So after witnessing my endless back-and-forth Buchla lust over the last several months (and really, it's gone on longer than that), I was extended an invitation to visit the venerable Chris Muir and his Buchla for an afternoon of enlightenment.
Since the Buchla lust had kicked up again as of late, I was bit worried about being exposed directly to a Buchla, but at the same time, I'm practically broke, so I wasn't that worried that I would phone up Don in the morning to place an order. I was anticipating it though.
What I got was something else.
First, the system is as visually striking in person as it is in pictures, this I knew, but after Chris turned up the speakers, I heard something I wasn't expecting. There is definitely something lost when listening to MP3s and possibly even WAV files (I can't remember how many of the demos that I have listened to have been WAVs). There is much more dimension to the sound when you're listening to it through speakers and the details of the sound are much more complex. What came across as almost noise in some MP3s, was a complex harmonic evolution of sound in real life. I'm not trying to be over dramatic, I was just surprised at the very quantifiable difference in hearing the Buchla in real life.
As Chris gave me a tour around his system, it was very interesting to see how he utilized modules in ways that never crossed my mind in the hours I had spent staring at the Buchla web pages and module images. It was equally as interesting to find out that many aspects of the modules worked differently than I understood them to. One thing that excited me was learning that the 291e filter was able to sequence through it's various stages on its own, without an external clock pulse. Each stage of the 291e has a editable time constant which determines the time until it switches to the next stage.
Speaking of the 291e, it was quite impressive. It's definitely not designed to be used as a "standard" synth filter; it's practically half a synthesizer+sequencer all its own. While it's bandpass only, it sounds incredible. It's very clean, clear, and "vocal" sounding, and with some applied audio-rate modulation, has an incredible growl. Listening to Chris make a quick sequence of the filter's stages, with different amounts of FM per stage, and some external CV to the overall frequency, was just stunning. It was like an alien spaceship was somehow singing to me. Once he started using additional nodes of the filter (this was just using node A initially!) it became even more complex. Since the amplitude of each stage is also variable per-stage, it seems to me that a 291e paired up with some kind of source for filtering, is all you need for serious experimental composition.
When we starting talking about how Chris uses his setup again and I was surprised to find that he uses his 210e router almost exclusively as an attenuator for one of his 281e modules and as a audio matrix mixer for FX (delay, reverb, etc) sends. Chris has a basic "base patch" which he builds on and modifies slightly as necessary, but also makes frequent use of the preset abilities of the 200e. While it's always interesting too see how other people use a particular module, it was becoming extra interesting to see how Chris utilized his setup and how much it differed from how I imagined using a very similar assortment of modules. Previously, I believed the Buchla was tailored for a fairly specific use of the system, or at least more specific than say combining your favorite euro/frac/modcan-format modules. Listening to Chris describe how he works with his system really changed my perspective on that. I was clearly underestimating the Buchla.
We focused on the 256e next, which I found out was one of the few modules I had fully understood going in, but it was great to see how much, and to what extent, that Chris used it. Not only does it function as a way to alter and scale incoming CV (including inverting and scaled inversion), it also allows for mixing/cross-fading multiple CV signals as well as VCA for CV.
Over the next hour (or who knows how long it was, time was hard to keep track of), we bounced around to various aspects of the system, and finally settled into the 261e oscillators...or I should say Complex Waveform Generators. To call it an oscillator really is not doing the module justice. Being two oscillators, at least one VCA, multiple waveshapers all rolled into one, the thing is practically a voice all on it's own. While most modular folks balk at the fact that the waveform generation is digital, there are several advantages that come along with that. Chief of those for me was the fact that when Range is set to "Track", the modulation osc tuning determines a pitch ratio, which is maintained as you tune the principal osc. This was absolutely amazing to use in practice. I simple tuned the modulation osc to get the desired FM side bands, and then simply use the primary osc tune to control the overall pitch. Another interesting aspect of the 261e that cannot be discerned by staring at pictures is that there are several modulation modes possible. It's not just pitch, timbe, or amplitude modulation, but rather those individually plus combinations of all of them! Pitch + Timbre modulation was quite possibly a favorite, although amplitude modulation with independent control over Timbre and Symmetry was very cool too. Even more interesting is that the Pitch modulation is always done using sine waves, where as the other modes follow the waveshape setting of the modulation osc. This seems like a limitation, but being able to have Pitch+Timbre modulation, and vary the waveshape of the modulation osc and have that only affect the Timbre was fucking awesome. Limitation my ass! Speaking of which, the variable waveshaping didn't sound that bad at all! Based on various opinions that I'd read already, I expected an almost "unusable" PWM sound, but it wasn't that bad at all. It was no AFG, but it had a very unique and special sound. Along those same lines, the Hard Sync sound is not the ripping harmonic sound that one typically associates with Hard Sync, but it had it's own endearing character. The interesting thing was that Sync on it's own was not that impressive, but Sync mixed with FM+Timbre modulation made sounds like I had never heard before. Like circuits being tortured.
I knew I was going to like the 261e going in, but I had no idea to the extent at which I would love it. The waveshaping (timbre, symmetry, and high-order) combined with FM/AM is just absolutely incredible. The lack of additional "unwanted" side-bands that digital FM offers really brings an amazing pallete of sound to the table when paired up with waveshaping. I literally could have sat there for hours turning those 4 controls (modulation index, timbre, symmetry, and high-order). The ability to go from a simple sine wave to a sound that I can't even begin to describe was...well...fucking incredible! I was also surprised how much the controls interacted with each other. Depending on how much timbre and high-order I had adjusted, Symmetry would yield very different timbrel results. Likewise, depending on how much of the Modulation Index and Symmetry I had set, the Timbre would yield wildly different results. And, I'm no stranger to teaming up FM and waveshaping. Since I picked up the Doepfer A-137, I've been feeding it a steady diet of FM and while the results are fantastic as well, I've never had the control and range of sound with so few controls. I'm really starting to run out of words to explain how awesome I thought the 261e was...and this is 1,000x more than I said to Chris after turing the knobs for who knows how long (Chris, correct me if I'm wrong, but I think I simply said "Oh...wow!")
We wrapped up talking about various system configurations, thoughts on the 222e, various methods of control, portability, setup time, all sorts of little things.
At this point, you're probably thinking, "ok, so here's where he starts talking about selling all his euro modules and how the Buchla is the greatest thing ever". Oddly enough, I don't feel that way at all. I thought for sure that after visiting Chris, listening to him talk about his system, and getting quality some hands on time, that I would know, one way or the other, if a Buchla is in my future. Well, I don't.
I certainly know a lot more about the system now, and feel much more educated on its use and its strengths and weaknesses, particularly from an artist's perspective. I feel like I now can make a better, more educated, decision on wether or not to turn my attentions toward a Buchla, and I feel really great about that. I know that if I do decide to walk down that path, I know what to expect along the way. For now though, I'm going to stand here at the cross-roads thinking about both roads.
....
But... I do foresee a 261e and 291e in my future. ;)
Showing posts with label livewire. Show all posts
Showing posts with label livewire. Show all posts
Sunday, February 22, 2009
Monday, December 29, 2008
The Serge
I tried really hard to come up with some kind of McCain "the surge is working" joke, but just couldn't. :( So anyway, this is the big Serge post, hopefully it does not disappoint.
As I mentioned in my recent post, over the course of researching the Buchla I started to see things that I did not like in my current system, or put maybe a more accurate way, advantages that I saw in other formats. Let's start with the most simple, and obvious, one. Banana jacks.
Using multiples in 1/4" or 1/8" is annoying as hell. I know it seems trivial, but *every time* I find myself wanting to use a multiple, it requires breaking half a patch down, exchanging cables and then retracing my steps so that I put it back together properly. With banana jacks, it's much more elegant. Need a mult? Just poke a jack in there and that's it. Seems like a small thing, but while it would be nice to have in Euro (really nice to have) it is almost required due to the level of functional density of each Serge module (not panel, but individual module - which is referred to as a "function block" in Serge-land). That brings me to my next advantage of the Serge. Functional density.
In Serge-land, they call this "patch programmability". Depending on how you patch a particular function block, you can achieve different results. The "Smooth / Stepped Generator" (SSG) for example, can not only be a S+H, but also a VC slew limiter, VC LFO (triangle and square), clock, LPF/LPG, lo-fi VCO, zero-crossing detector, and more with any combinations of these (that's right, most of those functions only require one half of the module!). This module is even one-upped by the "Dual Slope Generator" (DSG) which has an unprecedented number of patch programmable functions, yet on the surface, it's just an AD envelope generator. It's this "patch programmability" that really attracts me to the Serge system. The flexibility and range of sounds possible in even a single panel (or even M-odule) is rather astounding. Exhibit A is this fantastic demo from kkonkkrete which surfaced a few weeks ago.
Note that this video features only 2 M-odules, and throughout the video, some portions of the Sequencer A M-odule are not even used. It's quite amazing that the Creature M-odule (the one on the right side) is essentially a fully featured Serge system on it's own! This brings me to my next perceived advantage. Portability.
This is one of the advantages that I found in the Buchla which I think is very apparent here as well. A 3 panel Serge system would more or less be similar in size to a 12ws Buchla case and definitely give it a run for it's money, if not certainly beat it out feature-wise (but this isn't purely about features). My system, as it is now, is almost too large. I haven't even filled the case and I find that on many patches, some modules are just "in the way" and I end up having to work around them. A small detail, but to me it screams "you have to much shit that you don't use", and if I don't use it, it isn't that necessary. Maybe this just one of those "ebb and flow" things, but I like to have an efficient use of space, and when I find myself always turning to the same dozen or so modules, it's hard to fight off the urge to trim the fat, so to speak.
The final advantage is another one taken from my Buchla research and this is the dynamic control/interaction with the instrument. While it's no 222e Kinetic Input, the Serge TKB Touch Keyboard Sequencer is a very dynamic and expressive controller.
The sequencer is not unlike the mythical Milton (or maybe that should be the other way around). There are 4 "rows" of 16 steps. A standard clock steps through each of 16 stages, while a separate vertical clock with step through the 4 rows, allowing for 64 step patterns. Either the combined row output is available, or each row output separately, allowing for control of 4 separate modules for each stage. The direction of the sequencer can also change based on either a manual switch, or a trigger input. There is also a "random stage select" trigger input. When pulsed, it will select a random stage. And, speaking of stage selection, when the keyboard is linked with the sequencer, touching a key touchplate will immediately select that stage. It can be patched so that when pressing the key touchplate, the stage will be held and the sequencer will not advance. There is also key pressure voltage available, for more expression. Basically, it's the perfect combination of a keyboard controller and an analog sequencer.
So, until I've had some one-on-one face time with a Serge system and can make my final decision, I see some Serge in my future. My best assessment at this point would be to start with a Gator and Creature and add a TKB as early as financially possible. After using that system for a while, I'll have a better idea of what else I might need (if anything at all). That's another advantage of the Serge, not only can so much be achieved with only a couple panels, but it's pricey enough that you just don't go off buying more on a whim, something that happens with me constantly with euro. I just lack that willpower I guess.
My dilemma though is that I can't bear to part with a good chunk of my Euro system. Out of the modules that I use in practically every patch, I plan on keeping the following:
Livewire AFG (x2)
Livewire Vulcan Modulator
Livewire Dalek Modulator
Livewire Frequensteiner
Livewire Dual Cyclotron
Plan B M13 LPG
Plan B M14 Voltage Proc
Harvestman Stilton
Harvestman Evin (forthcoming)
Harvestman Tyme Sefari
Doepfer A-132-3
The Plan B M10s and M24 would be in there since those are used in every patch, but they have direct functional equivalents on the Serge. In fact, there's practically the same as the Serge DTG and SSG modules. As time goes on, I would consider loosing the Dual Cyclotron (which will be a hard one) and the Plan B M14 since both could be had in the Serge domain without too much trouble. As I said, I haven't had face time with the Serge VCO and Filters yet, so until I do, I can't imagine giving up the AFG+Frequensteiner sound. Even so, I can't imagine giving it up.
All of this Euro, plus some more, would fit rather nicely in one of the upcoming 9U A-100P portable cases that Doepfer has announced, which is what I would plan on transitioning the euro system into once they are available.
So, I'm not decided 100%, but this definitely feels like the direction that I want to move. Only time will tell.
I've linked to it where appropriate, but the "Ergres - Serge Fans" site has an extensive amount of info on Serge systems, as does Carbon111. They have been extremely helpful in the journey and if you are at all curious, I would suggest checking them out.
http://www.serge-fans.com/
http://carbon111.com/serge_index.html
As I mentioned in my recent post, over the course of researching the Buchla I started to see things that I did not like in my current system, or put maybe a more accurate way, advantages that I saw in other formats. Let's start with the most simple, and obvious, one. Banana jacks.
Using multiples in 1/4" or 1/8" is annoying as hell. I know it seems trivial, but *every time* I find myself wanting to use a multiple, it requires breaking half a patch down, exchanging cables and then retracing my steps so that I put it back together properly. With banana jacks, it's much more elegant. Need a mult? Just poke a jack in there and that's it. Seems like a small thing, but while it would be nice to have in Euro (really nice to have) it is almost required due to the level of functional density of each Serge module (not panel, but individual module - which is referred to as a "function block" in Serge-land). That brings me to my next advantage of the Serge. Functional density.
In Serge-land, they call this "patch programmability". Depending on how you patch a particular function block, you can achieve different results. The "Smooth / Stepped Generator" (SSG) for example, can not only be a S+H, but also a VC slew limiter, VC LFO (triangle and square), clock, LPF/LPG, lo-fi VCO, zero-crossing detector, and more with any combinations of these (that's right, most of those functions only require one half of the module!). This module is even one-upped by the "Dual Slope Generator" (DSG) which has an unprecedented number of patch programmable functions, yet on the surface, it's just an AD envelope generator. It's this "patch programmability" that really attracts me to the Serge system. The flexibility and range of sounds possible in even a single panel (or even M-odule) is rather astounding. Exhibit A is this fantastic demo from kkonkkrete which surfaced a few weeks ago.
Note that this video features only 2 M-odules, and throughout the video, some portions of the Sequencer A M-odule are not even used. It's quite amazing that the Creature M-odule (the one on the right side) is essentially a fully featured Serge system on it's own! This brings me to my next perceived advantage. Portability.
This is one of the advantages that I found in the Buchla which I think is very apparent here as well. A 3 panel Serge system would more or less be similar in size to a 12ws Buchla case and definitely give it a run for it's money, if not certainly beat it out feature-wise (but this isn't purely about features). My system, as it is now, is almost too large. I haven't even filled the case and I find that on many patches, some modules are just "in the way" and I end up having to work around them. A small detail, but to me it screams "you have to much shit that you don't use", and if I don't use it, it isn't that necessary. Maybe this just one of those "ebb and flow" things, but I like to have an efficient use of space, and when I find myself always turning to the same dozen or so modules, it's hard to fight off the urge to trim the fat, so to speak.
The final advantage is another one taken from my Buchla research and this is the dynamic control/interaction with the instrument. While it's no 222e Kinetic Input, the Serge TKB Touch Keyboard Sequencer is a very dynamic and expressive controller.
The sequencer is not unlike the mythical Milton (or maybe that should be the other way around). There are 4 "rows" of 16 steps. A standard clock steps through each of 16 stages, while a separate vertical clock with step through the 4 rows, allowing for 64 step patterns. Either the combined row output is available, or each row output separately, allowing for control of 4 separate modules for each stage. The direction of the sequencer can also change based on either a manual switch, or a trigger input. There is also a "random stage select" trigger input. When pulsed, it will select a random stage. And, speaking of stage selection, when the keyboard is linked with the sequencer, touching a key touchplate will immediately select that stage. It can be patched so that when pressing the key touchplate, the stage will be held and the sequencer will not advance. There is also key pressure voltage available, for more expression. Basically, it's the perfect combination of a keyboard controller and an analog sequencer.
So, until I've had some one-on-one face time with a Serge system and can make my final decision, I see some Serge in my future. My best assessment at this point would be to start with a Gator and Creature and add a TKB as early as financially possible. After using that system for a while, I'll have a better idea of what else I might need (if anything at all). That's another advantage of the Serge, not only can so much be achieved with only a couple panels, but it's pricey enough that you just don't go off buying more on a whim, something that happens with me constantly with euro. I just lack that willpower I guess.
My dilemma though is that I can't bear to part with a good chunk of my Euro system. Out of the modules that I use in practically every patch, I plan on keeping the following:
Livewire AFG (x2)
Livewire Vulcan Modulator
Livewire Dalek Modulator
Livewire Frequensteiner
Livewire Dual Cyclotron
Plan B M13 LPG
Plan B M14 Voltage Proc
Harvestman Stilton
Harvestman Evin (forthcoming)
Harvestman Tyme Sefari
Doepfer A-132-3
The Plan B M10s and M24 would be in there since those are used in every patch, but they have direct functional equivalents on the Serge. In fact, there's practically the same as the Serge DTG and SSG modules. As time goes on, I would consider loosing the Dual Cyclotron (which will be a hard one) and the Plan B M14 since both could be had in the Serge domain without too much trouble. As I said, I haven't had face time with the Serge VCO and Filters yet, so until I do, I can't imagine giving up the AFG+Frequensteiner sound. Even so, I can't imagine giving it up.
All of this Euro, plus some more, would fit rather nicely in one of the upcoming 9U A-100P portable cases that Doepfer has announced, which is what I would plan on transitioning the euro system into once they are available.
So, I'm not decided 100%, but this definitely feels like the direction that I want to move. Only time will tell.
I've linked to it where appropriate, but the "Ergres - Serge Fans" site has an extensive amount of info on Serge systems, as does Carbon111. They have been extremely helpful in the journey and if you are at all curious, I would suggest checking them out.
http://www.serge-fans.com/
http://carbon111.com/serge_index.html
Friday, December 19, 2008
Teratoma - released
Sorry I'm lagging on the Serge post, it's coming. This is short though.
Just wanted to say that my first modular album, Teratoma, has been released. Just inside the deadline of the Muff 2008 Artist Challenge. The collections are composed almost entirely of the eurorack modular, except for a few cases where a hand is leant from the MachineDrum and Monomachine, and in one case, a Piano sample patch in Logic.
http://www.virb.com/felixinferious/music/albums/52424
enjoy.
Just wanted to say that my first modular album, Teratoma, has been released. Just inside the deadline of the Muff 2008 Artist Challenge. The collections are composed almost entirely of the eurorack modular, except for a few cases where a hand is leant from the MachineDrum and Monomachine, and in one case, a Piano sample patch in Logic.
http://www.virb.com/felixinferious/music/albums/52424
enjoy.
Sunday, August 03, 2008
AFG Demo Video Pt 1.
I elected to only do part of my planned demo for the AFG because, I just don't feel prepared to do it justice yet. I haven't spent as much time with it as I had the other modules before making video demos, and I don't think I could adequately show off what it's capable of.
However, what I did think I could do was to show off what most folks are interested in regarding the AFG, and that was the Anti-Matter mode and Harmonic Animation Saw/Pulse waveforms. I hooked up my $40 ebay scope and got to demoing.
[UPDATE] I forgot about YouTube's (lame) 10 minute video limitation, so I had to split "part 1" into two parts. :P
AFG Waveforms
AFG Harmonic Animation
For those who just can't wait for Pt. 2 here's a patch I worked on last night while watching the trash_audio livecast last night. It's two AFGs, one (triangle wave) FMing the other (alien saw wave) with harmonic animation being modulated by the Vulcan. The pitch is being distributed to the Exponetial inputs of each AFG via the Plan B M23 ASR, which is sampling the Ring Mod output of the Dalek Modulator. The M23 is also distributing to one of the FM inputs of the Freuquensteiner, which is also being modulated slightly by the Dual Cyclotron. The machinedrum is providing the rhythm as well as the clock for M23 ASR (using the MD's GND-IM impulse machine). The random stereo panning is provided courtesy of Ableton Live...which reminded me that I need to pickup an A-134 panning module.
I'm working on this track further for my album. This track is entitled "A Visit To The Shroud".
Enjoy.
However, what I did think I could do was to show off what most folks are interested in regarding the AFG, and that was the Anti-Matter mode and Harmonic Animation Saw/Pulse waveforms. I hooked up my $40 ebay scope and got to demoing.
[UPDATE] I forgot about YouTube's (lame) 10 minute video limitation, so I had to split "part 1" into two parts. :P
AFG Waveforms
AFG Harmonic Animation
For those who just can't wait for Pt. 2 here's a patch I worked on last night while watching the trash_audio livecast last night. It's two AFGs, one (triangle wave) FMing the other (alien saw wave) with harmonic animation being modulated by the Vulcan. The pitch is being distributed to the Exponetial inputs of each AFG via the Plan B M23 ASR, which is sampling the Ring Mod output of the Dalek Modulator. The M23 is also distributing to one of the FM inputs of the Freuquensteiner, which is also being modulated slightly by the Dual Cyclotron. The machinedrum is providing the rhythm as well as the clock for M23 ASR (using the MD's GND-IM impulse machine). The random stereo panning is provided courtesy of Ableton Live...which reminded me that I need to pickup an A-134 panning module.
I'm working on this track further for my album. This track is entitled "A Visit To The Shroud".
Enjoy.
Wednesday, July 30, 2008
AFGs Arrive!!!
Of course they have to arrive in the morning *before* I have to go to
work!
[UPDATED]
Ok, so I played around during the day at work - shh, don't tell - and I am absolutely blown away! And, I'm pretty sure I've only just scratched the surface.
As most people have no doubt guessed, the real stand outs of the AFG are the harmonic animation features of the square and saw waves and the Matter / Anti-Matter. You no doubt have guessed what the harmonic animation sounds like (PWM on steroids) but you probably have no idea what the Anti-Matter mode does. Well, it makes it sound fucking awesome, that's what it does!!
Here's the first short demo. This is the animated square output, with the two oscillators of the Dalek in LFO mode and modulating the PWM+ and PWM- parameters (note, this is only half the parameters for harmonic animation). The start of the clip is with no modulation, and slowly I increase the CV amount for PWM- first and then PWM+. I let it get a little crazy and "bottom" out the PWM- cause I think it sounds cool. Then comes a sweep of the Frequensteiner filter. After the sweep, I engage the Anti-Matter mode. BOOM! Another filter sweep, then a quick pop back to Matter mode, and then back to Anti-Matter mode.
In this demo, we're listening to the standard square wave output. First a filter sweep, then engage Anti-Matter, then another sweep, and another quick A/B between Matter mode and Anti-Matter.
Finally here's the PWM output (yes, the PWM is separate from both the Square *AND* the Animated Square !!!). Same deal, starts with no modulation, I increase the modulation, filter sweep, Anti-Matter mode, another filter sweep, A/B Matter and Anti-Matter one more time. The PWM is absolutely sick!
Remember all of these sounds are with *A SINGLE AFG*!
So, on to a less "educational" patch. Here's the Sine outputs of each AFG into each half of the ring mod of the Dalek Modulator. The pitch changes are from the Plan B M23 Analog Shift Register. It's sampling the output of the Dual Cyclotron, clocked by Difference and Square outputs of the Vulcan modulator (I switch halfway through the patch), and each of the 4 outputs are going to the FM inputs of each AFG; one is set to Linear response, and the other Exponential on each AFG. It reminded me of a retro computer. About halfway through the clip, I start playing with Anti-Matter mode. First on the "modulator" AFG, then on the "carrier" AFG, and then finally on both.
And, at last, here's the piest de resistance. I've been into drones lately, so here's a patch I worked on throughout the day.
It's one AFG, using the Animated Saw output. Each half of the Vulcan is modulating the PPM+ and PPM- (I like these on the saw instead of the PWM+/-). The Sub Out of this AFG is set to Saw and plugged into it's own FM input, set to Exponential and adjusted just a tiny bit. This really fattens it up. I must say, I really like the FM'd saw sound on the AFG. I didn't like it at all on the M15, but I really like it here. Finally, the AFG is in Anti-Matter mode.
The "whine" sound in the clip is the Dalek modulator ring mod out, tuned to a harmonic of the first AFG. The "dry" saw part of the drone is just that...it's the second AFG tuned to the same note as the first AFG, using the Saw output. I can't remember now if it was using Anti-Matter mode, but I think it was not.
The Frequensteiner filter is being modulated by the Dual Cyclotron, both the Aux and Main outputs. Throughout the clip, you'll hear me adjust the volume of each of the sounds, the filter cutoff, and the modulation amount of the filter.
Enjoy. Video demo should be ready end of day sunday. i hope.
Sunday, July 20, 2008
I'm BAAA-ACK...
...in the saddle again!
So here's the latest. I'm going to be getting a Single Doepfer Monster Case. Shawn's hooking a brotha up, as always. I'll be picking it up the weekend of August 9th, I'll be down in LA anyway, so I'll just swing by the new AH shop :D.
In the meantime, thanks to the boundless generosity of mr. bdu, I have a loaner 6U Doepfer rack to tide me over until I take delivery of the Monster Case.
Once I got it home, I immediately picked a few modules (Livewire Dalek, Vulcan, and Bissel, Plan B M13 and M10, Doepfer A-155, A-138c, A-132, A-188-2, and Harvestman Polivoks) and started in on a patch.
This was my first time with the A-188-2 and it seemed so well suited to noisy stuff, I went in that direction.
Unfortunately, I seem to be having some issues with my audio interface and can only get a few minutes of recording before it dies. This is the longest clip that I was able to get.
The sound source is the Dalek Ring Mod out, with one row of the sequencer controlling the pitch of one oscillator. That is being filtered by the Polivoks and run into the A-188-2. The Polivoks has a bit of self modulation (BP output patched to CV1) being attenuated by one half of the Vulcan and the A-132 VCA. The other half of the Vulcan is clocking the A-155 sequencer.
The A-188-2 has two outputs, each output has it's own delay tap mixes as well as overall Wet/Dry balance. One output of the A-188-2 (the noiser part of the patch) is going to half of the Plan B M13, being opened by the M10, which is being triggered by one trigger row on the sequencer. The other half of the A-188-2 is going to the other half of the M13 which is being opened directly by one of the trigger rows of the sequencer. The M13 vactrols almost make EGs unnecessary for plucky sounds.
So the intro is that second half of the A-188-2...I'm turning the mix from 100% wet to about 15% wet. Then, I slowly turn the balance on the Plan B M13 so you hear more and more of the noisy signal.
After that, it's just messing with adding triggers on the sequencer rows.
Then it cuts out >:(
I left the patch together, just in case I figure this interface problem out tonight.
Enjoy.
PS. Got Twitter? hit me up: twitter.com/jamescigler
So here's the latest. I'm going to be getting a Single Doepfer Monster Case. Shawn's hooking a brotha up, as always. I'll be picking it up the weekend of August 9th, I'll be down in LA anyway, so I'll just swing by the new AH shop :D.
In the meantime, thanks to the boundless generosity of mr. bdu, I have a loaner 6U Doepfer rack to tide me over until I take delivery of the Monster Case.
Once I got it home, I immediately picked a few modules (Livewire Dalek, Vulcan, and Bissel, Plan B M13 and M10, Doepfer A-155, A-138c, A-132, A-188-2, and Harvestman Polivoks) and started in on a patch.
This was my first time with the A-188-2 and it seemed so well suited to noisy stuff, I went in that direction.
Unfortunately, I seem to be having some issues with my audio interface and can only get a few minutes of recording before it dies. This is the longest clip that I was able to get.
The sound source is the Dalek Ring Mod out, with one row of the sequencer controlling the pitch of one oscillator. That is being filtered by the Polivoks and run into the A-188-2. The Polivoks has a bit of self modulation (BP output patched to CV1) being attenuated by one half of the Vulcan and the A-132 VCA. The other half of the Vulcan is clocking the A-155 sequencer.
The A-188-2 has two outputs, each output has it's own delay tap mixes as well as overall Wet/Dry balance. One output of the A-188-2 (the noiser part of the patch) is going to half of the Plan B M13, being opened by the M10, which is being triggered by one trigger row on the sequencer. The other half of the A-188-2 is going to the other half of the M13 which is being opened directly by one of the trigger rows of the sequencer. The M13 vactrols almost make EGs unnecessary for plucky sounds.
So the intro is that second half of the A-188-2...I'm turning the mix from 100% wet to about 15% wet. Then, I slowly turn the balance on the Plan B M13 so you hear more and more of the noisy signal.
After that, it's just messing with adding triggers on the sequencer rows.
Then it cuts out >:(
I left the patch together, just in case I figure this interface problem out tonight.
Enjoy.
PS. Got Twitter? hit me up: twitter.com/jamescigler
Saturday, May 31, 2008
Modular Case - Progress Made!
I decided that I would finally get some shit accomplished this weekend and so far, so good.
I went to the local surplus store and got the right length screws this time. They actually have Torx heads, which looks really cool compared to regular phillips head screws. I didn't go through and remove the screws for the modules that I had racked up already, but I'll do that eventually.
I racked the rest of the modules into the vector rails and stacked them up. Now all I need is to find some 90 degree angle mounting hardware for the rails and some nice looking wood to build the case. I hope to have that wrapped up this weekend too, although, the yard really needs some attention too.
The spaces in the top row are completely arbitrary, although Harvestman Tyme Sefari, Zorlon Cannon and Malgorithm will go up there somewhere, hopefully all in the very near future.
The large open space on the lower left is for the AFGs, which are due to arrive anytime now, since I've got two from the first batch. The 2nd open space, in the lower-middle is for a Plan B M14 Voltage Processor and the Livewire Chaos Computer, whenever that gets released.
All in all, I'm pretty pleased with how it looks. It's actually not as big as I thought it would be in terms of size, both height and depth. It should still be very portable (it's a little smaller than a Doepfer Monster Case).
Off to the hardware store!
Friday, April 25, 2008
Livewire stuff never shows up on ebay
It doesn't!
I have RSS feeds for all sorts of shit from eBay and accept for a few items at least 8 months ago, no Livewire modules have shown up on eBay. None.
I don't know what that means...it's just a passing observation. (and no the feed is not broken because I always see tons of "livewire cables").
I have RSS feeds for all sorts of shit from eBay and accept for a few items at least 8 months ago, no Livewire modules have shown up on eBay. None.
I don't know what that means...it's just a passing observation. (and no the feed is not broken because I always see tons of "livewire cables").
Friday, March 14, 2008
AFG Pre-Order
I did it! Two AFGs have been Pre-Ordered as of this morning.
What's also cool is that these pre-order units will be a limited edition run on gold and black PCB, hand signed by Mike Brown.
I really hope I've got my case all finished by the time they arrive! I can't wait to fire them up.
Check out the info page for Pre-Ordering or just to check out some audio clips.
http://www.livewire-synthesizers.com/
[UPDATE]: I got an email from Shawn, I'm #'s 18 and 19! WooHOO!
What's also cool is that these pre-order units will be a limited edition run on gold and black PCB, hand signed by Mike Brown.
I really hope I've got my case all finished by the time they arrive! I can't wait to fire them up.
Check out the info page for Pre-Ordering or just to check out some audio clips.
http://www.livewire-synthesizers.com/
[UPDATE]: I got an email from Shawn, I'm #'s 18 and 19! WooHOO!
Saturday, January 19, 2008
Livewire Chaos Computer
Ok I was pretty much sold on this thing from the first time I saw it last year, but after listening to a few short seconds I am completely smitten.
The Chaos Computer is the perfect blend between random and sequenced. The patterns it creates are random, but they tend to repeat and evolve slowly into different patterns. It's very musical.
The outputs were not what I expected either. The Gate output on each side is the straight clock signal (speed set by frequency knob) whereas the Binary out is a gate signal which occurs depending on the periocity of the shift registers...the random clock basically.
Also, I thought the Uniform/Gaussian outputs meant Stepped and Smoothed, but that's not the case at all. Both outputs are stepped; Uniform and Gaussian refer to the weighting of the voltage levels (or "notes" as Mike put it). So for example, using the Wide output under Uniform would be a large range of possible notes with an even weighting for all notes (meaning each note had the same probability of occuring). Fucking rad! This one is defintely a can't miss module for the eurorack crowd. Oh yeah, and the 8x8 LED matrix is cool as shit to watch in action! :)
Livewire AFG
I can't even begin to explain how huge this thing sounds. I had
anticaped a bug sound, but it's fatter than I had imagined! Just the
PWM alone sounded like two oscillators...with the dedicated Sub Out
(octave down) it's absolutely massive. I practically soiled myself.
Mike says it's just about ready to roll out the door; he estimated
only a couple of weeks...I'm so stoked!
Wednesday, December 12, 2007
The Devils Carrousel
So here is the patch I mentioned last night after getting the Doepfer A-155.
The A-155 has Pre/Post outputs for each sequencer lane. "Pre" is pre-S+H/Glide processing and Post is post-S+H/Glide processing; but if you don't do any S+H/Glide processing, these are essentially a mult. That's how I used it in this case, with the Pre out going to the 1v/Oct in on the Plan B Model 15 and also into one oscillator's CV in on the Livewire Dalek Modulator which was set to a sine wave and put into one of the Freq CV inputs (linear) of the Model 15. The sine wave output of the M15 is then fed into one half of the M13 Dual Timbal Gate set to "Both" with the level all the way up.
The second lane of the A-155 is controlling the other oscillator of the Dalek, set to square wave and fed into the other half of the M13 Dual Timbral Gate, set to "Filter", with the Level all the way down. This gate is being opened by the Plan B Model 10 Poly EG.
The clock for the A-155 is the square wave output of one half of the Livewire Vulcan Modulator. The Difference output of the Vulcan is set for both square waves and it is being used to trigger the M10 which is opening that lower gate on the M13.
From the SUM output (mix) of the M13, the signal is fed into the Livewire FrequenSteiner, which is then modulated slowly by the triangle wave on the other half of the Vulcan as well as the Auxiliary output of the Livewire Dual Cyclotron. This gives an interesting sound because you don't really notice the Cyclotron's effect on the filter frequency when the Vulcan has swept it all the way up, but as it sweeps down, you can hear the Cyclotron's effect...it makes that kind of square wave gurgling sound when the filter frequency is in the lower range.
Finally, the volume is controlled by one of the EGs on the Doepfer A-143-2 which is being triggered by the Gate row on the A-155 sequencer. The release time is slow so it's really adding only a slight bit of dynamics to the sound. I'm also controlling the overall volume with one axis of my joystick controller inverted through the Doepfer A-175 Dual Inverter.
The final touch is the Moog delay (MF-104) with the Frostwave Resonator in the feedback loop to give it a bit more band-limited tape-delay like sound.
Enjoy.
The A-155 has Pre/Post outputs for each sequencer lane. "Pre" is pre-S+H/Glide processing and Post is post-S+H/Glide processing; but if you don't do any S+H/Glide processing, these are essentially a mult. That's how I used it in this case, with the Pre out going to the 1v/Oct in on the Plan B Model 15 and also into one oscillator's CV in on the Livewire Dalek Modulator which was set to a sine wave and put into one of the Freq CV inputs (linear) of the Model 15. The sine wave output of the M15 is then fed into one half of the M13 Dual Timbal Gate set to "Both" with the level all the way up.
The second lane of the A-155 is controlling the other oscillator of the Dalek, set to square wave and fed into the other half of the M13 Dual Timbral Gate, set to "Filter", with the Level all the way down. This gate is being opened by the Plan B Model 10 Poly EG.
The clock for the A-155 is the square wave output of one half of the Livewire Vulcan Modulator. The Difference output of the Vulcan is set for both square waves and it is being used to trigger the M10 which is opening that lower gate on the M13.
From the SUM output (mix) of the M13, the signal is fed into the Livewire FrequenSteiner, which is then modulated slowly by the triangle wave on the other half of the Vulcan as well as the Auxiliary output of the Livewire Dual Cyclotron. This gives an interesting sound because you don't really notice the Cyclotron's effect on the filter frequency when the Vulcan has swept it all the way up, but as it sweeps down, you can hear the Cyclotron's effect...it makes that kind of square wave gurgling sound when the filter frequency is in the lower range.
Finally, the volume is controlled by one of the EGs on the Doepfer A-143-2 which is being triggered by the Gate row on the A-155 sequencer. The release time is slow so it's really adding only a slight bit of dynamics to the sound. I'm also controlling the overall volume with one axis of my joystick controller inverted through the Doepfer A-175 Dual Inverter.
The final touch is the Moog delay (MF-104) with the Frostwave Resonator in the feedback loop to give it a bit more band-limited tape-delay like sound.
Enjoy.
I Finally Got a Sequencer
As I previously mentioned before, I've been on the lookout for a sequencer, the Doepfer A-155 in particular since the Milton is vaporware for the most part. I actually lost an auction one two weeks ago on ebay, and had been waiting for another to show up.
Then, yesterday, I saw a post to the AH list (I'm just a lurker, not a member) from a guy who was looking to sell one, and he was in Santa Cruz! I went and got it on my lunch break, and pretty much started at it on and off for the rest of the day. I ended up being at work until pretty late so it was about 10pm before I actually got around to plugging it in.
Before hooking it up though, I thought I would give organizing the "portable" system a shot. It wasn't really working out...I couldn't fit all that I wanted into 1 A-100P case...not with the Sequencer. If it was like 12HP or so smaller, then *maybe*. So I'll be starting on a custom case ASAP. With the Sequencer installed, I'm down to 22HP free.
So anyway, everything I said about not wanting a sequencer was simply uneducated bullshit rationalization on my part. I LOVE the sequencer...I think want two now! Just having one row patched to a 2 OSC FM sound was fantastic fun. I played around with it for about 3 hours, trying different clock sources, messing with using one of the trigger rows patched into the sequencer Reset to play with the sequence length in realtime, etc, but I think I've only just broken the surface of using this in patches. The A-154 controller will no doubt be in my future as well, especially if I decide on picking up a second A-155.
I did leave a patch up that I did at the end of the night, I just didn't record it; I'll do that tonight and update the post here with the audio.
Saturday, December 01, 2007
Ghost In The ICs
Before sitting down to wrap up another mastering project and start on yet another (when it rains, it pours) I decided to patch up something on the modular for a while, making a specific effort to use the Polivoks.
After messing around with that sound of the Polivoks self-oscillating with the BP out FM'ing itself that I mentioned in the review, I started a patch using it as a regular BP filter and came up with what I called "Ghost In the ICs".
This quite possibly could be my favorite sound I've come up with yet. I think it could have been even more expressive with the joysticks involved, but it's hard at this stage to play them without the alligator clips popping off or having a flaky connection. Here's what the patch consisted of:
The lower register of the sound (the slightly formant like one) is one square wave oscillator from the Dalek Modulator with a little bit of x-modulation. That is being fed into the Harvestman Polivoks which has it's resonance about 3/4 of the way up, getting a slight modulation of it's frequency by the Auxiliary out of the Dual Cuyclotron (both cyclotrons set to "discrete"; square waves), and the Bandpass output going into one half of the Plan B Dual Timbral Gate with the level up @ 10 o'clock. The gate level is opened by the accent out on the first 8th note of a triplet on the Plan B Model 28 Tap Clock.
The upper register of the sound (higher pitched sine wave-ish one) is the sine wave out of the other half of the Dalek Modulator, also with a little bit of x-modulation. That is going directly into the other half of the Plan B Dual Timbral Gate, with the level also @ 10 o'clock and the gate in "Filter" mode. The gate level is closed slightly (not being opened wider) by a Plan B Model 10 Poly Env, with the envelope going negative (~ 11 o'clock on the knob). The Poly Env is being triggered by the triplet gate output on the Model 28 Tap Clock, with the middle 8th note set to Rest.
The mix/sum output of the Dual Timbral Gate is going into the Frequensteiner with it's Resonance set to ~ 10 o'clock and set to LP mode. It's modulated slowly by the Triangle out of one half of the Vulcan Modulator as well as getting an Accent on the first eighth note (so accents on the quater note beat) from the Model 28.
Finally, the Frequensteiner is going into the main VCA (Doepfer A-131) which is being held open via the "clock divider always on trick" and also slightly modulated by the Triangle out of the other half of the Vulcan Modulator.
I added a little UAD RE-201 and UAD Plate 140 in Logic after recording it.
Enjoy.
After messing around with that sound of the Polivoks self-oscillating with the BP out FM'ing itself that I mentioned in the review, I started a patch using it as a regular BP filter and came up with what I called "Ghost In the ICs".
This quite possibly could be my favorite sound I've come up with yet. I think it could have been even more expressive with the joysticks involved, but it's hard at this stage to play them without the alligator clips popping off or having a flaky connection. Here's what the patch consisted of:
The lower register of the sound (the slightly formant like one) is one square wave oscillator from the Dalek Modulator with a little bit of x-modulation. That is being fed into the Harvestman Polivoks which has it's resonance about 3/4 of the way up, getting a slight modulation of it's frequency by the Auxiliary out of the Dual Cuyclotron (both cyclotrons set to "discrete"; square waves), and the Bandpass output going into one half of the Plan B Dual Timbral Gate with the level up @ 10 o'clock. The gate level is opened by the accent out on the first 8th note of a triplet on the Plan B Model 28 Tap Clock.
The upper register of the sound (higher pitched sine wave-ish one) is the sine wave out of the other half of the Dalek Modulator, also with a little bit of x-modulation. That is going directly into the other half of the Plan B Dual Timbral Gate, with the level also @ 10 o'clock and the gate in "Filter" mode. The gate level is closed slightly (not being opened wider) by a Plan B Model 10 Poly Env, with the envelope going negative (~ 11 o'clock on the knob). The Poly Env is being triggered by the triplet gate output on the Model 28 Tap Clock, with the middle 8th note set to Rest.
The mix/sum output of the Dual Timbral Gate is going into the Frequensteiner with it's Resonance set to ~ 10 o'clock and set to LP mode. It's modulated slowly by the Triangle out of one half of the Vulcan Modulator as well as getting an Accent on the first eighth note (so accents on the quater note beat) from the Model 28.
Finally, the Frequensteiner is going into the main VCA (Doepfer A-131) which is being held open via the "clock divider always on trick" and also slightly modulated by the Triangle out of the other half of the Vulcan Modulator.
I added a little UAD RE-201 and UAD Plate 140 in Logic after recording it.
Enjoy.
Tuesday, November 27, 2007
Modulars = crack (aka the Sawtooth Animator post)
Ok, so I now fully understand the modular addiction. I knew before that it was one of those "black hole" hobbies that will always have some new thing to buy or entail some never ending quest to have "the ultimate" setup. That's all well and good...but when you start rationalizing dipping into savings or not buying certainly family members christmas presents, that's an addiction my friends.
http://www.blogger.com/img/gl.link.gif
I should know better too...I have an addictive personality. I don't gamble, cause I know that would get me into trouble...I quit smoking several years back, which is still difficult to fend off urges, and I'm very careful about not drinking outside of social/recreational means. I guess I always rationalized "gear" as not being an addiction.
Then again, maybe I'm being over dramatic. It's just that there are all of sudden more things that I want than I can afford...and I have money, but it's the "don't touch this except for emergencies and save until you are old" money. And of course, I'm trying to rationalize new modules that I want as "emergencies".
The Cyndustries Sawtooth Animator is the newest item to the WANT BAD list. This comes in right after the Livewire AFG...I have wet dreams of what the two sound like together. Previously, this was only available in the Cyndustries usual Modcan A format and I had seriously contemplated starting a small satellite system in that format simply so I could have the Sawtooth Animator. Well, now it's coming to Eurorack and Frac formats!!! Muff and Matrix have already got the jump on it. You must check out the audio demos here.
Aside from making me extremely excited, it also makes me a tad bit depressed that I'll either have to wait to have it, or be poor for a while. Back-alley sexual favors for modules is most definitely out of the question.
Sunday, November 18, 2007
ZombieThunder
So I'm the processes of trying to narrow down what modules that I will keep in a single Doepfer A100P suitcase as a "portable" system; the rest will go into a custom case which I am about to start working on.
I started this decision processed basing the results purely on space, but pretty soon that became too difficult and I figured it would be best to just start taking notes on what modules I use most when making patches. One of the more interesting patches I happened on was this one, which I named, ZombieThunder. It sounded like thunder and something I would have heard in a zombie movie soundtrack.
Of course, I took notes on what modules I used, but I didn't on exactly how they were patched...I'm describing it from memory here....
Plan B Model 15 sine is main sound source
Dalek Modulator sine wave was FM'ing the Plan B Model 15
Dalek Modulator other sine wave was FM'ing the FrequenSteiner (LP mode)
Plan B Model 24 stepped voltage (smoothed through Livewire Dual Bissell) was controlling pitch of Model 15
Plan B Model 24 smooth voltage was controlling the 2nd sine wave freq on the Dalek (the one FM'ing the filter).
Livewire Vulcan Max out was also modulating the Filter (although much more slowly).
Plan B Model 10 in LFO mode was opening up the main VCA.
Enjoy.
I started this decision processed basing the results purely on space, but pretty soon that became too difficult and I figured it would be best to just start taking notes on what modules I use most when making patches. One of the more interesting patches I happened on was this one, which I named, ZombieThunder. It sounded like thunder and something I would have heard in a zombie movie soundtrack.
Of course, I took notes on what modules I used, but I didn't on exactly how they were patched...I'm describing it from memory here....
Plan B Model 15 sine is main sound source
Dalek Modulator sine wave was FM'ing the Plan B Model 15
Dalek Modulator other sine wave was FM'ing the FrequenSteiner (LP mode)
Plan B Model 24 stepped voltage (smoothed through Livewire Dual Bissell) was controlling pitch of Model 15
Plan B Model 24 smooth voltage was controlling the 2nd sine wave freq on the Dalek (the one FM'ing the filter).
Livewire Vulcan Max out was also modulating the Filter (although much more slowly).
Plan B Model 10 in LFO mode was opening up the main VCA.
Enjoy.
Livewire Dalek Modulator Demo
This is a demo I have been looking forward too for a while. The Dalek is one of my fav modules because it is so useful, not only as a tone source, but as a modulation source; the latter I use the most frequently.
I tried to showcase it "on it's own" as much as possible since all the other video demos I have done so far have feature the Dalek in some shape or form. So without further ado...here's the Livewire Dalek Modulator.
Enjoy.
I tried to showcase it "on it's own" as much as possible since all the other video demos I have done so far have feature the Dalek in some shape or form. So without further ado...here's the Livewire Dalek Modulator.
Enjoy.
Thursday, November 08, 2007
The Wishlist
I don't think I've posted a "wishlist" yet. I know I've mentioned modules that were "in the pipe" for purchase, but that isn't quite the same thing...so here' goes:
1) Livewire Audio Frequency Generator (AFG!...is it here yet?! Is it here?!)
2) Plan B Model 9 Mixer/Atten. <- this is a rad module...simple and effective and multipurpose. And cheap!
3) The Harvestman 1973 Tyme Sefari <- I've been excited about this one for a while, but now that it's getting farther along, I can't wait. I might be more anxious to get this than the AFG.
4) Livewire Chaos Computer <- who knows when this thing will ship...but when it does, I want it.
5) Plan B Model 14 Voltage Processor <- So much more than just a mixer, this thing is a full on voltage tweaker; a must have if you have many modulation sources.
6) The Harvestman 1986 Zorlon Canon <- Another Harvestman that I'm getting more excited about as it nears shipping. The pitched noise sounds like it will be very cool, but I'm fantasizing about using the various gates to drive the Chaos Computer
7) Plan B Model 21 Milton Grande <- An evasive beast like the Chaos Computer, but this is the only sequencer that I've seen that really makes me want to get a sequencer. Once it's released and cash is plentiful, it will be mine.
Filters
I'll list the filters separate because I like having several different filters to choose from, but I don't want more filters as bad as some of the above modules. Maybe that's a good testament to how pleased I am with the Livewire Frequensteiner. ;)
1) Plan B Model 11 Evil Twin <- I love bandpass filters, but I tend to like to get filters which have more than one mode. Based on the sound demos though, this bad boy is the exception.
2) The Harvestman 1982 Polivoks VCF <- A fresh off the assembly line release and it's a brilliant idea; and it's a dead-on reproduction, even using Russian ICs and not US counterparts. It was also developed with the help of the Polivok's original designer. Based on what I've heard of the Polivoks, this thing is mean as hell. It also has simultaneous Lowpass and Bandpass outputs. Actually...this guy will probably bump the Model 11 out of the number one spot...audio demos will be final judge.
3) Cwejman DMF-2 <- If my thirst for filters isn't quenched by both the Harvestman and the Model 11 (and the Metasonix TM-6 and the Frostwave Resonator) then I will have to pick this guy up. I've been told that the Cwejman's don't have the character that I usually go for in a filter, but a "matched" stereo set would be a little too much to pass up...I love stereo filtering.
Well, that's the list. For now anyway. I only hope the bank account can survive it all.
1) Livewire Audio Frequency Generator (AFG!...is it here yet?! Is it here?!)
2) Plan B Model 9 Mixer/Atten. <- this is a rad module...simple and effective and multipurpose. And cheap!
3) The Harvestman 1973 Tyme Sefari <- I've been excited about this one for a while, but now that it's getting farther along, I can't wait. I might be more anxious to get this than the AFG.
4) Livewire Chaos Computer <- who knows when this thing will ship...but when it does, I want it.
5) Plan B Model 14 Voltage Processor <- So much more than just a mixer, this thing is a full on voltage tweaker; a must have if you have many modulation sources.
6) The Harvestman 1986 Zorlon Canon <- Another Harvestman that I'm getting more excited about as it nears shipping. The pitched noise sounds like it will be very cool, but I'm fantasizing about using the various gates to drive the Chaos Computer
7) Plan B Model 21 Milton Grande <- An evasive beast like the Chaos Computer, but this is the only sequencer that I've seen that really makes me want to get a sequencer. Once it's released and cash is plentiful, it will be mine.
Filters
I'll list the filters separate because I like having several different filters to choose from, but I don't want more filters as bad as some of the above modules. Maybe that's a good testament to how pleased I am with the Livewire Frequensteiner. ;)
1) Plan B Model 11 Evil Twin <- I love bandpass filters, but I tend to like to get filters which have more than one mode. Based on the sound demos though, this bad boy is the exception.
2) The Harvestman 1982 Polivoks VCF <- A fresh off the assembly line release and it's a brilliant idea; and it's a dead-on reproduction, even using Russian ICs and not US counterparts. It was also developed with the help of the Polivok's original designer. Based on what I've heard of the Polivoks, this thing is mean as hell. It also has simultaneous Lowpass and Bandpass outputs. Actually...this guy will probably bump the Model 11 out of the number one spot...audio demos will be final judge.
3) Cwejman DMF-2 <- If my thirst for filters isn't quenched by both the Harvestman and the Model 11 (and the Metasonix TM-6 and the Frostwave Resonator) then I will have to pick this guy up. I've been told that the Cwejman's don't have the character that I usually go for in a filter, but a "matched" stereo set would be a little too much to pass up...I love stereo filtering.
Well, that's the list. For now anyway. I only hope the bank account can survive it all.
Saturday, October 27, 2007
Livewire Dual Bissell Generator Demo
As promised, it's a two for one weekend ;) Here is the video demo of the Livewire Dual Bissell Generator. A simple module, but one of my favorite "tweaking" ones.
Enjoy.
Enjoy.
Thursday, October 18, 2007
PlayThing-amagoop
The comments (mainly Zerosum's) on the last Thingamagoop post got me thinking about demoing one application of the Thingamagoop. I was initially thinking of video ideas, but as I was playing around I got to jamming with it and it was too fun not to capture.
There is some modular processing applied:
The Thingamagoop (Ghost of Robot TB1X model, although that doesn't really matter) was plugged into the Doepfer A-119 Envelope Follower into the Ext. In of the Dalek Modulator. Ring Out of the Dalek into the Frequensteiner in bandpass mode, through the Doepfer VCA and then finally into the Moog MF-104 delay. There's some slight slow modulation of the Frequensteiner by the Vulcan Modulator and a touch of filter FM from the Plan B Model 15, the amount of which is being randomly controlled by the Dual Cyclotron.
Where the trick comes in is that I have the Threshold on the Envelope Follower set so that when I have my finger over the Thingamagoop's nose (blocking it's photocell), there is no gate output (and therefore no output from the Thingamagoop+modular). So I'm able to mute the sound just by putting my finger over the photocell.
Now, the modular processing imparts only a little bit of character; 90% of what you hear is the Thingamagoop and me flipping it's switches and playing with the LFO speed. It's pretty much impossible to pick out exactly when the FM of the Frequensteiner happens and the Ring Modulation is not that aggressive. I could have easily just run the Thingamagoop into the delay, but the modular added a nice character.
The left most switch on the Thingamagoop selects the "gate mode". Up is a square wave gate, controlled by the LFO speed. Down is no gate at all. It's pretty easy to hear when I switch back and forth. The right most switch is the pitch range. Down is low range, and up is high. You can hear me switch this a few times, in particular there are a few times where I simultaneously switch the gating off and the pitch to the high range...moving your finger over the photocell in this configuration leads to some really cool modulated tibres (which you'll hear). Adjusting the proximity of the "LEDicle" to the photocell of course also changes the pitch and the amount of modulation; I'm moving that back in forth in front of the photocell as well.
I'm able to do this all with the Thingamagoop cradled in both hands...my left thumb over the photocell, right hand fingers moving the LEDicle and switches and my right palm, and sometimes fingers, moving the LFO knob.
All in all, it's really fun to perform and improve with like this! :D
A simple Machinedrum pattern was used for some rhythm (no modular involvement there).
Enjoy, and please comment.
There is some modular processing applied:
The Thingamagoop (Ghost of Robot TB1X model, although that doesn't really matter) was plugged into the Doepfer A-119 Envelope Follower into the Ext. In of the Dalek Modulator. Ring Out of the Dalek into the Frequensteiner in bandpass mode, through the Doepfer VCA and then finally into the Moog MF-104 delay. There's some slight slow modulation of the Frequensteiner by the Vulcan Modulator and a touch of filter FM from the Plan B Model 15, the amount of which is being randomly controlled by the Dual Cyclotron.
Where the trick comes in is that I have the Threshold on the Envelope Follower set so that when I have my finger over the Thingamagoop's nose (blocking it's photocell), there is no gate output (and therefore no output from the Thingamagoop+modular). So I'm able to mute the sound just by putting my finger over the photocell.
Now, the modular processing imparts only a little bit of character; 90% of what you hear is the Thingamagoop and me flipping it's switches and playing with the LFO speed. It's pretty much impossible to pick out exactly when the FM of the Frequensteiner happens and the Ring Modulation is not that aggressive. I could have easily just run the Thingamagoop into the delay, but the modular added a nice character.
The left most switch on the Thingamagoop selects the "gate mode". Up is a square wave gate, controlled by the LFO speed. Down is no gate at all. It's pretty easy to hear when I switch back and forth. The right most switch is the pitch range. Down is low range, and up is high. You can hear me switch this a few times, in particular there are a few times where I simultaneously switch the gating off and the pitch to the high range...moving your finger over the photocell in this configuration leads to some really cool modulated tibres (which you'll hear). Adjusting the proximity of the "LEDicle" to the photocell of course also changes the pitch and the amount of modulation; I'm moving that back in forth in front of the photocell as well.
I'm able to do this all with the Thingamagoop cradled in both hands...my left thumb over the photocell, right hand fingers moving the LEDicle and switches and my right palm, and sometimes fingers, moving the LFO knob.
All in all, it's really fun to perform and improve with like this! :D
A simple Machinedrum pattern was used for some rhythm (no modular involvement there).
Enjoy, and please comment.
Subscribe to:
Posts (Atom)
