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WIGGLING 'LITE' IN GUEST MODE

First patch with rings
MUFF WIGGLER Forum Index -> Eurorack Modules  
Author First patch with rings
joncharliefeathers
Hey everyone..

I've just, finally, got 'Rings' and would be interested to consider any patch ideas you might like to share.
ggillon
A few ideas:
Rings into clouds
Clouds into rings
Potato into rings
R.U.Nuts
joncharliefeathers wrote:
Hey everyone..

I've just, finally, got 'Rings' and would be interested to consider any patch ideas you might like to share.


There is a huge thread about Rings with tons of patch ideas and corresponding sound examples in this subforum. Just use the search engine.
Furthermore if you ask for help concerning patches you get better answers if you show your whole rack and not only tell us about a certain module you want to use in a patch...
Muff McMuff
i don't think the search is working at the mo. Here is a link to the rings thread.

https://www.muffwiggler.com/forum/viewtopic.php?t=151238
benjiblanco
Be interested to know where you managed to source Rings from in the UK.
Been looking for weeks now refreshing all the main stores for stock, but no joy.
lisa
First patch? Sequencer to the 1v/o input and then twist the knobs. Repeat in each of the modes. Instant love. love
Groundloop
lisa wrote:
First patch? Sequencer to the 1v/o input and then twist the knobs. Repeat in each of the modes. Instant love. love


Pretty much this.

For extra fun, put some colour of noise through a filter with an envelope/LFO modulating the cutoff, then send the output to the IN on Rings.
joncharliefeathers
lisa wrote:
First patch? Sequencer to the 1v/o input and then twist the knobs. Repeat in each of the modes. Instant love. love



TES
joncharliefeathers
joncharliefeathers wrote:
lisa wrote:
First patch? Sequencer to the 1v/o input and then twist the knobs. Repeat in each of the modes. Instant love. love



TES


Exactly what I wanted to know x
joncharliefeathers
Groundloop wrote:
lisa wrote:
First patch? Sequencer to the 1v/o input and then twist the knobs. Repeat in each of the modes. Instant love. love


Pretty much this.

For extra fun, put some colour of noise through a filter with an envelope/LFO modulating the cutoff, then send the output to the IN on Rings.


Love your track
Shledge
Put it into clouds and be in wonder of discovering a rare find in the modular community.
synonymist
joncharliefeathers wrote:
Hey everyone..

I've just, finally, got 'Rings' and would be interested to consider any patch ideas you might like to share.


Hello. Amending the good advice that others already gave, here is my experience of using Rings during the past year or so:

Rings is a deep module. It is a powerful instrument with many sonic and behavioral personalities.

Yes, patching a few cables and turning a couple of knobs can yield useful and gratifying results. Indeed it's hard to get a bad sound out of Rings. This was why I hesitated to get the module at first: it's too easy. And to my taste the parts of the Rings sonic palette that are easiest to invoke quickly seem hackneyed. This might be said of anything; but I find that Rings is particularly prone to trite usage.

Luckily there is so much more to the module. Happily I tried Rings and stayed with it long enough to discover its depth and flexibility. Gratefully I acknowledge Mme. Gillet's brilliant contribution to music making by inventing it.

Among the things about Rings to keep in mind are: it is not only a resonator, but also a filter; its audio loves to be processed in all sorts of ways; its Odd and Even outputs are much more than mere stereo outs.

Ring-a-ding... enjoy. smile
djd_oz
Try this,

https://www.infinitesimal.eu/modules/index.php/Mutable_Instruments_Rin gs
MindMachine
Shledge wrote:
Put it into clouds and be in wonder of discovering a rare find in the modular community.


Mr. Green


But yeah, gated noise or slowly rising noise (via VCA) can be cool.
synonymist
synonymist wrote:
joncharliefeathers wrote:
Hey everyone..

I've just, finally, got 'Rings' and would be interested to consider any patch ideas you might like to share.


Hello. Amending the good advice that others already gave, here is my experience of using Rings during the past year or so:

Rings is a deep module. It is a powerful instrument with many sonic and behavioral personalities.

Yes, patching a few cables and turning a couple of knobs can yield useful and gratifying results. Indeed it's hard to get a bad sound out of Rings. This was why I hesitated to get the module at first: it's too easy. And to my taste the parts of the Rings sonic palette that are easiest to invoke quickly seem hackneyed. This might be said of anything; but I find that Rings is particularly prone to trite usage.

Luckily there is so much more to the module. Happily I tried Rings and stayed with it long enough to discover its depth and flexibility. Gratefully I acknowledge Mme. Gillet's brilliant contribution to music making by inventing it.

Among the things about Rings to keep in mind are: it is not only a resonator, but also a filter; its audio loves to be processed in all sorts of ways; its Odd and Even outputs are much more than mere stereo outs.

Ring-a-ding... enjoy. smile


Last night, my modules newly rearranged (again), with a few new ones installed, I remembered this thread. Inspired to walk my talk here, once more I looked for something new to me that I could make with Rings.

This time I used µRings SE. As before, I had to reach past what was easy to do. And as before, Rings did not disappoint me.

In this track, µRings SE is the source of 1. the chorus overdrive guitar sound, and 2. the sarangi sound. Aided by Piston Honda Mark III used as a waveshaper and by Nebulae v2, Rings let me achieve sounds that I could not by other means that I have now (note the complex articulation of the bow striking the strings of the sarangi... crazy):

https://soundcloud.com/synonymist/transom


P.S. - Since newly I am displeased with SoundCloud: until I find an alternative, my tracks there will be few and short-lived.
moosey2juicy
I guess I am just a stereotype, but I love patching Rings into Clouds. The hours of satisfaction you can get from just a sequencer and those 2 modules is immense.
cg_funk
ggillon wrote:
A few ideas:
Rings into clouds
Clouds into rings
Potato into rings


Potato into rings? Seriously?? ha ha.

https://www.muffwiggler.com/forum/viewtopic.php?t=91995&sid=08b128bb8a 219fb65b9cc64e0f361ed2

Yes! Apparently! I really want to try this fruit->CV thing now.
Groundloop
moosey2juicy wrote:
I guess I am just a stereotype, but I love patching Rings into Clouds. The hours of satisfaction you can get from just a sequencer and those 2 modules is immense.


Indeed. I got my Clouds clone (µBurst) last week and finally got around to "Rings into Clouds" on Sunday. Had the same patch playing for 6 or 7 hours, just making occasional tiny adjustments to envelopes & LFO's modulating the µBurst, manually tweaking Rings and changing access on René in snake mode.

That was an enjoyable chunk of time.
grep
Try modulating Structure with an envelope for some cool slides.
joncharliefeathers
ggillon wrote:
A few ideas:
Rings into clouds
Clouds into rings
Potato into rings


Mashing potatoes!
Robrecht
Noise, controlled through a filter and a VCA, and then into Rings' audio input is a good starting point for experimentation.

Here it is with Rings' red/Karplus-Strong mode mimicking a cello (the filtered noise comes from Plaits in this case).

[s]https://soundcloud.com/robrechtv/alyseum-01-34-modular-cello[/s]
Voggg
if y'all ever buy a $10 modal synth plug-in prepare to have your minds blown
R.U.Nuts
joncharliefeathers wrote:
ggillon wrote:
A few ideas:
Rings into clouds
Clouds into rings
Potato into rings


Mashing potatoes!


If you throw potatoes at a burning tennis racket they will come out as frech fries on the other side hihi Does anything comparably awesome happen when you put potatoes through Rings? seriously, i just don't get it
nostalghia
Duh...
mgallagher641
synonymist wrote:


Hello. Amending the good advice that others already gave, here is my experience of using Rings during the past year or so:

Rings is a deep module. It is a powerful instrument with many sonic and behavioral personalities.

Yes, patching a few cables and turning a couple of knobs can yield useful and gratifying results. Indeed it's hard to get a bad sound out of Rings. This was why I hesitated to get the module at first: it's too easy. And to my taste the parts of the Rings sonic palette that are easiest to invoke quickly seem hackneyed. This might be said of anything; but I find that Rings is particularly prone to trite usage.

Luckily there is so much more to the module. Happily I tried Rings and stayed with it long enough to discover its depth and flexibility. Gratefully I acknowledge Mme. Gillet's brilliant contribution to music making by inventing it.

Among the things about Rings to keep in mind are: it is not only a resonator, but also a filter; its audio loves to be processed in all sorts of ways; its Odd and Even outputs are much more than mere stereo outs.

Ring-a-ding... enjoy. smile


+1 to all of this, strikingly similar experience here. Initially I loved it because it sounds so beautiful, but then after a time I got a bit bored - although the different modes sound different to each other, each one can sound quite samey. But recently I have rediscovered how good it can be, and realised it is very deep indeed.

I recommend lots of modulation, and trying different stuff into the input. Harmonically rich, noisy stuff works well. Telharmonic into Rings is usually a winner - any of the three Tel outputs. Having a VCA CV'd by a varying envelope, e.g. on a noise source, then going into rings, can be cool.

I also like flipping through the 4/2/1 voice modes once I have a patch running. Sometimes even if you don't want poly, the poly modes rolls off the top end because it uses fewer bands, so it can sound nicer for some uses (I know, it's not *real* poly - but you know what I mean).

Rings is surprisingly good for bass, if you play around a bit.

Finally, try the hidden modes if you've not done this already. Long button press on the synthesis model button until the LED flashes. This gives 2 op FM, chords and karplus with a reverb. The 2 op FM is awesome for Solid Bass type stuff.
synonymist
mgallagher641 wrote:
synonymist wrote:


Hello. Amending the good advice that others already gave, here is my experience of using Rings during the past year or so:

Rings is a deep module. It is a powerful instrument with many sonic and behavioral personalities...

+1 to all of this, strikingly similar experience here. Initially I loved it because it sounds so beautiful, but then after a time I got a bit bored - although the different modes sound different to each other, each one can sound quite samey. But recently I have rediscovered how good it can be, and realised it is very deep indeed...

Finally, try the hidden modes if you've not done this already...

Awesome. And thank you for the reminder: I think that I have yet to try Rings's hidden modes!
ggillon
cg_funk wrote:
ggillon wrote:
A few ideas:
Rings into clouds
Clouds into rings
Potato into rings


Potato into rings? Seriously?? ha ha.

https://www.muffwiggler.com/forum/viewtopic.php?t=91995&sid=08b128bb8a 219fb65b9cc64e0f361ed2

Yes! Apparently! I really want to try this fruit->CV thing now.



Not exactly the same but here is another take on the music-making potato
DDJ
Robrecht wrote:
Noise, controlled through a filter and a VCA, and then into Rings' audio input is a good starting point for experimentation.

Here it is with Rings' red/Karplus-Strong mode mimicking a cello (the filtered noise comes from Plaits in this case).

[s]https://soundcloud.com/robrechtv/alyseum-01-34-modular-cello[/s]


Love this, man.

Gonna try it today.
Ghost Hip
Running drum machines/drum tracks into the input of Rings is a lot of fun. If you're able to sync your system to the drum track/drum machine you can get some wonderful results. Hobbes
DDJ
Robrecht wrote:
Noise, controlled through a filter and a VCA, and then into Rings' audio input is a good starting point for experimentation.

Here it is with Rings' red/Karplus-Strong mode mimicking a cello (the filtered noise comes from Plaits in this case).

[s]https://soundcloud.com/robrechtv/alyseum-01-34-modular-cello[/s]


Tried and failed. How do you get the pitch to change without striking? I tried slew on maths but couldn't get it quite right.

Would you care to elaborate on how you achieved it?
R.U.Nuts
nostalghia wrote:
Duh...


Ring shaped French Fries! applause But do you have to set Rings on fire to get them? hmmm.....

Seriously: Radio Music full of arbitrary samples of any kind through a VCA for amplitude control is great food for Rings.
Groundloop
DDJ wrote:
Robrecht wrote:
Noise, controlled through a filter and a VCA, and then into Rings' audio input is a good starting point for experimentation.

Here it is with Rings' red/Karplus-Strong mode mimicking a cello (the filtered noise comes from Plaits in this case).

[s]https://soundcloud.com/robrechtv/alyseum-01-34-modular-cello[/s]


Tried and failed. How do you get the pitch to change without striking? I tried slew on maths but couldn't get it quite right.

Would you care to elaborate on how you achieved it?


Just mucking with this now and I managed to get some bow like articulation. Structure at about 9 o'clock, Damping and Position around 12 o'clock, Brightness at 11 o'clock, Frequency around 10 o'clock. Pitch and Gate from René, with the same AD envelope opening the VCA and modding cutoff on an Intelligel Dr. Octature II, frequency at 9 o'clock and no resonance. Filter definitely worked best using the 4 pole (24dB) output. Kinda digging it.

I too would like more details from Robrecht if possible. we're not worthy
grep
I got some pretty good bowed cello sounds in this track, especially after 1:54.

[s]https://soundcloud.com/analogfridays/pamelas-new-scale[/s]
Robrecht
Well... All I have is some photos I took of the whole setup and this diagram (ballpoint pens on a printout from Modular Grid). eek! Click to enlarge.



The two "circle in a square" thingies were my ad-hoc symbols for passive mults, apparently.

Not sure why I sent Plaits' output through that Pico VCA, since Plaits has a built-in VCA of its own. seriously, i just don't get it

Stages is mainly used for an ADSR envelope that is subtly modulated by midi velocity, aftertouch and mod (through Yarns) to make the notes more or less staccato. The Disting provides a delay, clocked with a pulse from PNW based on the tempo of Yarns' arpeggio's divided by 1.5.

Those details make everything look complicated because I had to route the CVs from Yarns through MI Links in different ways, but they aren't that important.

I quickly got a very similar sound yesterday during a workshop by just replicating the core settings of Plaits and Rings from my notes (except yesterday I controlled the cello sound using CV from my theremin instead of a keyboard!).

So basically pitch from Yarns split through a buffered mult and into both Rings' and Plaits' V/Oct, Plaits in filtered noise mode (second red led) with the main output into Rings' audio input, with Rings in red (Karplus-Strong) mode. Check the pictures for knob settings. I don't remember the exact octave setting for Plaits but it was rather low. Dark filtered noise from any other source should work just as well.








grep, that track sounds great!
Robrecht
[s]https://soundcloud.com/robrechtv/alyseum-01-34-modular-cello[/s]
DDJ wrote:
Tried and failed. How do you get the pitch to change without striking? I tried slew on maths but couldn't get it quite right.

I'm not a 100 percent sure. I remember sometimes when concatenating notes in a certain way I did get a strike/strum, but not that often. Maybe what helps is that I sent the noise through a VCA with a non-zero envelope attack time first, so the moment the pitch CV into Rings changes, there isn't any sound coming through?

Also, in the recording, I leave gaps between the notes (or rather, Yarn's arpeggiator does, with gate length at 3, if I remember correctly), and the release time on that envelope is pretty short. As you can see on the diagram, the envelope (from Stages) also modulates damping on Rings, so that same short release time turns down damping as soon as the note is released to keep it from resonating too long. So when I hit the next note, Rings isn't, well, ringing anymore. That probably prevents it from creating a strum when the pitch CV changes.
DDJ
Robrecht wrote:
[s]https://soundcloud.com/robrechtv/alyseum-01-34-modular-cello[/s]
DDJ wrote:
Tried and failed. How do you get the pitch to change without striking? I tried slew on maths but couldn't get it quite right.

I'm not a 100 percent sure. I remember sometimes when concatenating notes in a certain way I did get a strike/strum, but not that often. Maybe what helps is that I sent the noise through a VCA with a non-zero envelope attack time first, so the moment the pitch CV into Rings changes, there isn't any sound coming through?

Also, in the recording, I leave gaps between the notes (or rather, Yarn's arpeggiator does, with gate length at 3, if I remember correctly), and the release time on that envelope is pretty short. As you can see on the diagram, the envelope (from Stages) also modulates damping on Rings, so that same short release time turns down damping as soon as the note is released to keep it from resonating too long. So when I hit the next note, Rings isn't, well, ringing anymore. That probably prevents it from creating a strum when the pitch CV changes.


Thanks for this! You put a lot of effort into helping me out with this.

I’m going to spend some time with it today. I’ll upload something if I dig the results.
Groundloop
@Robrecht, thanks for taking the time to post your setup. Much appreciated. It got me a little closer when I tried this morning. Still didn't get to the sound you posted, but it's been fun. Does Plaits actually pitch the noise? I don't have one so I tried noise from Kinks and a Mother-32. I got better results from Mother just because I could control it's volume before it got to the VCA. I ended up putting the Rings output through Clouds (of course), and hey! English horn & trumpet like sounds.
Robrecht
Groundloop, when I get a chance I'll look into what the settings on Plaits do with the noise, exactly. It'd be interesting to see if I could perhaps replace it with another noise source and free up Plaits in this patch.



The Harmonics knob sets the state of the LP/HP filter (slightly towards HP in this case); Morph controls resonance (zero); the V/Oct input controls the filter cut-off point, together with the Frequency knob (so indeed a kind of pitching); and the Timbre knob controls the "variable clock" for the noise. Not even sure what that means -- like a sample-and-hold maybe, making the noise a little "coarser"? In that case a reasonably fast pulse triggering Kinks could procude a similar result from its Out jack. I'll listen to and compare my various noise sources next time I'm with my modular.

English horn and trumpet sounds great too, though!

Edit: I experimented a little further and found that downclocking the noise, like Timbre knob on Plaits does, plays a part in creating the cello sound by making the exciter noise scratchier, like a well-rosined bow pulling on the strings. I was able to get a very similar sound using Kinks' S&H output triggered with a very fast (high audio range) pulse wave.

That allowed me to create a more compact cello patch using just Rings, Kinks, a VCA and Stages (three stages as an ASR envelope, two to generate a high-pitch pulse signal and one as a rudimentary low-pass filter for the noise).

[s]https://soundcloud.com/robrechtv/cello-patch-no2/s-99uU3[/s]
synonymist
synonymist wrote:
mgallagher641 wrote:
synonymist wrote:


Hello. Amending the good advice that others already gave, here is my experience of using Rings during the past year or so:

Rings is a deep module. It is a powerful instrument with many sonic and behavioral personalities...

+1 to all of this, strikingly similar experience here. Initially I loved it because it sounds so beautiful, but then after a time I got a bit bored - although the different modes sound different to each other, each one can sound quite samey. But recently I have rediscovered how good it can be, and realised it is very deep indeed...

Finally, try the hidden modes if you've not done this already...

Awesome. And thank you for the reminder: I think that I have yet to try Rings's hidden modes!


More of Rings as overdriven electric guitars (using the hidden chords mode, I think). Session notes are at the track's webpage:

https://soundcloud.com/synonymist/adept
synonymist
See? You got me on a Rings kick. smile

Here are two very different interpretations of one patch.

In the first track, Rings enters at 3:40. I can't recall what mode I used. It's a good sound in context.

The second track features Rings in a more typical usage, employing what I assume is the 'Karplus-Strong with reverb' hidden mode throughout the piece, for breathy "space flutes" with a slight formant quality. There is also external, brighter reverb for another voice.

Session notes are at the tracks' webpages:

https://soundcloud.com/synonymist/lemonade-1

https://soundcloud.com/synonymist/lemonade-2
synonymist
Rings again. Characteristically, while other sound sources are the heart of this patch (T-šL, Filter 8, and Furthrrrr Generator), Rings (µRings SE) enables the overall sound to range where otherwise it could not have. Session notes are at each track's webpage:

https://soundcloud.com/synonymist/1-mycenaesque-excerpt

https://soundcloud.com/synonymist/2-mycenaesque-pulley
synonymist
synonymist wrote:
Rings again. Characteristically, while other sound sources are the heart of this patch..., Rings (µRings SE) enables the overall sound to range where otherwise it could not have.

And again:

Flexible metal sheets solo

Melody and chords solo
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