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How are you using your A-137 Wave Multiplier?
MUFF WIGGLER Forum Index -> Eurorack Modules  
Author How are you using your A-137 Wave Multiplier?
intellijel
I just received an A-137 but so far I am not seeing that it will be too useful to me.

I bought it because several people had recommended it and I heard that it was Dieter Doepfers favourite module.

So far the A-137 seems best suited to harsher timbres and morphing sine waves into more complex timbres. I am not really into distorted/digital/harsh tones at all.

My friend suggested putting CV through it and it produced some interesting but unpredictable results.

I have not given the module a fair chance yet so I wanted to hear how some other people are using it for making sexier sounds!
Funky40
best is to hook up a scope to understand how to adjust the module, thats all i can say.
me too was never happy, no need to make sinewaves noisy ;
But the a-137 is definitly good for more than just making distorted sounds, it's just not so intuitiv to get the good sounds out of it
---> scope is recommended
consumed
work with it for a little while. i totally understand the feeling of "what is this module supposed to do for me?" feeling.

i am a very big fan of wave multiplication--last week i had four of them. i dont find the sound of wave multiplication to be digital at all, but aggressive. the doepfer wave mult is a fantastic module. so i like to:

- modulate one or two parameters with a slow sin or envelope. put it between the VCO and filter to start so you can tame some of the harsher upper frequencies.

- set up an fm patch between two VCOs, then feed your FMd vco to the wave mult, then to a filter. this is THE HOLY GRAIL of big badass bass sounds for me.

a wave mult being modulated is very much an animation circuit. play with it! you dont have to be extreme; just a little modulation often gets you 'there'.
felix
+1 to everything consumed said.

Also, don't just feed it sine or triangle waves, feed it some FM or ring mod sounds too.

If you don't like the really aggressive sounds, just use very gentle settings and apply subtle amounts of modulation. On the particular "tip" I can give is start with the Symmetry control @ 12 oclock and the other controls fully CCW.

Also, I highly suggest listening to each "section" affecting the signal on it's own, and then experiment using two at a time, then three, etc. It's gets a little complicated understanding how they all interact, so it takes a little more time to really settle in on how you like using it.

Check the manual too, if you haven't, already. It's very informative. http://www.analoguehaven.com/doepfer/a137/manual.pdf
Jari Jokinen
A-137 is difficult to understand without an oscilloscope and the manual is a bit unclear on some functions of it...

To get started feed it with a clean sine. These are "neutral" settings, if I remember correctly:
- Input Level at 9 o'clock
- Multiples at 9 o'clock.
- Folding level at full counter clockwise
- Symmetry at about 10 o'clock. Adjust by ear to get only odd harmonics.
- Harmonics at 9 o'clock

Experiment first with the Multiples and Input Level parameters. You should get the basic sweeping resonant sound.

Here is an example using sine wave as input and modulating all four parameters of A-137 with A-113:
A-137_example
intellijel
Last night I took your advice and I connected many different modulation sources to the A-137 and modulated the different parameters slowly over subtle ranges.

The results were excellent and I got beautifully textured drones, I definitely need to experiment more but I can now see how this is an essential module for evolving sounds and ambient music.
dougcl
Last night after seeing this thread I was playing around with the A-137 and I noticed that every knob on it was at 9 o'clock. That seems like some kind of sweet spot that you can start from. Easy to remember and corroborates Jari's excellent (as usual) advice.
felix
Just had a short session with this:

AFG -> 137 -> Frequensteiner
(w Vulcan)

A-137 settings:
Multiples - 11 oclock
Folding Level - 8 oclock
Symmetry - 12 oclock
Harmonics - 8 oclock
Level - 4

AFG Triangle -> Audio Input of A-137
AFG Sub Saw -> CV input of Harmonics (w/ attn set to "3").
AFG Animated Saw -> CV input of Multiples (w/ attn set to "4")
AFG Sine -> Frequensteiner CV in (w/ attn at ~ 10 oclock)

Vulcan sines into PPW+ in and PPM+ in, knobs @ 12, and attens at 9 oclock.

Vulcan Max into 2nd CV in on Frequensteiner. Adjust FS to taste.

SlayerBadger!

I'd have passed out from bliss if I had the Flux Capacitor. Just flipping the antimatter switch back and forth was magic.
wetterberg
Like the Flux Capacitor.... I had a LONG discussion with Noisesource about this, isn't the damned thing just a series of 2x3 headers on the board, with a jumper to select which row to short? Easy peasy diy build, man.
felix
wetterberg wrote:
Like the Flux Capacitor.... I had a LONG discussion with Noisesource about this, isn't the damned thing just a series of 2x3 headers on the board, with a jumper to select which row to short? Easy peasy diy build, man.

I'm pretty sure that the Flux Capacitor is meant to smoothly transition from Matter to Anti-Matter mode, not just switch the jumper positions. And I'll happily wait for that.
wetterberg
ah. THen... .carry on smile
Soy Sos
@intellijel
Glad to hear you got some nice stuff going with the 137.
Like others have said, looking at what it's doing on a scope helps
a lot. A friend of mine also demonstrated some functions that were helpful.
I've still got more to learn about it. On a noisier note, the 137 kills in
feedback loops!
felix
edited thread title for clarity of the topic
NV
One of the keys to pulling out interesting timbres from a wave multiplier is subtlety. It's easy to pull out something that screams and shrieks, but as others have suggested using a subtle amount of modulation and tinkering with attenuation/amplification helps to really bring it out from being a FSU module to something really workable.

Also, you may want to try mixing the harsh output of a wave multiplier over the original output. For example, at the end of a patch, split the output into two signals. Run one output into channel A of a mixer, then run the other output through the wave multiplier. Harsh it up or whatever, then run it into channel B. Mix just a touch of the wave multiplied signal in with the original to give it a hint of bite rather than an all-out scream.
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