decaying amplitude since the signal in just slews the incoming trigger. The result sometimes sounds almost like a delay effect applied to the synth voice you use CH 4 on.
CH 1 decay time would then be the feedback, CH 1 output attenuvertor would be the delay level and CH 4 decay time would be delay time.
hinterlands303
R.U.Nuts wrote:
Don't know if this is already documented somewhere:

Maths' faux delay:

- use CH 4 as an envelope for a synth voice (so no cycle mode). Open up the VCA, VCF, LPG, whatever with it. Set it to a percussive envelope with minimum attack and a decay time of your liking.
- set up CH 1 similarely. The only difference: The decay time should be multiple times longer than the decay of CH 4.
- mult your trigger into both CH 1 and CH 4 trigger inputs.
- now plug the output of CH 1 into the CV input of a VCA and plug the EOC output of CH 4 into the signal input of that VCA.
- then plug the output of the VCA into the signal in of Maths CH 4.
- now start a slow trigger sequence to trigger Maths.

Maths' CH 1 opens up the VCA and passes the triggers from CH 4 EOC back into it's input -but with a decaying amplitude due to the decay of CH 1 resulting in CH 4 retriggering with decaying amplitude since the signal in just slews the incoming trigger. The result sometimes sounds almost like a delay effect applied to the synth voice you use CH 4 on.
CH 1 decay time would then be the feedback, CH 1 output attenuvertor would be the delay level and CH 4 decay time would be delay time.


It's an Allen Strange patch! Awesome that you found it without his help (I didn't). You can also do it with a cycling envelope of maths and using your gate/trigger to retrigger it along with your envelope that controls the amplitude of the delay envelope. Make Noise features it in their Allen Strange patch series:

R.U.Nuts
hinterlands303 wrote:


It's an Allen Strange patch! Awesome that you found it without his help (I didn't).


Yeah, I discovered it while I was searching for a way to get the gated cycle function of Maths MK II with my Maths MK I. It's a similar patch:

Plug the EOC out of CH 4 into the signal in of a VCA, plug the gate you want to use to make Maths cycle into the VCAs CV input. Then plug the VCA output into an OR combiner together with the trigger that should trigger Maths and the output of the OR combiner into Maths CH 4 trigger input.
Then I thought that if I omit the OR combiner and plug the output of the VCA into Maths CH 4 signal in I could use a CV on the CV input of the VCA to make the retriggering dynamic. However the downside is that it will only work with envelopes that have a short attack time...
Dr. Sketch-n-Etch
Actually, two days ago, I discovered that LEDs have crimped spots on their leads that stop the LED from sliding into PCB holes just enough so that they stick out the perfect amount to poke through holes in the panel just so when other panel components are also on the board.

I don't use LEDs very often, and this came as a very nice surprise to me.
cptnal
My "volt meter" can meter Hertz, so I can use it for tuning.

It's not a volt meter, it's a multi-meter. d'oh!
PhineasFreak
Snail wrote:
Flo, I didn't mean you can't get a filter to self-oscillate on a non-modular, only that typically you can't remove the oscillator from the signal path and still get sound from just the filter self-oscillating because of the way the synths are typically routed. Am I wrong? As a result, I never realized a filter could be used by itself as a sound source.


there are exceptions - stuff like an ob xpander are near modulare in routing options, and a number of semi-modulars can be patched in such ways, but generally youre right, most analogue filters or delays etc in non modularte synths have fixed routing that doesnt allow you to ping or use as an osc.

also many dont have the filter or whatever frequency as 1v/oct so you cant use as a tracking pitched vco...
hinterlands303
Might be old news for some, but I figured out a hocketing patch with basic utilities today (1 bi-directional sequential switch, 1 trigger/gate delay, 2 sample and holds two envelopes/vcos/vcas). I only did it with two voices but you could do more by increasing the number of envelopes, vcos, etc.

Trigger/gate into clock/trigger input of sequential switch
Mult trigger to trigger delay and set the delay time to as low as possible while still having a slight delay.
Mult the slightly delayed trigger/gate to the input of the switch. This is to make sure when the switch moves to a new output the trigger will go to the correct output.
Patch the two outputs of the switch to your envelopes.
Mult the two outputs of the switch to the hold inputs of two sample and holds (or quantizers with trigger inputs)
Patch your single cv source to the cv inputs of the two sample and holds.
Patch the sample and hold outputs to your vca.
Set up whatever patching you want to do for your VCOs in terms of timbre etc.
Patch the envelopes to the two VCAs you're using for the two voices.

Works pretty well!
joeSeggiola
hinterlands303 wrote:
Might be old news for some, but I figured out a hocketing patch with basic utilities today (1 bi-directional sequential switch, 1 trigger/gate delay, 2 sample and holds two envelopes/vcos/vcas). I only did it with two voices but you could do more by increasing the number of envelopes, vcos, etc.

Trigger/gate into clock/trigger input of sequential switch
Mult trigger to trigger delay and set the delay time to as low as possible while still having a slight delay.
Mult the slightly delayed trigger/gate to the input of the switch. This is to make sure when the switch moves to a new output the trigger will go to the correct output.
Patch the two outputs of the switch to your envelopes.
Mult the two outputs of the switch to the hold inputs of two sample and holds (or quantizers with trigger inputs)
Patch your single cv source to the cv inputs of the two sample and holds.
Patch the sample and hold outputs to your vca.
Set up whatever patching you want to do for your VCOs in terms of timbre etc.
Patch the envelopes to the two VCAs you're using for the two voices.

Works pretty well!


Isn't it what the Intellijel Shifty does?
cptnal
joeSeggiola wrote:
hinterlands303 wrote:
Might be old news for some, but I figured out a hocketing patch with basic utilities today (1 bi-directional sequential switch, 1 trigger/gate delay, 2 sample and holds two envelopes/vcos/vcas). I only did it with two voices but you could do more by increasing the number of envelopes, vcos, etc.

Trigger/gate into clock/trigger input of sequential switch
Mult trigger to trigger delay and set the delay time to as low as possible while still having a slight delay.
Mult the slightly delayed trigger/gate to the input of the switch. This is to make sure when the switch moves to a new output the trigger will go to the correct output.
Patch the two outputs of the switch to your envelopes.
Mult the two outputs of the switch to the hold inputs of two sample and holds (or quantizers with trigger inputs)
Patch your single cv source to the cv inputs of the two sample and holds.
Patch the sample and hold outputs to your vca.
Set up whatever patching you want to do for your VCOs in terms of timbre etc.
Patch the envelopes to the two VCAs you're using for the two voices.

Works pretty well!


Isn't it what the Intellijel Shifty does?


Indeed, but the beauty of this approach is you can break into the functionality at any point and modify it. I'm going to have a go at patching this and hopefully the entry points will present themselves. It also has the look of a functional unit which could be repeated, chained and looped on itself. And maybe you already have a Shifty but you'd like two. So thanks, hinterlands303. Guinness ftw!


Edit: Trying it now. To get it to behave like Shifty, patch the output of each S&H to the input of the next, as well as the pitch input of each voice. (I'm assuming VCA was a typo.)
bloc
Self patching the new Tides to get it into the noisie area is great as a Rings exiter (Different phase mode into level input and fm input)
joeSeggiola
cptnal wrote:
Indeed, but the beauty of this approach is you can break into the functionality at any point and modify it. I'm going to have a go at patching this and hopefully the entry points will present themselves. It also has the look of a functional unit which could be repeated, chained and looped on itself. And maybe you already have a Shifty but you'd like two. So thanks, hinterlands303. Guinness ftw!


Edit: Trying it now. To get it to behave like Shifty, patch the output of each S&H to the input of the next, as well as the pitch input of each voice. (I'm assuming VCA was a typo.)


Thanks! It was not to belittle that approach, I was asking it to be sure I understood what he accomplished. Unfortunately I can't try it myself, I have only a single sample & hold (the one that comes with SSF Modbox), but I have the Shifty.
locust_locust
That I have run out of HP.

Time to buy a new case.
cptnal
joeSeggiola wrote:
cptnal wrote:
Indeed, but the beauty of this approach is you can break into the functionality at any point and modify it. I'm going to have a go at patching this and hopefully the entry points will present themselves. It also has the look of a functional unit which could be repeated, chained and looped on itself. And maybe you already have a Shifty but you'd like two. So thanks, hinterlands303. Guinness ftw!


Edit: Trying it now. To get it to behave like Shifty, patch the output of each S&H to the input of the next, as well as the pitch input of each voice. (I'm assuming VCA was a typo.)


Thanks! It was not to belittle that approach, I was asking it to be sure I understood what he accomplished. Unfortunately I can't try it myself, I have only a single sample & hold (the one that comes with SSF Modbox), but I have the Shifty.


Of course. thumbs up

From your YouTube clip (nice tune, BTW) I see you have a Stages. Therefore you have another six sample and holds if you want them. w00t
hinterlands303
cptnal wrote:
joeSeggiola wrote:


Isn't it what the Intellijel Shifty does?


Indeed, but the beauty of this approach is you can break into the functionality at any point and modify it. I'm going to have a go at patching this and hopefully the entry points will present themselves. It also has the look of a functional unit which could be repeated, chained and looped on itself. And maybe you already have a Shifty but you'd like two. So thanks, hinterlands303. Guinness ftw!


Edit: Trying it now. To get it to behave like Shifty, patch the output of each S&H to the input of the next, as well as the pitch input of each voice. (I'm assuming VCA was a typo.)


Yes that was a typo - meant to write patch the outputs of the S&Hs to your VCOs. I'm not sure how Shifty functions exactly as I don't have one. I was trying to get medieval style hocketing which is why I mult the pitch cv to the two separate S&H's and then clock each one separately from the two outputs of the sequential switch. That way the pitch of each voice holds on its respective note but the whole melodic sequence remains intact.

I just realized a variation on this could be patched using Branches instead of the sequential switch, but in that case you'd be limited to two voices whereas the switch could allow for more (I'm using the a-151). It would also clearly have a different quality since the note distribution would be probability-based rather than alternating on every note.
Agawell
You could trigger 4 voices with related triggers from branches

use a stackcable (or other multing method) to patch from channel 1 out into channel 2 in

you then still have all 4 outs, not completely exclusive but usable
hinterlands303
Agawell wrote:
You could trigger 4 voices with related triggers from branches

use a stackcable (or other multing method) to patch from channel 1 out into channel 2 in

you then still have all 4 outs, not completely exclusive but usable


True but you'd always have two voices playing at the same time it would just alternate between which ones. Which is totally fine, just a different effect. No need for a stackable - channel 1 is normalled to channel 2 on Branches!
Agawell
yes channel 1 input is normalled to channel 2 input

but if you patch channel 1 out a to channel 2 in some of the triggers will go to channel 1 out b (some of the triggers will not get to channel 2)

I've used it this way sometimes for hihats - the odd one is dropped and sometimes you get an accent or open vs closed or whatever

if you want exclusive triggers then branches would give you three without using a stackcable this way
hinterlands303
Agawell wrote:
yes channel 1 input is normalled to channel 2 input

but if you patch channel 1 out a to channel 2 in some of the triggers will go to channel 1 out b (some of the triggers will not get to channel 2)

I've used it this way sometimes for hihats - the odd one is dropped and sometimes you get an accent or open vs closed or whatever

if you want exclusive triggers then branches would give you three without using a stackcable this way


Ah of course - now I understand what you're getting at. Very smart! That would work nicely for three voices.
starthief
TIL you can use Grid Ops in Teletype without having a Grid. All kinds of trigger sequency goodness, visual feedback, mute buttons etc. as needed. Not as good for real-time control as actually having a Grid, but usable.
Parnelli
I learned yesterday that the SE Quadnic oscillator is an awesome Krell machine all by itself when all 4 1v/oct are randomly fed from the Vector Space which is being run by a Planar 2 being modulated by 2 other LFOs.
Graffie
I learned I could use the channel switches on the 3xMIA as a way to reset a dry/wet knob (or any other knob) back to its starting point. This way it becomes very easy to do DJ style build ups where you slowly open up an effect and/or filter to make the sound go bigger and then reset the whole thing with the press of a button (or in this case flick of a switch).
reekster
I discovered the old M-Audio 8X8 Midi interface has an old 32 bit driver which is prohibiting me from using my wireless Akai BLE controller
zerodivide
just realized I can use my Kenton Pro Solo 2 box as my clock to sync my eurorack to Ableton Live perfectly. duh!! I was about to buy a clock module too
userfriendly
This was really interesting to me.

I was clocking my ER-101 with the master clock from SSF Ultra random. The ER101 was driving a simple drum pattern. I multed the master clock out to a clock divider, mixed different divisions of the clock into Quadrette, and with some attenuation, sent the sum back into the Ultra random Clock FM. The effect was really interesting swinging rhythms. REALLY fun.

Is there a name for this? This seems like it must be a common technique, but I had never done it before.
mosorensen
3xMIA can be both an "and" and an "or" gate. Send it some CVs and open all of them all the way up, and it is "or". Adjust them about halfway, and it is "and".
Shledge
My A143-2 doubles up as a quad LFO source if you patch the EOD outs to the gate inputs. It even mentions this in the manual, so the idiot is me for finding this out ages after buying it! d'oh!
starthief
This probably works similarly with other VCOs where you can modulate phase:

Set E352/E370 to phase mode with a sine or tri oscillator. Mult its output to the phase modulation CV. As you turn it up, it'll approximate a saw, and then go into a squealy filter resonance sort of thing.

Try wavefolding, filtering, bitcrushing, rectifying etc. the path back to the phase input, or just VCA it under envelope control.

But for a real brain melter, try delaying it.
Robrecht
Probably been mentioned in some form or other, but an LFO sent through a clocked S&H, then quantized to taste, will make a nice evolving melody if it's running at a frequency that is slightly different from your main clock/phrase length (or a multiple or division of it).

Patch:
* Pamela's New Workout clock >> Euclidean Circles >> Sonic Potions Penrose trig
* Maths free cycling on channel 1 or 4, attenuated to remain more or less within a 1V range >> Penrose in
...with the Penrose set to a nice 6th or 7th chord.

If you set the cycling time on Maths to be almost, but not quite, a multiple of the clock time, but short enough so that the Euclidean triggers pick out notes over consecutive cycles of the LFO so it doesn't sound like an arpeggio, the resulting melody will not feel entirely random but still change enough to be interesting.
wingcommander
Probably late to the party, but I found if I sent the individual outs from a Qu-Bit Chord into a sequential switch, I have an arpeggiator.
Fidi
...that pitch-bending on the V/OCT Input of Rings only affects the last played note and I‘m finally able to play pedal-steel-like things on my modular Rockin' Banana!
jamos
.. that I really need to have a couple of precision-drilled blank panels to align the threaded strips and rails on my system.
Phitar
Today I discovered that my Klavis Twin Waves has 3 available modes on the 1V/Oct jacks and 5 additional modes on the FM/AM jack that I never knew about.

Freaking Awesome! applause

Somehow I missed page 10 of the manual entirely and I swear I've read it several times. very frustrating
gis_sweden
Bass drum and high-hat made with only a trigger, a filter and noise (3 modules).
Nice trick working with Doepfer A-101-1 Vactrol VCF. Noise to LP in. Gate to CVF in 1 out straight to mixer. Low frequency. High Emph. LP 0, BP about 5 and HP 0. Added a bass and my sampled voice... It's peanut butter jelly time!
Sound: https://freesound.org/people/gis_sweden/sounds/462756/
cptnal
gis_sweden wrote:
Bass drum and high-hat made with only a trigger, a filter and noise (3 modules).
Nice trick working with Doepfer A-101-1 Vactrol VCF. Noise to LP in. Gate to CVF in 1 out straight to mixer. Low frequency. High Emph. LP 0, BP about 5 and HP 0. Added a bass and my sampled voice... It's peanut butter jelly time!
Sound: https://freesound.org/people/gis_sweden/sounds/462756/


TECHNO TECHNO TECHNO TECHNO SlayerBadger!
Final_Instrument
Forgetting how to patch after taking a few months off from eurorack
grep
I could turn my Varigate 4+ into a 32 step sequencer with the addition of a sequential switch. Doepfer A-151 purchased and delivered!
joppa
i learnt that red strip up is a no no
expensive lesson
fryed koma field kit fx
just waiting for the post man to bring it home from berlin
nice guys at koma A1 service
just thought id share that with you guys
InterPhase
joppa wrote:
i learnt that red strip up is a no no
expensive lesson
fryed koma field kit fx
just waiting for the post man to bring it home from berlin
nice guys at koma A1 service
just thought id share that with you guys

Sometimes red stripe is up, though, for example on the busboard in my Dreadbox 168 case.
joppa
what mine field the old up or down
must be more carefull in the future
Shledge
-12v to -12v, not red stripe. Don't trust the red stripe!
Virusinstaller
Red Stripe Down!! Red Stripe Down!!!!!
joppa
Shledge wrote:
-12v to -12v, not red stripe. Don't trust the red stripe!


thats the rule in it -12v

i will learn
its been a eye opener for me modular

like power for the case and keep with in the limits of Milly amps

im lucky cos before i know this i had a small doepfer 32hp case 200Ma
and had it maxed with modules.
lucky i didnt exceed the limits (hand across face) noob error which didnt effect me to bad
Shledge
Yeah, the red line could be upside down for all it cares and nothing will blow up once -12v from the busboard goes to the -12v pins on module.
Shledge
Put a sine wave through a feedback loop via a matrix mixer to get a square wave - if you mix a slow LFO or DC offset into it too, you get... PWM.
base615
I've turned one of my busboards upside down to accomodate a spring tank so I do red stripe up quite often. I'm one of those guys who just wants to see the world burn.
starthief
Shledge wrote:
Put a sine wave through a feedback loop via a matrix mixer to get a square wave - if you mix a slow LFO or DC offset into it too, you get... PWM.


Feedback loops through some VCAs can be really cool if you CV it with an envelope. (With what I had, it worked best with a Zlob Dual VCA.) You get the whole range of saturation from sine into square.
batch
Recently acquired Benjolin into AJH Fixed Filter Bank into Z-DSP w/ Shimmer reverb.

Hours of fun just wiggling the knobs on the Benjolin and self patching it,
cptnal
Shledge wrote:
Put a sine wave through a feedback loop via a matrix mixer to get a square wave - if you mix a slow LFO or DC offset into it too, you get... PWM.


Indeed it does! thumbs up

But here's a thing. When I feed a self-resonating filter back on itself I get a saw. Can anyone explain what's going on there? hmmm.....
starthief
cptnal wrote:
When I feed a self-resonating filter back on itself I get a saw. Can anyone explain what's going on there? hmmm.....


I thought I read an explanation of that somewhere, but I can't find it now seriously, i just don't get it
starthief
Oh... Because it's basically a fight between the sine trying to clip as it exceeds the available headroom, and the filter stripping out the high frequencies generated by clipping. Something like that.
cptnal
Thanks. I guessed it had something to do with the filter softening the leading edge of the square, but when I tried to introduce a filter into Shledge's patch nothing much happened. More wiggling is required...
starthief
Could also be an effect of phase shift. If you feed a sine oscillator's output into its own phase offset, you also get something resembling a saw...
Shledge
cptnal wrote:
Shledge wrote:
Put a sine wave through a feedback loop via a matrix mixer to get a square wave - if you mix a slow LFO or DC offset into it too, you get... PWM.


Indeed it does! thumbs up

But here's a thing. When I feed a self-resonating filter back on itself I get a saw. Can anyone explain what's going on there? hmmm.....


I used Ripples to generate the sine wave, but I didn't feed the signal back into the filter, but rather back into the mixer itself.
lauprellim
...that most of the time you can take the output of a eurorack module out through 1/8 -> 1/4 inch cables and patch it directly into a mixer, thereby making stereo panning trivial as long as you can pan on your mixer....why didn’t I think of that before?!?!?!
starthief
TIL a lot more about wavefolding, how to model it digitally, and faked up a pretty damn good wavefolder for the ER-301 by imitating the transfer function of the Serge It's peanut butter jelly time! Mine's only got two stages but sounds pretty nice and is fairly light on CPU.

Also learned a bit about electronics and PSUs that I probably didn't want to know lol
mother misty
I learned today that I could make a sequential switch with MI Stages and feed the 3 CV channels of René into it.
By playing around with a clock divider on the first stage of the sequential switch, you can easily switch between the 3 sequences on the fly and make new sequences out of that, fun stuff! cool
lisa
I learned that just intonation isn’t that exciting in practice.
starthief
I learned that switching case styles/layouts (e.g. from vertical to curved, from narrow to wide) makes everything feel different. The way cables drape, the lengths needed etc.

Combine that with drastically changed module placement, and things can feel a bit weird, like I'm using someone else's synth that happens to have familiar modules. But given what I recorded with it tonight, it might also encourage a different creative tack.
poorness
I agree!

I've found this to be very true. Rearranging your case (even the same case) can spark creativity. It seems like the brain invariably starts to build patches based on the locations of the modules. Switching that up can force a new through process. I realize its "all in your head" but so the creative process.
cptnal
It can also force a lighting rethink... Dead Banana
starthief
Today's small discovery: finally grasping how wavefolding is related to phase modulation.

http://wiki.openmusiclabs.com/wiki/Sinulator

Navs posted some time back about mixing a modulator and carrier (as saw waves) and running them through a wavefolder to get phase modulation. I successfully did that trick with Antimatter Audio Crossfold, but now I understand that this is also the gist of what FM Aid does. And I have a much better understanding of why/how this works, now.

w00t
Chozal
short envelope triggered by a division of master clock => attenuator => fm input of osc is a simple way to add some percussion to a voice
WisdomWriter
I often ponder what it would be like to keep modulating the modulator. lately I have been playing with modulating the envelope modulating a cutoff or something with an LFO or phase generator and vice versa to get interesting rates of LFO and phase generators especially a little deeper into filter layering so there is constant tone without the LFO dipping into neg freq that I don't hear.
Alphaman
today, my small discovery was...i need some more other Euro Modules^^ but i didn't discovered yet how to pay for it. stealing the handbags of old grannies was the first thing that came into my mind. but now i think to sell my fucking Alpha juno 1 along with a Programmer is better, so i have more space in my room left^^

edit: i just dicovered as well, that i could now sell stuff here on Muff with 101 my Posts hehe
pixelforest
my discovery today was that mixers can be REALLY different in how they handle modular. I have been using an old mackie (CR1604) forever and just got a new allen & heath (mixwizard wz4 16:2). the difference is night and day, i'm not constantly trying to dial back my modular stuff to keep it from clipping into the mixer. my worst offender has always been my hexinverter mutant bassdrum (the 808 one) where I could never put too much tone or distortion on it because it was a constant struggle to not clip the heck out of it. the new a&h has no problem with it even on maxed out tone / dist / decay.
chachi
plucky expo vca —> another plucky expo vca = EVEN PLUCKIER.
Just another rookie
To answer the question how hot does that heatsink get........ hmmm.....

angry

seriously, i just don't get it
cptnal
...the BBD potential of Chronoblob (Mk1).

I'd been considering purchasing something to cover that kind of territory when I thought, "hang on... I wonder if..." w00t
mhtones
I've decided I like chaos much better than random. Slowly been realizing this over the last few months.
Joey P.
Today my discovery, after getting my Mordax Data, was that my Octotrack MIDI sync out has more than twice the jitter of my computer running Logic to a Midiman 2x2.
electricanada
mhtones wrote:
I've decided I like chaos much better than random. Slowly been realizing this over the last few months.


I like chaos better for melody, but random is often nicer to animate timbre.
MoogCloud
I learned that the CLK Out from the Metropolis is different based on the source of the CLK In. If the CLK In is INTernal, then CLK Out is a copy, if the CLK In is EXTernal, then the clock is divided by the value set with the DIV menu.

I’d been ignoring the CLK Out for all this time while using EXTernal clock and had an extra timing source that was being wasted.

Ah, alls well that ends well. Guinness ftw!
starthief
I learned that using a slow but weird Kermit LFO to control pitch, recording that with reverb, and then trying to manually shift everything back into the same pitch afterward is a good time. Weird timbral shifts and pitch artifacts ahoy! This is fun!

More to the point: Running that same slow but weird Kermit LFO into ER-301's Deadband Filter, and then using the output as an LPG trigger. Probably lots of other uses for that thing even though (or especially because?) the output is AC coupled...

tokyojoe
MoogCloud wrote:
if the CLK In is EXTernal, then the clock is divided by the value set with the DIV menu


Brilliant! Thanks for the tip.
Funky40
i discovered last week that i can patch a bouncing ball effect with a delay lol
( the newly made "maths" bouncing ball video by makenoise was the inspiration. awesome patch. never had a maths though razz )




i´ve donne it with a chronoblobb by patching two ADs from a PEG to:
delay-time (decrease), feedback (increase), an external filter (freq) patched to the feedback path,
triggered the NG (lpg) by a trigger out of the PEG to have things in sync for the test.
( or take just one AD, but two makes it more flexible in regards to Delay time vs. feedback behave)


funny exercise hihi usually not where i´m heading to
cptnal
Funky40 wrote:
i discovered last week that i can patch a bouncing ball effect with a delay lol
( the newly made "maths" bouncing ball video by makenoise was the inspiration. awesome patch. never had a maths though razz )




i´ve donne it with a chronoblobb by patching two ADs from a PEG to:
delay-time (decrease), feedback (increase), an external filter (freq) patched to the feedback path,
triggered the NG (lpg) by a trigger out of the PEG to have things in sync for the test.
( or take just one AD, but two makes it more flexible in regards to Delay time vs. feedback behave)


funny exercise hihi usually not where i´m heading to


Since you posted this I've been having great fun with this patch. With the right amount of modulation it's one of those patches you can sit back and listen to and it always surprises, always makes you smile. Guinness ftw!
starthief
A medium and a small KVGear ramp rack, side by side, is only a little wider than the front of a 114HP case.

And it's also the right width for a 16n Faderbank, an SQ-1 and a Volca Modular side by side cool

The i2c connection jack on the Faderbank is on the "down" side of the ramp, but I've got little rubber feet to rest it on to keep that clear.

Also, dry-erase tape is handy for notating what the sliders are assigned to. (I'd heard that white electrical tape works well, but dry erase doesn't come off it as cleanly so that's probably better for a less temporary scribble strip sort of thing.)
djd_oz
Magneto (send) -> Clouds (100% Wet) -> Magneto (return)

So good!

It's peanut butter jelly time!
Bhola
I just discovered that on the DPO you can still get sounds from the final output and modulate it with Angle even though FOLD & SHAPE and their attenuverter are all set to fully CCW. Gives a bit of a less aggressive sound than what you usually get with the final out !
He_lium
Bhola wrote:
I just discovered that on the DPO you can still get sounds from the final output and modulate it with Angle even though FOLD & SHAPE and their attenuverter are all set to fully CCW. Gives a bit of a less aggressive sound than what you usually get with the final out !

So just modulate Angle? At audio rate?
Bhola
He_lium wrote:
Bhola wrote:
I just discovered that on the DPO you can still get sounds from the final output and modulate it with Angle even though FOLD & SHAPE and their attenuverter are all set to fully CCW. Gives a bit of a less aggressive sound than what you usually get with the final out !

So just modulate Angle? At audio rate?


Yep, modulate angle with the MOD bus and the tone of the Final out is then actually more defined by the frequency of the A OSC than the B one.
cg_funk
Someone posted the other day lamenting about how NE discontinued the Variatic Erumption.

So I tried to roll my own out of a A-156 dual quantizer and Maths. It worked brilliantly! The A156 outputs a trigger every time it reaches a new note, the different scales change the rhythm of trigger events, and attenuating the envelope sets how many triggers you produce. Also, Maths has 2 channels, so does A156 and LXD, so this is easy to do in duplex just like the Variatic.

So I patched the triggers to a LXD, and then 2x channels of this into my new Prism. Oh boy, very clicky swirling stereo sounds emerge! Mainly, I find that this is a super great way to get on-tempo percussive sounds that are not locked to 16-step grid. I often use Eloquencer, this type of patching methodology is how I break free of the grid.
Noodle Twister
Patched a sequencer into the CV of a euro serge triple waveshaper and found that by holding down a key I could get a rhythmic drone. This is fun!
morgulbee
The ER command in Teletype makes Euclidean Rhythms easy. I just leveled up my Teletype skills!
He_lium
Bhola wrote:
He_lium wrote:
Bhola wrote:
I just discovered that on the DPO you can still get sounds from the final output and modulate it with Angle even though FOLD & SHAPE and their attenuverter are all set to fully CCW. Gives a bit of a less aggressive sound than what you usually get with the final out !

So just modulate Angle? At audio rate?


Yep, modulate angle with the MOD bus and the tone of the Final out is then actually more defined by the frequency of the A OSC than the B one.


Ok thanks! Will try it!
Bhola
He_lium wrote:
Bhola wrote:
He_lium wrote:
Bhola wrote:
I just discovered that on the DPO you can still get sounds from the final output and modulate it with Angle even though FOLD & SHAPE and their attenuverter are all set to fully CCW. Gives a bit of a less aggressive sound than what you usually get with the final out !

So just modulate Angle? At audio rate?


Yep, modulate angle with the MOD bus and the tone of the Final out is then actually more defined by the frequency of the A OSC than the B one.


Ok thanks! Will try it!


Let me know if you got anything interesting !
electricfence
Muxlicer pairs really nicely with FXDf. I have only had the FXDf for a short while, and had gotten it mainly to extract triggers from more complex audio sources, but today I ran some morphing waveforms from the E-352 into both inputs of the FXDf and then routed each of the outputs to an input on the Muxlicer, and now I have a little mini-MuRF in my rack.

If I sequence the address input, then I can control the filtering patterns. screaming goo yo nanners
starthief
Mutable style Rogan knobs fit the front panel of the Behringer UMC1820 interface. Very handy to make the main monitor knob stand out better from a row of identical knobs, as well as easier to tweak. cool

starthief
TIL Curtis Roads' The Computer Music Tutorial is large and heavy. But it's got quite a lot of useful information and insight. It's definitely oriented toward DSP and computers in particular, but it's still got a lot of cool info.
jsco
running audio through an allpass filter (like polaris) before running it through a wavefolder gives you a whole new dimension of control over the wavefolder sound. (same principle applies to putting an allpass before distortion, fuzz, etc.)
Foghorn
I put an old uScale II and a random module (Ladik R-120) in my drum case and clock them both the same or differently.
The uScale II outputs work very handily as pitch inputs for BIA, Plonk or Chimera.

Foghorn

EDIT: Sorry, misspoke.
uScale gets the random CV out from R-120 into shift, set on output "B"
I was using Quantimator, and triggering it, but moved it.
I will admit that I do not completely understand uScale yet (again)
cptnal
Foghorn wrote:
I put an old uScale II and a random module (Ladik R-120) in my drum case and clock them both the same or differently.
The uScale II outputs work very handily as pitch inputs for BIA, Plonk or Chimera.

Foghorn


How do you clock a quantizer? hmmm.....

Meanwhile, mine is finally getting Branches to consistently behave the way I want it to. (Hint: "Long press" means long press, whereas "press" means short press. Always read the manual, kids. Dead Banana )
PietroC
Running a Sequencer's CV through a Buff mult and each channel of maths
Rotating the attenuverters can produce chords ( Hard to dial in but cool )
hlprmnky
cptnal wrote:
Foghorn wrote:
I put an old uScale II and a random module (Ladik R-120) in my drum case and clock them both the same or differently.
The uScale II outputs work very handily as pitch inputs for BIA, Plonk or Chimera.

Foghorn


How do you clock a quantizer? hmmm.....


Some quantizers (like the Penrose for example) have a trigger input, which you can feed a clock or a gate pattern from a sequencer to decide when it's time to choose a new note value for the output, rather than having a new note value (and in the case of the Penrose, outbound gate) show up on the output whenever the incoming voltage moves far enough to tip into the next bucket.
cptnal
hlprmnky wrote:
cptnal wrote:
Foghorn wrote:
I put an old uScale II and a random module (Ladik R-120) in my drum case and clock them both the same or differently.
The uScale II outputs work very handily as pitch inputs for BIA, Plonk or Chimera.

Foghorn


How do you clock a quantizer? hmmm.....


Some quantizers (like the Penrose for example) have a trigger input, which you can feed a clock or a gate pattern from a sequencer to decide when it's time to choose a new note value for the output, rather than having a new note value (and in the case of the Penrose, outbound gate) show up on the output whenever the incoming voltage moves far enough to tip into the next bucket.


Indeed, but uScale isn't one of them. Feel like I'm missing a trick somewhere...
hlprmnky
cptnal wrote:

Indeed, but uScale isn't one of them. Feel like I'm missing a trick somewhere...

You could throw a S&H in front of the uScale and clock that, I think?
cptnal
Foghorn wrote:
EDIT: Sorry, misspoke.
uScale gets the random CV out from R-120 into shift, set on output "B"
I was using Quantimator, and triggering it, but moved it.
I will admit that I do not completely understand uScale yet (again)


Me neither. Mr. Green

I've recently been experimenting with using a sequencer to step through banks of scales/chords as per an idea dcramer described in his Exodus patch. Great for adding development and movement to an otherwise static patch.
Foghorn
I guess I should have made a new post.

EDIT: Sorry, misspoke.
uScale gets the random CV out from R-120 into shift, set on output "B"
I was using Quantimator, and triggering it, but moved it.
I will admit that I do not completely understand uScale yet (again)

Last edited by Foghorn on Tue May 21, 2019 12:48 pm; edited 1 time in total

Foghorn

PS, I like Toppo Quantimator a little better.
It is really simple
Footkerchief
Inspired by the feedback routing of the Lyra8-FX, I patched my Chronoblob's output back to its Time CV. It makes a beautiful range of warbly chorus/reverb sounds, even at long delay times.

After reading Robert Moog's "a waveform that changes dramatically with frequency is essential for convincing string tone simulation", I started multing my 1v/oct signals to the weirder timbral inputs like wavefolder symmetry and PWM, and I gotta say, he was on to something.

Velocity and FM index are best friends. It's a great fit because a slower sweep of FM index can create some rough harmonic instabilities, which the instantaneous jump of a velocity change avoids.
Dr. Sketch-n-Etch
This has nothing to do with synthesizers, but I'm just so tickled about it that I wanted to share...

Today I was giving my soul red 2018 Mazda 3 a very thorough cleaning inside and out. I was vacuuming the inside. I tend to be a bit of a slob in my car, and often get bits of food and splooge on the centre console and in the cup holders. So today I was vacuuming out the cup holders when the bottom of one came out stuck to the vacuum nozzle. It turns out that the bottom of each cup holder is removable, so they can be properly washed. Awesome! I had no idea, and I wouldn't have thought of that myself. I love good design (and loathe poor design -- my pet peeve) and this is it.

Then, I was vacuuming out the inside door handles, and the bottoms of those are also removable! Everything was given a thorough washing and replaced gleaming. The Mazda designers really seem to have tried to think of everything, and I really appreciate it. I have nothing but high praise for Mazda, and would recommend them wholeheartedly to anyone.

OK, back to synths...
BlinkyLights
I had about ten small discoveries today, one of several similar days - here in my first month of having enough modules to do much of anything - while I keep working this patch and initial track idea over and over, learning my few modules and related gear, learning all things eurorack, and dealing with the fun and complexity of new modules added recently.

I have much to learn. And I am thoroughly enjoying it so far. Should have made this entry years ago. I feel so late to the party.
Jim the Oldbie
EDIT: Oops, wrong bingo table, sorry...
Shledge
I can use Ears as a very basic comparator, especially if I invert the gate output. It can also handle CV so I can send a trigger to make it output it's envelope.
Tenderosa
Noise into the Morphagene varispeed with it at noon (no modulation) gives a fantastic subtle tape wobble. You can never get it dead noon so there is always a little bit of random slipping through which is wonderful.

This btw is the best thread on MW and am always happy when it pops to the top again.
joeSeggiola
Tenderosa wrote:
Noise into the Morphagene varispeed with it at noon (no modulation) gives a fantastic subtle tape wobble.

Oh, that looks cool. Is white noise ok, or you need a smoothed noise CV like a random LFO?
Tenderosa
joeSeggiola wrote:
Tenderosa wrote:
Noise into the Morphagene varispeed with it at noon (no modulation) gives a fantastic subtle tape wobble.

Oh, that looks cool. Is white noise ok, or you need a smoothed noise CV like a random LFO?


Yes I’m using straight white noise out of the Disting & works well
Dr. Sketch-n-Etch
So, this is more like a re-discovery, cuz I've made this mistake before, but...

When you buy toggle switches, there is always an "extra" nut on the bushing right up next to the body of the switch. Well, it's there for a reason. If you put the switch on a panel without that nut, and you tighten the outer nut too tightly, you are likely to rip the bushing right out of the switch body, thereby destroying the switch. I did that this morning when I was attaching a panel to a panel PCB. That inner nut takes the strain of the tightened outer nut, thus protecting the bushing and switch body from torque. Also, the panel spacing is better with that nut in place, as it will then make the switch the same height as Alpha PCB-mounted pots.

So, leave the extra nut on the bushing when installing toggle switches, and don't tighten that first nut too tightly (just finger tight).
Misk
Dr. Sketch-n-Etch wrote:

When you buy toggle switches, there is always an "extra" nut on the bushing right up next to the body of the switch. Well, it's there for a reason. If you put the switch on a panel without that nut, and you tighten the outer nut too tightly, you are likely to rip the bushing right out of the switch body, thereby destroying the switch. I did that this morning when I was attaching a panel to a panel PCB. That inner nut takes the strain of the tightened outer nut, thus protecting the bushing and switch body from torque. Also, the panel spacing is better with that nut in place, as it will then make the switch the same height as Alpha PCB-mounted pots.

So, leave the extra nut on the bushing when installing toggle switches, and don't tighten that first nut too tightly (just finger tight).


This is some of that arcane occult DIY knowledge that will aid me at that point in every project where I really believe I'm smarter than the pcb applause

Also, the control forge is great for making all sorts of flavors of digital noise, and can even be pushed into the realm of (almost) white noise. If you've got a satellite, load it with a bunch of audio-rate presets—they're great oscillators!
Hazza26
I've been having a lovely old time with my E350 Morphing Terrarium for the last 3 years making pretty, wavetabley noises.

I just switched it into LFO range for the first time ever. HOLY SHIT! This thing is a CV generating monster!

SlayerBadger! Rockin' Banana!
atl
DIY newbie edition: testing an LED with a 9v battery doesn't always work. In fact, with some LEDs, it works exactly once.

Dead Banana
Dr. Sketch-n-Etch
atl wrote:
DIY newbie edition: testing an LED with a 9v battery doesn't always work. In fact, with some LEDs, it works exactly once.

Dead Banana


Uh, yeah, you gotta limit the current through an LED with a suitable resistor. If you have that resistor in the chain, then testing with the battery should be completely safe. 2.2k is my go-to resistor value for most LEDs.
joeSeggiola
Dr. Sketch-n-Etch wrote:
2.2k is my go-to resistor value for most LEDs.

What? 2.2kΩ means ~3mA through the LED with a 9V battery, isn't it very little? I usually aim at 15mA for 5 and 3mm LEDs, which means a ~500Ω resistor at 9V... Am I missing something?
colb
Today my small discovery was...

Taking a larger division from a clock divider to set up a shuffle on an LFO being used as clock. Then the smaller divisions can be used for fills and more interesting sub rhythms.

e.g.
square out of LFO into dividers clock input.
dividers 1/16 output into LFOs lin FM input turned up to 10'o'clock (ladik VCO5)
dividers 1/64 output to kick
dividers 1/8 divided again by 4 (same as inverted 1/32 out) into another kick
dividers 1/4 out driving a hat type sound, but switched now and again to the 1/2 output for a fill

(divider is set to gate output not trigger)

Hmm.. now to try it on an LFO with reset...
Dr. Sketch-n-Etch
joeSeggiola wrote:
Dr. Sketch-n-Etch wrote:
2.2k is my go-to resistor value for most LEDs.

What? 2.2kΩ means ~3mA through the LED with a 9V battery, isn't it very little? I usually aim at 15mA for 5 and 3mm LEDs, which means a ~500Ω resistor at 9V... Am I missing something?


I'm using 2.2k for 3mm green LEDs from 5V, and they are so bright I can hardly stand to look at them. I'd probably go a bit bigger, maybe 3.3k, next time. I don't actually like blinkenlights very much, as I find them distracting, and they tend to be a distraction during design that I find to be more trouble than it is worth. However, sometimes they are necessary, and then I like them to be not so bright.
gelabs
Two oscillators + utilities like mix/max, rectifier and ring modulator + a simple sequencer = joy for hours smile

(yep, i am a noob at this :p )
colb
...how to make a two stage (three if you include the un-shifted input cv as a stage) Analog Shift Register using a dual sample and hold and half of a rampage!
cptnal
File this one under "hiding in plain sight"...

Finally got around to trying Telharmonic's shift register mode, and instantly magical shit started happening. Lotsa Love
cg_funk
OK. this one was so simple and it blew me away

Run my kick drum through envelope follower (Ears or Maths), and then quantize that envelope to a scale using the clock as a trigger. Instant repeating melody, wow! Now, modulate the decay of the drum a bit with a slow LFO, this creates melodic variations that are simply beautiful. Then, when I switch up the drum beat, the melody changes in fantastic unexpected ways.

Compared to using quantized LFOs for pitches, this envelope based method is much richer IMO. I think it has something to do with the decay shape of the envelopes.
Dr. Sketch-n-Etch
Here are a few little discoveries I have made in the last few days while finishing up my massive handbuilt Polaris project:

1) When stacking a bunch of boards using hex spacers (the kind that screw into each other), don't tighten the spacers with a nut driver or wrench. Simply tighten them finger tight. If they are tightened down, they tend to bite into the PCB and the mounting holes are never perfectly aligned. This causes the spacers to take on a slight angle, so that by the time you have 4 or 5 PCBs stacked up, they will become increasingly difficult to put on the spacers. If the spacers are just finger tight, then all the PCBs slide on with ease (and I have 12 PCBs stacked up on my Polaris). There is no danger of them coming loose.

2) When using pin headers to take power and/or signals from one board to the next in a stack, don't bother with those female-to-long-pin strips that you have to cut with an x-acto knife and break and always lose a pin in-between and end up with ugly rough edges. Simply put two parallel rows of holes on your PCB, and use simple short-pin females on one row and pins pointed downward on the other. This makes every board have female upward and male downward. With this method, you can stack as many boards as you want and transfer rail power from board to board with ease. The trick is to stagger the position of the females and the males from board to board (i.e., females out, pins in on one board, then females in and males out on the next, etc.). It takes up slightly more board space, but it's super worth it.

3) Before putting the downward-pointing pins on the next PCB in the stack, place the board on top of the stack using the proper hex spacers, then slide the pins into their holes and plug them into the female sockets below. The pins will probably be too long, so simply slide the little plastic bits down the pins with your fingertips until they are flush with the PCB. Then remove the board from the stack and solder the pins -- they will now be the perfect length.

Those last two discoveries have been a life changer for me. It will make my builds oh so much cleaner and easier and faster.

I will be reproducing this post on my Doc Sketchy thread.
BaloErets
Dr. Sketch-n-Etch wrote:
Here are a few little discoveries I have made in the last few days while finishing up my massive handbuilt Polaris project:

1) When stacking a bunch of boards using hex spacers (the kind that screw into each other), don't tighten the spacers with a nut driver or wrench. Simply tighten them finger tight. If they are tightened down, they tend to bite into the PCB and the mounting holes are never perfectly aligned. This causes the spacers to take on a slight angle, so that by the time you have 4 or 5 PCBs stacked up, they will become increasingly difficult to put on the spacers. If the spacers are just finger tight, then all the PCBs slide on with ease (and I have 12 PCBs stacked up on my Polaris). There is no danger of them coming loose.

2) When using pin headers to take power and/or signals from one board to the next in a stack, don't bother with those female-to-long-pin strips that you have to cut with an x-acto knife and break and always lose a pin in-between and end up with ugly rough edges. Simply put two parallel rows of holes on your PCB, and use simple short-pin females on one row and pins pointed downward on the other. This makes every board have female upward and male downward. With this method, you can stack as many boards as you want and transfer rail power from board to board with ease. The trick is to stagger the position of the females and the males from board to board (i.e., females out, pins in on one board, then females in and males out on the next, etc.). It takes up slightly more board space, but it's super worth it.

3) Before putting the downward-pointing pins on the next PCB in the stack, place the board on top of the stack using the proper hex spacers, then slide the pins into their holes and plug them into the female sockets below. The pins will probably be too long, so simply slide the little plastic bits down the pins with your fingertips until they are flush with the PCB. Then remove the board from the stack and solder the pins -- they will now be the perfect length.

Those last two discoveries have been a life changer for me. It will make my builds oh so much cleaner and easier and faster.

I will be reproducing this post on my Doc Sketchy thread.


Hey Doc! Any place we can read up on this massive Polaris project. Sounds really intriguing!!
Moog$FooL$
"and I have 12 PCBs stacked up on my Polaris"

Madness!!! woah
Dr. Sketch-n-Etch
BaloErets wrote:
Hey Doc! Any place we can read up on this massive Polaris project. Sounds really intriguing!!


You can read up on all of my crazy little projects here:

Something New from Doc Sketchy

The Polaris project is at the very end, and I'm going to be posting a whole lot more stuff over the next day or two, because I'm going to finish the build today.
hinterlands303
Super obvious but I didn't think of it until today. Mutable Elements into an envelope follower is a great way to get complex envelopes. I got the best results using primarily the dry exciter with just a little of the resonator mixed in and a tiny bit of release on the envelope follower. So many crazy shapes!

I really love Elements but don't always want that particular sound in my patches so it's nice to find another way to integrate it into the system.
sjbucks
This week I discovered that I can stop MI Marbles by plugging a dummy cable into the clock input.

I also found out that if I patch the headphone output from a cheap pocket radio into the "In" of MI Rings it becomes a one-way ticket to the Drone Zone.
Dr. Sketch-n-Etch
The other day I discovered that the key to playing the guitar is relaxation.

I was sitting in my office at school with my gut-string guitar, not really thinking about it. I put the butt of the guitar on my thigh so that the neck was at a fairly steep angle with the nut just about level with my eyes. This is the wrong way to hold a guitar, but I don't care. My office chair has armrests so I can't hold it properly. I was just leaning back, zoning out, and playing. The music flowed very naturally and my picking was just about perfect. No thought.

Also, I made another discovery that day, after watching a video of the late, great jazz trumpeter Clark Terry. One of the keys to playing stuff which sounds like bebop is in accenting some of the notes, like at the beginning of a phrase, or at the high point of the line. After watching Clark Terry play and noting how he accented his notes, I tried it on the guitar, and the naff lines I played sounded much more like jazz. I'm now convinced that how you play jazz lines is just as, if not more, important than the actual notes you play.
Foghorn
Plug the CV out from the Doepfer A-198 Ribbon controller into the 2HP Arp module, then play it slow enough and you have an instant harp that feels and plays like a harp.
Kinda cool.

Foghorn
starthief
Cold Mac as a logical XOR (thanks to a helpful Lines post):

Assume two gate inputs where 0V = logical 0, +5V is logical 1.

set SURVEY knob to 0V
patch incoming GATE 1 to OR1 (it's normalled to AND1)
patch incoming GATE 2 to SURVEY (it's normalled to OR2 and AND2)
patch AND OUT to FADE
patch OR OUT to OFFSET
RIGHT OUT is the logical XOR of GATE 1 and GATE 2

The output will be +5V when either GATE 1 or GATE 2 is +5V, but not when they both are.

The fun part about this is it works as a phase comparator in a PLL patch, even if the gates are less than perfectly 0-5V. (It works less well with non-squarewaves.)

I just synced two square LFOs in Stages despite their sliders being in different positions Mr. Green
smithjohn
colb wrote:
Today my small discovery was...

Taking a larger division from a clock divider to set up a shuffle on an LFO being used as clock. Then the smaller divisions can be used for fills and more interesting sub rhythms.

e.g.
square out of LFO into dividers clock input.
dividers 1/16 output into LFOs lin FM input turned up to 10'o'clock (ladik VCO5)
dividers 1/64 output to kick
dividers 1/8 divided again by 4 (same as inverted 1/32 out) into another kick
dividers 1/4 out driving a hat type sound, but switched now and again to the 1/2 output for a fill

(divider is set to gate output not trigger)

Hmm.. now to try it on an LFO with reset...


That's a cool trick SlayerBadger!
Tried something similar and got strumming-like behavior with more extreme amounts of the divider out modulating the LFO rate.
StrangeAttraction
Today I discovered that I'm way more excited about new modulation/utilities modules than VCOs and Filters. Must be something wrong with me help
Foghorn
StrangeAttraction wrote:
Must be something wrong with me help
hihi hihi hihi hihi


Ya ain't alone.

Foggy
electricanada
StrangeAttraction wrote:
Today I discovered that I'm way more excited about new modulation/utilities modules than VCOs and Filters. Must be something wrong with me help


No, I get it. It's the utilities that turn your machine into a cable-programmed audio computer. I get most excited about modules having to do with clocking and switching and counting and comparing.
blw
electricanada wrote:
StrangeAttraction wrote:
Today I discovered that I'm way more excited about new modulation/utilities modules than VCOs and Filters. Must be something wrong with me help


No, I get it. It's the utilities that turn your machine into a cable-programmed audio computer. I get most excited about modules having to do with clocking and switching and counting and comparing.


Years ago, a builder made a comment that a filter or vco or anything that modifies sound sold exponentially better than utilities. That may still be true, but it is nice to notice posts pointing in the other direction.

Once after buying/selling/etc, I looked at my system and realized I only had a couple oscillators and gobs and gobs of sequencers, EG’s, cv mixing, trigger logic, dividers, etc. Oops! But cv manipulation sets modular synthesis apart from a Slim Phatty or whatev. Definitely the rabbit hole that is the most fun to me.
StrangeAttraction
For sure. And a nice VCO / VCF is often a gate-way drug into modular (as was in my case). Then once you sober up, you realise that there's a whole new world of sequencing and modulation that awaits you and welcomes you with its clocky switchy sequencery utilitarian arms. Bliss.

blw wrote:
electricanada wrote:
StrangeAttraction wrote:
Today I discovered that I'm way more excited about new modulation/utilities modules than VCOs and Filters. Must be something wrong with me help


No, I get it. It's the utilities that turn your machine into a cable-programmed audio computer. I get most excited about modules having to do with clocking and switching and counting and comparing.


Years ago, a builder made a comment that a filter or vco or anything that modifies sound sold exponentially better than utilities. That may still be true, but it is nice to notice posts pointing in the other direction.

Once after buying/selling/etc, I looked at my system and realized I only had a couple oscillators and gobs and gobs of sequencers, EG’s, cv mixing, trigger logic, dividers, etc. Oops! But cv manipulation sets modular synthesis apart from a Slim Phatty or whatev. Definitely the rabbit hole that is the most fun to me.
BaloErets
That having a clock module running at the main tempo and setting one of it's outputs to /1.5 of the clock is not the same thing as sending /1.5 of a clock's output to the clock input of another clocking module.

Sounds stupid, but depending on the patch, I'll either have a Tempi sending one of it's outputs to clock Pam's New Workout, or one of Pam's outputs is clocking the Tempi.

Usually I'll send a copy of the master tempo to clock the other module, but today I found significant usage of clocking the slave module at /5 and then later at /1.5.

And although I could easily send the master clock to the module and then decide which output should be /5 or /1.5, having the entire module locked in at a more interesting clock really brought some really great results
Granular
Not really sure if this is the right Thread for this.

But what I discovered, starting just 1 Month ago with my first Rack is
that I really don't like these tiny Screens in some Modules.

I bought an µO_C micro Ornament & Crime. I wanted to use it mainly
as a Sequencer (Sequins App). But it is really not fun to mess around with that tiny Screen. I really puts me off and takes the fun out of wiggling around with my Rack. Also i don't find the Sequins App fun to mess around with.

But there's another Screen in my Rack. The Pams New Workout. This one ist a Nightmare. It's so tiny, and combined with the Red Color its hard for me to read it. So I think I replace Pams with the Make Noise Tempi and look for something else to Sequence and revamp my Rack.

The Screen of the Zadar is ok hihi zombie
electricanada
Granular wrote:
Not really sure if this is the right Thread for this.

But what I discovered, starting just 1 Month ago with my first Rack is
that I really don't like these tiny Screens in some Modules.

I bought an µO_C micro Ornament & Crime. I wanted to use it mainly
as a Sequencer (Sequins App). But it is really not fun to mess around with that tiny Screen. I really puts me off and takes the fun out of wiggling around with my Rack. Also i don't find the Sequins App fun to mess around with.

But there's another Screen in my Rack. The Pams New Workout. This one ist a Nightmare. It's so tiny, and combined with the Red Color its hard for me to read it. So I think I replace Pams with the Make Noise Tempi and look for something else to Sequence and revamp my Rack.

The Screen of the Zadar is ok hihi zombie


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.
Sookilala
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 smile

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 smile

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

starthief
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
luchog
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
Again...not really Module or Patch related

I've got a Tip Top Mantis Case as my first Eurorack. I need more Space meh 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 we're not worthy

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 seriously, i just don't get it hihi
Mark II
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.
Foghorn
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 we're not worthy

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 applause

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

Not sure if it fits on my desk woah
autopoiesis
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
BaloErets
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 w00t
cloudleft
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.
AbundantChoice
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.
cptnal
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. w00t
electricanada
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.
BlinkyLights
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.
jasev
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
electricanada
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=
zerodivide
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
jasev
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
Hovmod
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.
b9
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.
AbundantChoice
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.
gelabs
Disting's algorithm I2 is Pam's junglist best friend ...
Cortega
gelabs wrote:
Disting's algorithm I2 is Pam's junglist best friend ...



what is Pam's junglist ?
Cortega
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 ?
gelabs
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.
aphantomvaper
Today I learned that if I patch the rise or fall from Rampage into the hold for Noise Reap Sequencer there is a wonderful slow ramp down to step hold, then a slow ramp up to full clock speed as the Rampage cycles.

This is post 50 for me, diving into members only! nanners
akrenaut
Today my small discovery was: #1 Taking audio rate signals to CV inputs. Typically you think of CV going in instead of audio rate signals. (other than FM modulation) Interesting results.

#2 Running CV modulation to an audio input, something like an effects processor opens a lot of doors. Mangling CV through delay, or bit crushing, it and then sending it back out for modulation duties. You always think of an effects module for processing audio rate, but it can be quite interesting what it can do for manipulating CV as well.
red-tin-dave
Today my small discovery was: the CV 0 on my Bela Pepper module stopped working and I managed to work round it by editing the Pure Data tape echo patch - first time ever grappling with Pure data - but now tape speed is controlled by CV 7 which wasn't being used.
Next step - making my own Pure Data patches! (maybe)
(oh and fixing the CV 0 potentiometer)
AbundantChoice
Today I (accidentally) discovered that you can *combine* the internal clock + the external clock signal on Euclidean Circles to syncopate steps or create uneven step patterns
Foghorn
Last night I was looking at my "accusonics" spring reverb tank.
.
Today I read this.

Spring Reverb was invented for use in Hammond Organs in the 1930s and went on sale in the 1940s.
The first compact reverb effect was created by a division of the Hammond Organ Company which became known as Accusonics
Wow

Foghorn

EDIT: size=14

Plus, Sweetwater Sound in the US has an article called "What is spring reverb" about reverb history.
Hope they don't mind my linking it here.
reverb article
gelabs
Live-patching clocks and trigs with buffered multiples is fun; with passive multiples, not so much ...
ZargZorg
Self feedback on audio samples through filters. Bonkers
PhineasFreak
how to actually get marbles to do what i wanted rather than staring blankly at the manual and going... uhhhh....

[making it play a melody via cv and rhythmic gate outs but to repeat for a while with variations then move along to a whole new one adinfinitum]

and also, got oldskool z8k with no jumpers for 0 -- 5V instead of 0 - 10V? just turn the knobs halfway!

edit: oh, and if you unplug power cables when reconfiguring case, dont forget to plug mixer back in - it still semi-worked passively, but i couldnt figure what was wrong for 20mins...
starthief
Rings into Via Scanner, with some envelope modulation on another axis, is a universe of cool digital noise. Or two Rings into Scanner.

And also the logic outputs of Scanner are good for exciting DSM03 Feedback...
b9
Today I learned how to use temps utile to create enforced syncopation by using different phase settings for each trigger output. This means I can trigger kicks, snares, notes, envelopes, etc from temps randomly or otherwise and nothing will trigger simultaneously as long as everything is synced to channel 1 in global settings. cool
rayultine
If you have a trigger sequencer with multiple outputs but doesn't have a "song mode" like Bastl Knit Rider, you could use 2 or more channels with a switch/sequential switch to CV control pattern "changes"
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