navs.modular.lab

Patch Tips #21 - Getting Animated

2012-01-17T13:21:00.004+01:00

Doepfer's A-137-2 'Wave Multiplier II' does more than just super-saw.

This module uses a set of comparators to generate four 'fake' phase-shifted versions of the input material. The offset of each saw can be modulated, generating a large sound from a single oscillator. As the module is DC-coupled, it can also be used to process CVs.

When I first got the A-137-2, I considered building an expander to gain access to its pulse outputs and avoid having to unscrew the module from the system to remove stages from its output. Two discoveries I've made this week happily mean this isn't necessary.

The first relates to the manual shift knobs: when set at zero, a stage is effectively removed from the output. This is great news if, for example, you only want one additional animated saw. It also has implications when using the A-137-2 as a comparator-based timing delay.

Secondly, the A-137-2 will function without the usual input. Activate a stage by setting its manual shift to something other than zero and feed your signal to its CV input. The result: those hidden pulses! With some careful setting, you can get some mad waveforms:

I'm not sure if this is a bug or a feature - a comparator needs two signals - but, as you can hear from today's Patch of the Day, it offers an additional palette of sounds.

Fist-full of Pulses by Navs

To use the A-137-2 as a shonky beat machine à la A-143-1, feed it a ramp LFO. I've found using a positive-only CV from Maths works best as the comparators switch on both the rising (on) and falling edges (off) of a wave. Patch its output to an A-162 or similar to get clean pulses.

The A-137-2 is another Doepfer gem, offering several uses for not much money. If you want to learn more about the workings of this module, read the ETI article on the Digisound Waveform Multiplier or, if your French is up to it, the Elektor article linked at the bottom of the Doepfer product page.

Audio files not playing

2012-01-17T13:19:00.001+01:00

Having moved my content to the cloud, my audio files are once again not playing.

Sugarsync used to allow direct access to files, meaning I could stream my MP3s via the Google reader player. They've now added an intermediary page which means this no longer works. Looks like I'll have to pony-up for a dedicated server after all.

In the meantime, here is a workaround: on Safari, go to a blog post, click play on the player, open up the 'Activity' page (under the 'Window' menu) and look for the Sugarsync URL. Double-click this and it should take you to the download. On Firefox, right-click to 'View Page Source', then search for the Sugarsync link.

Patch of the Day - Highly Strung

2012-01-11T16:16:00.003+01:00

Kicking off the new year with the rediscovery of the Doepfer A-137-2 Wave Multiplier and a frenzied take on a duet for two acoustic guitars:

Highly Strung by Navs

I bought this module when it first came out, then sold it two years ago because I'd run out of space. I've been working on a track that needs a big fuzzy, 'super-saw' bass but wasn't getting the right sound with multiple VCOs and wondered if the A-137-2 might fit the bill. As you can hear from today's PotD, that's not what I ended up using it for: the A-137-2 will do phasing saw sounds, bar the subtle detuning, but I found it's also great for EML-sytle abrasive tones that can then be tamed with a filter.

The patch involves CV-ing the WM II at audio rate, LP filtering the result with the Cwejman MMF-1 and then accentuating various frequencies with a low-bandwidth setting RES-4. Gordon Reid goes into much detail about how to achieve this in his synth secrets, but I just used my ears. A Wiard/ Make Noise Wogglebug generated the timing and note information. It was kicked about by one channel of Maths, which received a mult of the stepped output, thus varying the pace and intensity of the ratchets and completing a timing feedback loop. I recorded two passes of the result, varying the patch by hand.

LeafAudio Noisefoc Samples

2011-12-22T17:16:00.003+01:00

A free library of sounds for Ableton's Simpler made with LeafAudio's Noisefoc synth.

From Manu: "We created a free library for Ableton 8 based on sounds of the NOISEFOC Synth - a 3-oscillator synth that can be built in our workshops as a diy-machine. The library includes 16 Simpler-Instruments that show the possibilities of combining diy-machines and professional production. It doesn't sound like that but yes, you can do electro pop with the sounds ;-) All sounds in this song except the drums are made with the Noisefoc library."

Noisefoc Ableton-Library Demosong by LeafAudio

The library is available here. Look out for LeafAudio workshops in Spring 2012 where you can build your own Noisefoc, Fuzz-O-Mat or Bumsss.

4ms PEG Demo

2011-12-21T20:25:00.003+01:00

Audio examples of the 4ms Pingable Envelope Generator. An update to this post.

Perfect for synced modulations, the PEG generates LFOs and envelopes which can be locked to a master clock. Once 'pinged', its variable slopes run at either the base time or are stretched/ shrunk to a divided/ multiplied rate. Here it is in action:

4ms PEG demo by navs

The PEG offers voltage control over most of its parameters, various trigger outputs, an analogue OR and a variety of triggering options. The toggle function can be a creative source of surprise, as it flips the activity of the two envelope generators. The curves can be extreme, especially when the skew is maxed in one or the other direction, so you might want to use a linear VCA. That said, a 'whiplash' setting is great with low pass gates.

I've only scratched the surface with this demo: you could try the PEG on drones, slow pans or feeding it to a quantizer for synced, stepped CVs. QNT trig mode allows gated repeats or trills like the Plan B Model 10 or Cwejman CTG-VC. When used with a sequencer, you could set different length envelopes per note, or use the toggle jack to combine the two.

The PEG is rich in possibilities, so make sure you read the extensive manual. Once you've grasped the concept, it's easy to use. If you've ever wanted to keep your wobbles in time, the PEG might be what you've been looking for.

PT #20 - Hutchins' Anti-Glide Patch

2011-12-19T14:19:00.005+01:00

How to compensate for frequency shift in exponential FM. Bernie Hutchins' Electronotes patch quoted in and cribbed from Allen Strange.

Exponential audio-rate FM is great for klangorous tones. Unlike linear FM, however, it's hard to patch dynamically. Changing the index results in a churning sound. The more you modulate the carrier, the greater the pitch shift.

Bernie Hutchins' patch counteracts this detuning by simultaneously pulling the frequency of the carrier down with an inverse envelope:

The modulator is patched to the carrier via a VCA. An envelope opens the VCA. The envelope is multed to a second VCA or ring modulator and multiplied by itself. The result is inverted and patched to the carrier.

Here's how it sounds:

With and without the compensation CV:

I'd tried this previously, as a work-around for my VCOs which don't have linear FM capability, but didn't get it to work satisfactorily. My mistake was to send the full inverted envelope to the carrier - it needs tweaking to find the right level. Don't expect to be able to set high indices. I found I couldn't push the envelope much above 2-3 volts, before the compensation CV itself became apparent. Similarly, short envelopes seem to work better than e.g. joystick sweeps.

Despite its limitations, this patch offers a method for dynamic timbal control of VCOs that aren't capable of linear FM. It's a bit fiddly, but as Allen Strange writes, it's certainly worth a try.

Mystery Beatbox

2011-12-04T10:48:00.005+01:00

Spotted at Schneidersladen. One of five, custom-built, apparently based on a Hohner drum machine, master clock operation only, price unknown. Sadly, couldn't hear it in action.

Full-size pictures are here. Thanks to Moondust for the loan of the camera and the delicious Swiss chocolate!

Feedback Looper

2011-11-11T17:02:00.005+01:00

A DIY expander for the Doepfer A-112 Sampler/ Delay/ Wavetable Osc.

Since re-buying the A-112 earlier this Summer, it's become a frequent feature in my music. The one thing I wished it had was a built-in feedback function for delay duties. This can be patched, but ties up a mixer, usually a four-channel, 8HP one. This passive 4HP mixer is dedicated to that task. It also incorporates a mod to bypass the A-112's filter and AC-coupling circuit which allows one to record and process CVs.

The source signal is mixed with the output of the A-112 via resistors. Feedback is controlled via a pot. A mult of the return signal is used as the main output. You can download the schematic and extra pictures here. Experiment with the values of the resistors to get the best results for your set up. I'm sure an active circuit would have been better, but to paraphrase Nicolas Collins: if it works and doesn't smoke, don't sweat it!

As with Bitsy, I used a PCB blank, this time from MFB. Thanks to Schneidersladen for the spare Cliff jacks and Cwejman-style knobs. They're D-shaft, but that's nothing a quick blast with a drill can't solve.

Today's Patch of the Day is a jam with two feedback paths: the output of the A-112 was first sent to the A-199 spring reverb before being returned to the mixer. The oscillator was the A-143-9 QLFO, itself receiving a little feedback to bend its sine into a triangle.

Feedbacker by Navs

DIY can be fun and frustrating but it's worth the effort, especially if you end up with a module that meets your own needs. As ever, the usual disclaimer: modding your A-112 will void your warranty, carry out at your own risk!

Three Thru Zero

2011-11-11T09:43:00.003+01:00

Comparing the thru-zero linear FM response of the Cyclonix Cyclebox to the Cyndustries Zeroscillator and Harvestman Hertz Donut.

I like timbral oscillators and use them in my live sets. The Zeroscillator is too big to gig with, so the Hertz Donut usually takes its place. While it packs a lot of features into a small space, the HD is less than hi-fi, so I was hoping the better-spec'd Cyclebox might be an alternative.

In this comparison, I've focussed on thru-zero linear FM as that is what I'm interested in. For demos of the Cyclebox's other features, look here.

(a) dynamic, sine-on-sine. (0:00) zo, (0:09) cb (lead out)

(b) ibid. (0:00) zo, (0:25) cb, (0:45) hd

Despite a firmware upgrade, the Hertz Donut tends to break up in the upper registers. Here's how the three cope with higher pitches:

(c) (0:00) hd, (0:06) cb, (0:13) zo. (0:21) zo, (0:28) cb, (0:36) hd

I matched the pitches of the principal and modulating oscillators by ear, using mode 0010 on the CB for examples 2 & 3. On the ZO & HD I increased the modulation depth as far as I could before pitching artifacts were evident. The CB's FM index was set to full.

As you can hear, the CB doesn't seem to allow the same level of modulation as the ZO & HD, so it sounds muted by comparison. This can be addressed to an extent by increasing the gain, but as this feeds the wave-folder, the results are not the same. It's not clear from the manual whether the internal ratio setting is discrete or in semi-tones, but this might explain why it's easier to achieve clangorous/ bell tones on the ZO & HD. Overall, the CB's linear FM response reminded me of the Livewire AFG, namely better than most non-thru-zero VCOs, but lacking in brilliance.

The Cyclebox is more hi-fi than the Hertz Donut, but because I couldn't push the index as far in a dynamic FM patch, I found it lackluster. Both digital VCOs offer a built-in modulator, smaller footprint and more stable FM. However, despite the inaccuracies of analogue, I prefer the thru-zero linear FM tones of the Zeroscillator.

Patch Tips #19 - Morphase

2011-11-08T11:30:00.002+01:00

A look at and listen to the Zeroscillator's quadrature outs.

Often overlooked and sometimes misunderstood, the Zeroscillator's morphase function can yield stunning sounds or be used as a complex modulation source.

The outputs offer four phase-shifted versions of the main oscillator (0, 180, 90 & 270 degrees). They can be wave-shaped from triangle to amplitude-compensated square via sine.

This morphing can be manually or CV controlled. A three-way switch determines how the outputs are affected: both, independent, inverse. The CV inputs (A & B) are unattenuated, the manual pots act as an offset.

With the switch left, an LFO patched to 'input A' sweeps the 0 & 90 degree outs from triangle to square and back. With the switch right, the 0 degree output morphs as before, but the 90 degree tap sweeps from square to triangle. With the switch in the middle position, two CVs are required, A & B, for independent morphing.

Here's how it sounds:

Quadrature wave-shaping. 0 & 90 degree outputs panned left & right, dry.

The recordings give an idea of some of the stereo effects possible using just two outputs of the Zeroscillator. Example two features linear FM, while clips 1 & 3 show off one of my favourite patches: zero bias, modulator to FM in. This is another form of wave-shaping and is a great source of plucked string sounds.

The quadrature sines are not as pure as the main out and might need calibration to ensure similar waveforms at similar settings. Of course, as soon as one introduces dynamic wave-shaping, this is less of an issue. The quadrature outs can also be used in LFO mode for panning duties, but you might be better off getting an A-143-9 for this. Aside from the price difference, the QLFO is the best ZO modulator I've found, due to its clean sine and negligible DC-offset.

The Zeroscillator is a complex beast and needs some patience and care. However, the sounds it's capable of are worth the effort.

Bugbrand WOM Pro

2011-11-03T14:15:00.003+01:00

Some sounds from Tom Bugs' DIY Workshop Osc Machine Pro.

I've just built my WOM Pro, which I got from Tom at his recent gig in Berlin. Despite its simple looks, the WOM is capable of a wealth of complex, ear-shredding noises:

Bugbrand WOM Pro by navs

The kit comes with all necessary parts, excellent instructions and was a joy to build. The schematic reminded me of some of the circuits in Nicolas Collins' Handmade Electronic Music, some of which I used in my Trobetronic40. What makes the WOM special is its power starve, touch plate control and, I suspect, its CMOS-based mixer. The latter seems responsible not just for volume control, but also the way the oscillators interact. Click here for more info on the build.

The WOM Pro puts out enough juice to be plugged directly into the modular and, used with an envelope follower, random generator and the Borg filter, is capable of Benjolin-esque sounds. Try setting the VCO range switches to a midway position. The resulting uncertainty opens up another can of bug-sounds.

Thanks to Tom for an excellent kit. I was going to give the WOM away as a present, but it's too much fun - highly recommended!

navs.modular.lab is three today!

2011-11-01T12:24:00.004+01:00

To celebrate the blog's third birthday, I've finally re-uploaded my old content and released a new EP, 'Keep the Smash'.

Keep The Smash by Navs

The seven tracks were recorded over the summer and feature the sounds of my modular and the unruly Sunsyn. Some of the pieces involved MIDI, others relied on audio edits and digital processing. Part of the fun was setting live patches in a new context, as in iirc or Smudge. The Sunsyn continues to surprise, refusing to do what you want, but nevertheless giving you something interesting. As you can hear in the title track and The Kick, I've learnt to give in to its whims.

'Keep the Smash' can be bought from my Bandcamp page for €2.99 or more.

Once I'd found a suitable solution, re-uploading three years' worth of content was straight-forward, if time-consuming. I settled on Sugarsync as it offers 5GB of free storage and doesn't have a monthly bandwidth cap.

Going through my old posts, I found some forgotten gems. If you missed them first time 'round, here are a few of my favourites: Buchla Bore, The Organ Grinder, Hands-On Experience, Releasequence.

If you do find any dead links, let me know in the comments section.

Enjoy the restored content, the new EP and your modular - here's to another year!

Cheers, Navs.

Sport Modulator Explained

2011-10-26T12:38:00.004+02:00

A lot of people are confused by the Toppobrillo Sport Modulator. They needn't be. As you can see from the easy-to-follow diagram below, using the SM is child's play.

When patched correctly, the Sport Modulator should sound like this:

If your Sport Modulator sounds like this ...

… you have done something wrong. Please consult the diagram and start again.

Even More Hazarai!

2011-10-23T13:47:00.003+02:00

Modifying the Electro Harmonix Stereo Memory Man w/ Hazarai delay pedal for external tap clock. A follow-up to this post.

Two years on from blogging Rechner7's project, I've finally modded my SMMH, a delay which features heavily in my recordings and live sets. I'd never found the original tap tempo function a hindrance to getting interesting echo, but was inspired to give the mod another look after seeing Mr Biggs' video of his project. I'm glad I did, as the additional inputs have yielded a few surprises.

Here's how it sounds:

I kept my mod simple, adding one external clock jack, a three-position switch (on + HP filter, off, on without filter) and a softer response tap button. The internal changes consist of Ken Stone's Gate to Trigger and Doepfer's Gate to S-Trigger circuits. Here's my perf-board layout. As r7 originally warned, the most difficult part of the operation was removing the PCB from the enclosure. After a few frustrating attempts, I gave up, masked the PCB with paper and drilled my holes with the board in place.

So, was it worth it? Yes, but not for the reasons I originally assumed. While tempo-syncing is nice, I actually prefer the sound of echos which are not perfectly in time. The new momentary switch was a last minute decision and I'm glad I added it. It's less clunky than the original foot-switch and makes tapping easier. That doesn't mean the clock input is redundant - it comes into its own when fed with random gates, for example from a tail-chasing Wogglebug. As you can hear, this is where the real fun starts:

Thanks to Rechner7 and Mr Biggs for answering my questions and for their encouragement. It's a simple project that helps integrate the SMMH with the modular, so highly recommended. As ever, the usual disclaimer applies: modding you pedal will void your warranty and is carried out at your own risk!

Bitsy - Stepped CV Generator/ Recorder

2011-10-14T12:59:00.007+02:00

A DIY Ring Counter based on Ken Stone's Gated Comparator circuit.

My inspiration for this module was Grant Richter's Wiard Noise Ring - a random CV generator with a form of memory. While I liked its ability to capture an eight note sequence, I found it hard to control and wanted some method to reliably input my own data.

I first thought an analogue shift register - a chain of sample + holds - might provide the solution. Thanks to a prod in the right direction from Matthias of Fonitronik, I discovered Scott Stites' Klee sequencer and later Rob Hordijk's Rungler and Ken Stone's digital shift register circuits.

Using a CMOS chip like the 4015 or 4021 won't allow you to sample your own CV stream, but the end result is the same. A series of zeros and ones is converted into a stepped CV via a DAC, in this case an R/2R network. Feeding the last stage of the shift register back to the input allows you to hold a sequence. Here's how it sounds:

I built Bitsy as a companion to the Wogglebug, which provides the clock and data, via its burst output. Like the Klee, it can also be programmed via a sequencer or manual gates. To simplify the design, I left out the input comparators of Ken Stone's circuit. A switch is used to manually hold a sequence. The last stage is also available, allowing VC over new/ old data selection via a sequential switch like the Doepfer A-151. An LED reflects the voltage level.

I used the DIY Layout Creator to plan my perfboard and a 6HP Makenoise blank as faceplate. This was the first time I'd made a parallel board, which meant using wire connections for the jacks etc. However, the benefit of this was I didn't have to be totally accurate when drilling holes.

Thanks to Matthias for the hint and to the designers of the original circuits which inspired this project!

Patch Tips#18 - ADSR 'Free-Run'

2011-10-09T10:52:00.002+02:00

Using a gate delay and comparator to trigger 'full length' ADSR runs, achieve looping ADSRs and delayed looping of AD envelopes. As suggested in this thread.

Unlike AD envelopes, ADSRs generally need a gate signal to fully complete their cycle. The gate determines the duration of the sustain phase of the envelope's run. So, what to do if your sequencer only generates triggers?

With a gate delay like the A-162, set the delay to zero and the length to taste. If using Maths' channel 1, the rise sets the delay time and the fall the length of the gate, available at the EOR. This provides the gate that the sustain requires. This mimics the response of AD envelopes like the VCS, which complete regardless of gate duration.

If you then mult that gate to a comparator with a suitable threshold, you'll get a second gate when the first expires. I used the Sport Modulator with the multed gate fed to the bottom input and 5V as a threshold reference sent to the top input. The middle output provides the comparator function. Mix the two gates and feed them to the input of the gate delay and you've got a looping ADSR.

The A-162 is great for these sorts of tricks and can also be used with AD envelopes which have an End Out (VCS, Maths, A-143-1) to achieve the Envelator's delayed looping.

Tom Bugs Live in Berlin

2011-10-04T14:13:00.005+02:00

If you're in Berlin this Friday, be sure to catch Mr Bugbrand, Tom Bugs, at the Auxxx in Prenzlauer Berg:

Kastanienallee 77 (Lichtblick Kino) 10435 Berlin
Friday 7th Oct. Doors @ 21:00, Show @ 22:00

"Legendary analogue electronic instrument inventor Tom Bugs comes over from Bristol with his personal BugBrand Modular setup for a discussion and performance." More info at the Auxxx blog.

From Bananas to Blippoos

2011-09-05T17:54:00.005+02:00

Some pictures from a day in Richard Scott's studio.

Richard's studio is an Aladdin's Cave of Banana-jack synths. The Buchla VCO was on its way to its new owner, so I was lucky to get a chance to hear it. While it looks fantastic, I wasn't taken by its sound. Financially speaking, this is probably a good thing. The Serge & CGS system was much more to my taste. I was surprised at how familiar I was with its patching vocabulary, due in part to certain Serge-inspired Euro modules, and was able to dive straight in. The Bugbrand is a cracking, compact system with a gutsy sound. But of all the synths in the studio, I lost my heart to the two Hordijk boxes, the wonderful Blippoo and Benjolin.

Thanks to Richard for a wonderful afternoon and the pukka pakoras!

Release: Basic Electricity #1 Live EP

2011-08-16T12:18:00.004+02:00

For those who couldn't make it to the recent Basic Electricity event at the Auxxx in Berlin, here are the recordings of my set.

Basic Electricity by Navs

Making their debut at this gig were the Doepfer A-199 Spring Reverb, A-112 Sampler/ Wavetable Osc. & Cwejman FSH-1 Frequency Shifter. They were supported by the usual suspects: RES-4, MMF-1, Toppobrillo Triple Wave Folder & Sport Modulator, Harvestman Hertz Donut, Makenoise Wogglebug and, of course, the EHX Stereo Memory Man w/ Hazarai.

Patch Tips #17 - Sport Detector

2011-08-09T13:06:00.006+02:00

Using the Toppobrillo Sport Modulator as a slope detector.

One of the most interesting aspects of Mono-Poly's performance at the recent Basic Electricity night in Berlin was his use of slope detectors to generate rhythms. Feeding a pair of Ken Stone/ Elby Designs CGS762s with the outputs of his Wiard/ Malekko Noise Rings yielded unpredictable, yet in sync, patterns.

I'd previously tried the patch example in the Sport Modulator manual without much success. Inspired by the results Mono-Poly got from this configuration, I gave it another shot:

Sport Detector by navs

I used an LFO, reset by a clock divider to feed a Wogglebug which sampled the incoming CV at a rate set by a master clock. This CV was sent to the top section of the SM and an inverted version to the bottom. Lag for both sections was @ 2 o'clock. This setting is important as it determines the SM's reaction time and hence the accuracy or otherwise of the resulting gates. When the CV is rising, a gate is output from the top END (left channel), when it's falling from the bottom END (right).

In the examples, I toyed with the clock divider's reset, the LFO speed and also injected some chaos via the Wogglebug. As you can hear, this is a great way to generate pulse patterns on the fly.

Basic Electricity #1 Video

2011-08-09T12:51:00.001+02:00

A video compilation of Basic Electricity #1 from Gabor Molnar via Mono-Poly.

Richard Scott, Mono-Poly, NAVS at Lichtblick Kino, Berlin 29.07.2011 from Gabor Molnar on Vimeo.

Thanks to all who attended and took part - it was a very enjoyable evening. I'll post the audio of my sets soon and look forward to the next event!

Ring-Mod Round-up

2011-08-01T13:08:00.003+02:00

An overview of five balanced-, or ring-, modulators: the Intellijel μMod, Makenoise ModDemix, Fonitronik mh-31, Doepfer A-133 and Cwejman VCO-2RM.

RingMod Roundup by navs

These modules have a different approach, feature set and, as you can hear, sound. The Cwejman is a classic two-input, one output affair and I included it as a reference as it has good rejection and headroom.

On the face of it, the additional features offered by each manufacturer set these modules apart. However, given that the basic concept is the same, these differences might not be that wide. The μMod's 'Q' function, for example, seems to be a bipolar offset, something that could be patched externally with the Cwejman or by increasing the manual gain on the A-133. Similarly, the auto-AM/ pseudo-SSB modulation offered by the ModDemix's normalizing could also be covered by a dual module like the Doepfer. Incidentally, it's a shame neither of these dual modules can be used as a mixer out of the box. Pre-patching a signal to one of Maths' attenuverters and using the uni-polar OR output as modulator would yield a function similar to the μMod's rectification switches. The mh-31 utilizes rectification as part of its 'RM' process which might explain its characteristic sound.

Two technical points to note: when used as a VCA, the μMod I tested displayed a small amount of carrier bleed (audible in the example above), but I'm sure this can be corrected by calibration of the 'Q'/ offset. The A-133 suffers bleed too, but this is understandable due to its lack of centre-indent pots. At low 'strength' amounts, the ModDemix displays an unusual response - the processed waveform seemed more typical of AM than the 'attenuated' RM I'm used to from the A-133. Both the Makenoise and Doepfer are DC-coupled, so I wonder if this difference is down to the circuit employed.

In terms of sound and function, I saw the closest parallels between the VCO-2RM & μMod one the one hand, and the Doepfer & Makenoise ModDemix on the other. The mh-31 is the most unorthodox design and doesn't easily fit in either camp.

To my ears, the Cwejman and Intellijel have the cleanest tone, with the Makenoise and Fonitronik well-suited to more abrasive timbres. While not as transparent as the VCO-2RM or μMod, the A-133 can be both clean or driven to distortion.

Thanks to Schneidersbuero for the loan of the Intellijel & Makenoise modules.

Patch Tips#16 - Analogue Logic

2011-08-01T11:37:00.004+02:00

Using the A-172 Min/Max as a voltage limiter.

Today's Patch Tip is taken from this discussion on limiting the output of a Wiard Noise Ring. Self Oscillate's suggestion of using a min/ max module is a simple but ingenious solution that deserves re-posting. Not only can it be used to limit the level of a stream of CVs, applying a threshold in this manner can also clip audio waveforms, dynamically if desired.

"… feed the NR output to a max/min module, together with a fixed voltage which determines the highest allowed pitch. then use the min output. the higher notes will not exceed the fixed voltage, while the lower notes get through unchanged."

As Self Oscillate notes, the benefit of using a min/max module is that, unlike general attenuation, the lower CVs are unaffected. When applied to audio, this results in a 'squaring-off' of the waveform at a pre-determined level. Experiment with the A-172's outputs for positive and negative clipping.

I'd previously used the A-172 and Maths' OR output to trace the peak contour of two sources, but hadn't considered doing the reverse. Thanks to Self Oscillate for this useful application of fuzzy logic!

Doepfer A-112 Sampler/ Wavetable Osc.

2011-07-13T14:53:00.005+02:00

Rediscovery of another Doepfer classic - the A-112.

This module was in my first order five years ago. It survived in my system for a while and was sold without much remorse. Since then, we've been treated to several dedicated delay modules, The Harvestman's Tyme Sefari & Piston Honda and, more recently, Make Noise's Phonogene. These modules share much in common with the A-112 and got me wondering why I'd ditched it - was it because of its lo-fi character or because I wasn't ready for it?

Doepfer A-112 Demo by navs

As you can hear, the A-112's 8-Bit nature means it's dirty, noisy & crunchy, but not to the extent that it's musically unusable. Far from it: it can make a huge difference in, or form the basis of, a patch, adds character and, despite its limited 128 kilobyte memory, is bags of fun.

That said, the interface isn't perfect - it's too easy to accidentally wipe a stored wavetable due to a false flick of a switch - but it is immediate. Also, Doepfer's Sample Dumper application is in need of an update & port to OSX as this is key to getting the most out of the wavetable mode (I borrowed an old laptop running Win98!). Another criticism is that sampling at the highest resolution (Tune @ '10') also caps the highest pitch CV it will respond to. Conversely, I'd also like it to go slower because of its ability to record CVs. A simple mod (remove passive filter jumper and bypass cap C11) makes this possible. Details are outlined in this message at the Doepfer Yahoo group. A simple dual gang switch would be a quick mod If you want both options.

The Harvestman & Make Noise instruments might be a refinement of the original concept, offering better fidelity and more functions but they also come with a higher price tag and take up more rack space. If you're ok with its gritty sound, for the €150, 10HP entry fee, you really can't go wrong with the A-112.

Today's Patch of the Day features the A-112, RES-4 and a Wogglebug:

Jazz Bust by Navs

Doepfer's Sample Dumper can be downloaded here. Wiard's Wave256 & Move256 can be found here, more wavetables are available at the Wiard Yahoo Group.

Navs Live @ Basic Electricity #1

2011-07-12T14:14:00.005+02:00

I'll be playing live on Friday 29th July at Basic Electricity #1, hosted by Auxxx in Berlin. Noodle-Chef Mono-Poly and WiGi-Wizard Richard Scott are also on the bill on modular and Buchla Lightning.

The Auxxx is in the Lichtblick Kino and is an intimate venue with comfy seats and good sound. If you're in town, it would be great to see you!

More info at the auxxx blog.

Basic Electricity # 1

Mono-Poly (NL): Modular Synthesizer
Navs (Berlin): Modular Synthesizer
Richard Scott (UK, Berlin): WiGi/Buchla Lightning

AUXXX in BERLIN
Kastanienallee 77 (Lichtblick Kino)
10435 BERLIN

FRIDAY 29th JULY 2011

Doors Open 21:00
Show Starts 22:00

4ms VCAMatrix Demo

2011-06-28T14:24:00.006+02:00

Pre-production black faceplate VCAM. Final version available only in silver/ aluminum.

The 4ms VCAM is a 4x4 matrix mixer containing 16 SSM VCAs, mutes and offset/ attenuation pots. For more information, click here.

4ms VCAMatrix Demo by navs

LAYOUT/ CONCEPT/ HANDLING

The VCAM looks great and is logically laid out. The mute buttons are responsive and a joy to play. The trims are not as fiddly as one might think - I can still get my large fingers in for live mixing of levels. I was worried I might get lost in the forest of knobs & switches, but it quickly becomes second nature. The routing caused some initial head-scratching, but that's more down to the possibilities than layout. The easiest way to grasp the VCAM's concept is as a standard mixer with auxes/ busses - if you do though, you might wish for more inputs: 4 aren't enough if you want to replace your external mixer at a gig. Also, this isn't necessarily the role the VCAM was designed for - the fun starts when mixing different sources.

IN USE

The VCAs sound clean, are musical when overdriven and respond nicely to audio-rate AM. The VCAM is 'louder' than my Cwejman VCAs at a setting of '10' i.e. you can get unity gain manually on the 4MS, whereas the Cwejman leaves headroom for eventual CVs.

The punch afforded by the VCAM's soft limiting is great, however, there is a flip-side to the chosen response: at lower CV amplitudes, the envelope is 'pinched' and equal-power crossfades are tricky, though not impossible.

I asked Dann of 4ms about this and he suggested using higher voltage levels for crossfading (0V-8V and 8V-0V linear envelopes). The voltage is limited past 4V, so everything below that is linear, anything above fairly constant, so dead spots are avoided. This is the easiest way to crossfade without resorting to a log- and anti-log sine. The forthcoming 4ms PEG will apparently make this process easier.

This amplitude-dependent response requires pre- or post-VCAM attenuation to match levels. This was my first surprise with the VCAM: despite its features and size, it needs some supporting modules, or, like the QMMG, you need to use other channels to get the most out of it. For example, for a gated AM sound, you might want to patch your modulator to an external offset/ attenuator like the A-183-2 or A-129-3 prior to patching it to the CV input on the VCAM. Another example might be it's use as an VC effects send mixer. Because gating happens on a per-channel input - i.e. there is no normalization - you would need to pre-gate your signals: if you gate your 'dry' VCO signal on channel 1 and then open your 'FX send' on channel 2, your signal would be a constant, un-gated tone. Depending on the patch, another solution would be to simply mult the envelope.

This is not a criticism and makes absolute sense given the VCAM's structure. To be honest, I'm sure part of this is down to the temptation to run an entire mix through the VCAM, effects and all, which might be to miss the point. The VCAM excels at feedback patches, where one might not need all four channels to generate complex sounds. Part of the fun is in the control, the other in not knowing which routing will lead to which result. Mixing different sources (audio, CVs, FX & filter loops) can lead to unexpected, sometimes chaotic, cross-modulations.

I didn't think I could get excited by a bunch of VCAs, but the VCAM opens-up new possibilities. Having all routings in a patch in one module makes it perfect for performance and experimentation and watching sixteen LEDs glow in a grid is truly mesmerizing!

TRIMMING THE VCAM

Factory settings for the VCAM's max gain are calibrated for 'soft limiting' rather than clipping, which I find sounds very musical and makes a nice contrast to my 'character-free' Cwejman VCAs, so I'm happy to leave this trim as is.

The manual trim pot is set to give ca. -55dB of attenuation and means the corresponding LED is dim but not off, which is a useful indicator of which channels are actually muted. However, it does also mean that signals are not fully cut. This might have an effect if it is part of a feedback loop. The problem arises when the input is a CV or when the CV controlling a VCA is inactive (e.g. an un-triggered envelope @ 0V). Without muting the channel, it will continue to mildly affect its destination. For the former, the answer is to simply mute the channel. In the case of the idle CV, or if you want more attenuation, a trim might be in order.

Many thanks to Dann for a cracking module!

Navs Live @ 48 Stunden Neukölln

2011-06-13T16:03:00.006+02:00

I'll be playing live at 48 Stunden Neukölln this Saturday, 18th June. Weather permitting, I'll be setting up around 2 p.m. in garden 20 in the Hand in Hand Kolonie, Rütlistr. 8, 12045 Berlin.

Here's a taster of what it could sound like:

Die Luxus Luege by navs

If you're in town, it would be great to see you for an afternoon of electronic sounds in the open air.

Doepfer A-199 Spring Reverb

2011-06-10T17:30:00.004+02:00

With so many cool new modules being released, it's easy to overlook some of the classics. Similar to my A-156 quantizer epiphany, I've only just discovered the Doepfer A-199 Spring Reverb. Primitive though the effect may be, it's breathed new life into my system.

Here's a demo of how it sounds and some ideas for patching the feedback path:

Doepfer A-199 Spring Reverb Demo by navs

I'd tried the A-199 before, but wasn't taken by it: I guess I was looking for reverb, when I should have been listening to the effect for what it was. While on a recent hiking holiday, I came across an old, rusted gate. Because of its age and construction, opening and closing it generated wonderful, resonant/ reverberated sounds. I 'played' this gate for a full five minutes and spent the rest of the walk thinking about how one might recreate its sound. The A-199's time had come.

Today's Patch of the Day features a Cwejman RES-4, the A-199 and Metasonix R54 in the feedback path:

The Rights of Spring by Navs

The one criticism that's leveled at the A-199 is its tendency to hum, but, keeping the module far enough away from the PSU and the springs outside the case, I haven't noticed this to be too bad. I'm also happy with the sound of the stock Belton tank, but if you want to change it, consult this spring reverb wiki compiled by Tim Stinchcombe for a suitable replacement.

The A-199 is a lot of fun. It can add simple ambience to sounds or be patched as a special effect. This module was the missing element in my system, adding space, colour and character - spring reverbs and modular synths seem to be made for each other.

New Neulant van Exel Cases

2011-06-09T11:08:00.003+02:00

Spotted at Schneidersladen. Cases come in a choice of colours and wood. PSU is a Tiptop Audio Zeus. Prices TBC, but could be around €1100 for the large (18U) and €800 for the small (9U) versions.

You might remember Neulant van Exel's portable case, the Klangformer.

Server Update

2011-06-07T10:31:00.003+02:00

Turns out my server is not down: the domain was allowed to expire and my content deleted.

I'm looking into a solution for my audio files, either on a new server or at Bandcamp. In the meantime, I'll start migrating my pictures to Google's Picassa.

I don't know whether edited posts are re-sent to subscribers or followers, but don't be surprised if you get a slew of old posts in your inbox!

This situation was caused by mis-communication which was out of my hands. Having to re-upload three years' worth of content is a royal PITA, but there is a positive side. It has served as a wake-up call and allows me to reorganize the blog to ensure this doesn't happen again.

Pinch and a Punch for the 1st of the Month

2011-06-01T18:00:00.002+02:00

My server is down and, with it, most of my content.

Hopefully back up soon!

4MS VCAM & PEG Demo

2011-04-18T16:11:00.003+02:00

I got a chance to play with the prototypes of the 4MS VCA Matrix & Pingable Envelope Generator this past week while Dann & Jeannot were visiting Berlin. As the layout & features of both modules might change, I won't go into detail. Here's a quick, uncommented, run-through:

4MS VCAM & PEG Demo by navs

The VCAM works as you'd expect: it's a matrix mixer with the added benefit of SSM VCAs & mutes, capable of processing both CVs & audio. The LED mute buttons, in particular, would be useful in performance.

The PEG offers tempo-sync'd envelopes/ LFOs with control over multiplication or division of the envelope time, contour shaping tools and various trigger outs. With a little feedback and when run at audio-rates it can produce chaotic results.

Thanks to Dann for bringing them round - looking forward to the final versions!

Release: Trans Europa Exzess

2011-04-15T16:23:00.005+02:00

Studio version of my set at the Schneidersbuero Superbooth event at the Saasfee Pavillion last week.

Trans Europa Exzess by Navs
I took a 6U system to Frankfurt, which was the same rig I used for the above recording: 4MS RCD + breakout, Analogue Solutions MX224 & SH-NZ, Cwejman RES-4, MMF-1 & VCA-4MX, Doepfer A-133, Makenoise Wogglebug & Maths, Plan B M15 & M12, Toppobrillo Sport Modulator & Triple Wavefolder and, of course, the EHX Stereo Memory Man w/ Hazarai.

This was the first time I received the full security check the airport, involving a visit to a special room and swab test on the case. A tip for modular travelers: when asked whether you are a DJ and your equipment is a mixer, answer 'yes' to both questions.

Thanks to Andreas and all involved - it was a great evening!

TransEuropaExzess

2011-03-31T12:04:00.005+02:00

A heads-up about Schneidersbuero's Superbooth tour, TransEuropaExzess, which kicks off with a special evening event during the Musikmesse next week in Frankfurt.

Look forward to the new Modular Merry-Go-Round, drinks and live performances from 4ms and others at the Saasfee Pavillion on Thursday, 7th April from 9 p.m.

More details about the Superbooth here.

Patch Tips #15 - Non-Linear Distortion

2011-03-30T13:34:00.008+02:00

I recently stumbled across the Nord Modular's exponential shaper module while looking for something to bend a signal. The ShpExp works with transfer functions to generate non-linear distortion. This can give a sound edge, without totally shredding it. Of course, my next thought was whether it would be possible to patch something similar with my system. As usual, Rob Hordijk had the answer.

The trick involves generating a signal at twice the frequency of the source, which will then be used to modulate the amplifier. The easiest way to do this is to patch multiples of the source to both inputs of a ring modulator, effectively multiplying the signal by itself. This performs full wave rectification and, in the case of sine waves, frequency doubling. Patched to a linear VCA, a sine wave is bent like this:

Here's how it sounds:

Mono- then Duo-phonic signal. Clean Cwejman signal path (MMF-1 sine, VCO-2RM RM, VCA-2P)

Mono- then Duo-phonic signal. Dirty Doepfer signal path for added crunch (MMF-1 sine, A-133 as RM, A132-1 VCA)

Feeding the rectified, frequency-doubled signal back to the source, rather than the VCA, will bend the sine into a triangle, albeit with a different pitch. Try varying the FM-CV amount, other VCO waveforms or even polyphonic signals for seriously warped shapes.

I used the VCO-2RM and A-133 which, being dual, allows one to cascade and further multiply the modulator. Frequency doubling or rectification can also be achieved by feeding +ve & -ve signals to a min/max analogue logic module like the A-172 & Maths' OR processor or Doepfer's A-119 ext. input module, as per this Patch Tip. Like the A-133, Fonitronik's forthcoming mh31 and Makenoise's modDemix provide one-stop solutions.

I'm not sure if this process is in fact single-sideband modulation as the modDemix description suggests, but it's certainly closely related to Amplitude Modulation which will be the subject of the next Patch Tip.

New Releases on Bandcamp

2011-03-26T15:53:00.005+01:00

Two collections of modular music for Spring:

ClubTransModular features material for my performance at the CTM.11 festival in February:

The Best of Patch of the Day, vol.2 is a collection of more of my favourites from the past year:

Both releases are available for €3+ each or €1 per track. Enjoy the sounds and thanks for your support!

Metasonix R54 Supermodule

2011-03-05T14:53:00.003+01:00

Tracks like a zombie, but kicks like a mule - my first taste of yellow.

As Metasonix own video makes hilariously clear, you're never going to play Switched on Bach with the R54. Feed the Supermodule with the appropriate combination of CVs, however, and you can coax deep drums, watery plops, rubber basslines and tortured-animal sounds from this unruly, tube-based VCF/ VCO.

Metasonix R54 Supermodule by navs

Taming the R54 is complicated by some crafty normalization - both the audio and CV inputs also function as outputs. Silent Way failed to map a suitable set of voltages, but this is hardly surprising given the amount of slew of the vactrol-based inputs. I've found plugging every socket helps, typically a short trigger to the audio input and an offset, 'pitch' CV and short envelope to the rest.

The R54 is a wonderfully idiosyncratic oscillator and makes a great, if contrary, companion to the green in my system. While other VCOs might be a better choice for melodic lines, for low-end wobbles and percussive patterns the R54 is hard to beat.

A-162 Trigger Delay Modification

2011-02-28T17:20:00.006+01:00

An update to this post on how to modify a Doepfer A-162 Dual Trigger Delay for perfect filter pings.

Replacing the A-162's stock 10uF capacitor with a 0.1uF helped, but meant that most of the useful range for pinging filters (0.5 - 2ms) lay within the first 10% of the pot's throw i.e. settings between zero & 1.

An attempt to reduce the resistance of the pot failed to help, so I replaced the 0.1uF with a 0.01uF/ 10nF cap. This did the trick: a setting of 5 now yields a ca. 2ms long pulse.

Here's a clip of three filters being pinged with various pulse widths:

Cwejman MMF-1, RES-4 & Metasonix R54.

As you can hear, the tone and volume are affected by the length of the pulse. This is even more apparent when the filter additionally receives pitch CV. The R54 shows the most dramatic response to changes in pulse length, especially when an attenuated multiple of the trigger is used to apply some pitch bend or 'thwap'. The A-162 is also perfect for pinging low pass gates.

Above is a picture of the solder-side of the board. I've marked two possible connections, depending on the type of capacitor you want to use. The two holes marked in pink are connected by a trace to allow for 'extra leg room'. The cap should be connected between the green and one of the pink holes. Pay attention to the polarity if you're using an electrolytic cap.

Needless to say, this mod will void your warranty and is your own risk. It's not difficult, but if you don't want to do this yourself, Doepfer offer a modification service on most of their modules at very reasonable rates.

Thanks to the Wigglers who helped in this thread.

Rechner7's modded Deluxe Memory Boy

2011-02-17T15:18:00.004+01:00

You might remember Rechner7's modded Stereo Memory Man w/ Hazarai from this post. Here are some sounds of his latest project, a Deluxe Memory Boy modded with trigger inputs for the tap clock, tap divide and expression mode:

Dmmb tapdiv by rechner7

The sound is lo-fi, but musical. The additional trigger inputs open-up many possibilities when used in conjunction with a modular. Click here for more examples.

Because the tap circuit is passive, it apparently needs a fairly hot trigger and it won't respond to very fast changes, but this shouldn't be an issue in most cases.

If you like the sound and possibilities of this mod but don't fancy the DIY involved, Rechner7 is selling his DMB. You can get in touch with him at Rechner7 (ät) directbox (döt) com.

Patch of the Day - Ping

2011-02-16T17:43:00.008+01:00

Live patch featuring a modified Doepfer A-162 Trigger Delay to ping filters, including a Cwejman MMF-1, RES-4 and a Metasonix R-54.

I love the sound of a pinged filter and normally use Maths' EOA to convert a gate signal into the short pulse necessary to achieve this. Having only one Maths in my system, this can be an 'expensive' use of the module, so I wondered whether the A-162 could be a cheap alternative.

At 10V, the A-162's output is hot enough to push a filter into oscillation. Unfortunately, the stock module's minimum time is only just short enough to avoid a double-trigger. I first replaced the standard 10 uF timing capacitor with a 1 uF, but, despite shortening the range by a factor of 10, it didn't give the scope I wanted, so I settled on a 0.1 uF blocking cap!

At the beginning of the recording, you can hear the effect the pulse width has on the MMF-1's ring as I increase the length up to the point where it double-triggers and back. With a 0.1 uF cap, the pulse is so short it can also be used to FM the filter to add a percussive edge.

If you want to try this mod on your Trigger Delay, or other Doepfer module with a timing capacitor, there's more info here.

See an update to this post here.

Club Transmediale Reminder

2011-01-31T10:58:00.004+01:00

A reminder of the Club Transmediale which opens this week and of my modular workshop & tour of Schneidersbuero on Wednesday.

Look forward to seeing you there - in the meantime, here are some moody shots from the buero:

Mini Teststation

Haken Horns

State Zero

You might remember the Mungo from this post. I've since had a chance to play with the Leploop and you can look forward to an overview with audio soon. The State Zero still eludes me, but as soon as I find a ruck-sack big enough ...

Shifter Shootout

2011-01-26T10:38:00.004+01:00

A comparison of two frequency shifters: the Cwejman FSH-1 and Synthesis Technology E560 'Deflector Shield'.

Two 'Klangumwandler': one analogue, one digital. One is capable of wide shifts, the other of going thru-zero.

To kick things off, here's a multi-tracked recording featuring both:

Internal make-up aside, the key difference between the Cwejman and Synthesis Technology modules is the range of available shift. The FSH-1 is quoted as spanning 0.02Hz to 12kHz. The E560 concentrates on lower frequencies to take advantage of the stereo effects made possible by shifting thru-zero.

Here's a quick manual tweak of the frequency. Take care of your ears and speakers with this and the following recordings!

range, MMF-1 sine. FSH-1, then E560.

While the Cwejman has a switch to toggle between LFO and audio rates and a fine tune dial, the SynthTech relies on a single frequency knob with a highly-exponential response. This makes it easier to dial-in slower rates, but, as you can hear, the jump in the last 10 degrees of the pot's rotation makes it harder to set higher frequencies.

Unlike the FSH-1, the E560 is capable of thru-zero shifts, offering enhanced stereo images. Modulated with a bi-polar CV, the up & down shifts swap sides; what's up, goes down and vice versa (again, watch your ears!):

e560_thruzero, MMF-1 sine. E560, manual tweak, carrier 8.

Due to it's highly exponential response and clamped range, the E560 seems happiest at slow rates, producing lush tremolo effects. Here's an example, isolated from the first recording:

e560_slow, RES-4. E560 carrier wave changed near end.

By contrast, the FSH-1 will track higher changes:

hitrack, MMF-1 sine, CV to FSH-1 then E560.

This opens up timbral possibilities which, given a suitable offset, can sound similar to linear FM:

fsh-1_tone, MMF-1 sine, FSH-1. 50-50 mix. Eos reverb.

These last clips show what's possible when putting a FS in the feedback path of a delay:

e560_fsdelay, EHX SMMH, E560 plus feedback.

Carrier bleed is the bane of the analogue FS. The E560 does not suffer from this. The FSH-1 quotes good carrier suppression, but I initially couldn't get the above patch to work. The more feedback I introduced, the louder the howl of the carrier. I asked Wowa Cwejman who suggested calibrating the FSH-1 to my system/ power supply. Two trim-pot tweaks later and the carrier was as good as gone:

fsh-1_fsdelay, EHX SMMH, FSH-1.

The build quality of both modules is excellent. The Cwejman has attenuators for its inputs and a VC-able up/ down mix output. The SynthTech has a built-in feedback path and dry/ wet control. To my ears, the FSH-1 has the superior sound, but it is almost twice as expensive. The E560 offers thru-zero shifting but, in practical terms, is limited to low frequency shifts.

Both modules have a ring-mod mode, offering out-of-phase outputs for extreme panning effects. The E560's phaser mode might not be as pronounced as a dedicated unit like the SPH-2, but it is a nice bonus. The FHS-1 can also be pressed into phaser-like duties by mixing dry and wet signals and introducing some single sideband feedback. The E560 alone offers morph-able carrier waveforms, a unique feature in a hardware FS.

Thanks to Paul Schreiber and Wowa Cwejman for taking the time to answer my questions and to Schneidersbuero for the loan of the modules.

Ultraschall Festival

2011-01-21T13:47:00.003+01:00

A quick heads-up about the Ultraschall Festival for new music, which opens in Berlin today.

For details, check the programme at the Kultur Radio or Radialsystem sites.

Tickets are still available for tonight's TU-Studio concert, featuring a five-channel performance of Pierre Alexandre Tremblay's Ever Now Soon An End, a new piece by Ron Kuivila and a live performance by Alvin Curran.

Patch of the Day - Define Time

2011-01-19T19:12:00.004+01:00

Thru-zero linear FM fun with the Cyndustries Zeroscillator and Toppobrillo Sport Modulator.

Today's PotD showcases some of the lovely linear FM timbres and stereo effects that the ZO is capable of. It's a single-pass recording of the 0 and 270 quadrature outs, panned hard left and right, with only a little plate reverb from Audio Damage's Eos added. I used a self-oscillating Cwejman MMF-1 filter as modulator, manually offsetting its pitch with four pre-set voltages from a Fonitronik mh01.

The Sport Modulator drives the patch, delivering both CVs and gates. The cycle/ sample times were nudged manually, with some cross-modulation and the stepped random signal of a Wogglebug. The latter's smooth out modulated the attack time and loop trigger of a Cwejman CTG-VC. At high speeds, the envelope amplitude modulates the VCA-2P used as the final gate, adding further sidebands to the mix.

Clubtransmediale 2011

2011-01-11T11:59:00.003+01:00

CTM.11

A belated Happy New Year and a heads up about CTM.11, which runs from 1 - 6 February in Berlin. This year's festival features concerts by Morton Subotnick and me, although, unfortunately, we won't be performing together.

Morton Subotnick, CTM.11

Subotnick will be opening the festival on the 31.1 with a reworking of his classic "Silver Apples of the Moon". Joining him on stage at the HAU will be Berlin video artist Lillevan and Korean pianist SooJin Anjou. Details here.

Subotnick will also be giving a lecture at the 'Pioneers' session on 3.2. at the HAU1, which will also premiere Stan Warnow's "Deconstructing Dad" about the life and work of Raymond Scott.

Ursula Bogner, CTM.11

Electronic enigma Ursula Bogner will join Faitiche label-mates, including Jan Jelinek, at the Festsaal Kreuzberg on the 2.2.

Robert Henke, aka Monolake, will perform a wave field synthesis, or surround sound, concert on the 3.2. at the HAU2.

For more concert dates, see the CTM.11 Programm Preview.

Leaf-Audio, CTM.11

Leaf Audio will be hosting another of their DIY workshops at the HAU3 on 2.2, where participants can build one of their snack-box synthesizers, like the Bumsss, BongBong and wonderful Fuzz-O-Mat. Register here.

Schneidersbuero, CTM.11

And, also on the 2.2., I'll be giving a guided tour of Schneidersbuero and playing a short live set, possibly including my take on Subotnick's Sidewinder and Ghost Tracks technique.

If you're in Berlin, I look forward to seeing you at some of the events!

DIY RCD Breakout Panel

2010-12-23T11:00:00.004+01:00

If you haven't already done so, this is an easy build which I can highly recommend. It opens up new possibilities by bringing some of the 4MS RCD's 'hidden' features to the fore.

My original aim was simply to get front-panel access to the up/ down count and gate/ trigger switches, which normally involves unscrewing the module from the rack. I wasn't even going to connect the reset jumpers but I'm glad I did - this has a marked effect, particularly on the odd divisions. Flicking between trigger and gate mode also yields an added bonus when driving logic operations. For example, patch the /8 to Brains' 'direction' input and toggle between gate and trigger to 'activate' and 'hide' the boolean function. In combination with the reset options, this can yield some funky sequences.

The build instructions are here. Soldering took all of 20 minutes, drilling and filing the faceplate, despite the Make Noise blank being softer than metal, took two hours. Always my favourite part of DIY...

Hammond Solovox Sounds

2010-12-19T13:14:00.004+01:00

The Solovox Solo-Pedal-Unit was built in to Hammond's RT2 & RT3 organs to provide monophonic accompaniment/ lead voices.

The picture and sounds were kindly passed on to me by my colleague, Christian. The recording was made from the direct outs of the unit that was built into his 1952 RT2.

It was the first time I'd heard of the Solovox and its wonderful tones. Sadly, he'd already sold it before I could get a chance to experience this rare, tube-based instrument for myself. Worse still, apparently the new owner is a fan of 'easy listening'.

Here are a few links (1, 2) to the history of the Solovox. I notice one credits Eric Barbour of Metasonix. Now, why doesn't that surprise me?

Fonitronik mh31 VC Modulator

2010-12-05T14:52:00.005+01:00

A look at the Euro-prototype of Fonitronik's unconventional ring modulator.

See this thread at the electro-music forum for the background to this project and Kevin Kissinger's excellent demo.

"Harry Bissell once recommended Irvine's design for a ring mod. I changed the resistors to our common values, and added two VCAs to the inputs, thus giving a voltage controlled ring mod. Makes a lot of fun."

Matthias's opening description in that thread might lead one to believe that this circuit is indeed just another ring modulator with the added benefit of voltage control, something akin to Doepfer's A-133 VC Polarizer. Irvine refers to his design as a 'frequency mixer' and, while I'm not sure of the the semantic difference, the sonic results certainly are unlike 'normal' RM.

Here's a comparison between the Cwejman VCO-2RM, the A-133 and then the mh31:

The Cwejman and Doepfer (0:26) exhibit 'classic' RM, with the latter distorting at higher CV levels. The mh31 (0:54) produces a harsher, more metallic tone that, while having RM characteristics, doesn't yield the expected sine-on-sine bell-tone. Here's what the waveforms look like:

Irvine's circuit sums the inputs, then inverts, rectifies and doubles the amplitude of the sum. This offers a clue as to why this circuit sounds different. In the following example, I've modulated an audio signal with an LFO. Using a traditional DC-coupled RM, the amplitude is attenuated as the LFO nears 0V and is then polarized. To the ear, flipping the polarity of an audio signal should make no difference:

(VCO-2RM, A-133 @ 0:11, mh31 @ 0:25)

This last clip highlights the difference in Irvine's approach. Rather than simply changing the polarity, at slow speeds, the waveform seems to 'change direction'. This reminded me of the type of soft sync that is implemented in some VCOs or mixing waveforms in a min/ max analogue logic module like the A-172. Here's what it looks like:

The term 'ring modulator' might be misleading, but that shouldn't detract from the possibilities of this circuit, both in terms of timbre and function generation. The build quality is excellent and, taken as an alternative to the classical DC-coupled ring mod, the mh31 offers new sounds and surprising results when processing control voltages.

Leaf Audio Fuzz-O-Mat & Kenny's Death

2010-11-21T18:11:00.006+01:00

A demo of Leaf Audio's DIY distortion-in-a-snackbox effect.

Described by its makers as a 'lethal lash', this deceptively simple circuit is capable of serious audio destruction. It features three gain stages, two feedback loops and adjustable power starve. It was originally designed by Leaf Audio to process electronic beats although, as you'll hear below, it's quite happy when fed with other material.

Despite its diminutive size and innocuous looks, the Fuzz-O-Mat is capable of dramatic gain swings, so be careful of your ears and speakers! I've used a limiter on these recordings to keep the levels in check.

The Fuzz-O-Mat is only available by taking part in one of Leaf Audio's workshops. The kit contains everything you need and the PCB is well laid out, making it fun to build. Manuel of Leaf Audio and Matthias of Curetronic are on hand to help should you get stuck.

Check the list of upcoming dates and their other 'snack-box synths': the BingBong, NoiseFuzzFilter, RingDing & Bumssss analogue drum synth.

The next workshop in Berlin is on the 4th December at the Haus der Kulturen der Welt as part of the Worldtronics festival, where you can also look forward to a modular set from me, quite possibly shredding pristine Cwejman sounds with my Fuzz-O-Mat.

If you can't take part or would like something pre-built, head over to Kenny's Death and contact Manuel to order "the most kaputt sounding fuzz workstation ever" - a Fuzz-O-Mat with all the Hazarai.

Patch Tips #14 - Sub-Harmonic Division

2010-11-21T11:57:00.004+01:00

Using Maths or the VCS to generate sub-harmonic variation.

Today's Patch Tip is cribbed from Seth Nemec's Bananalogue/ Serge VCS demos and the 'Undertone Generator' patch in Rich Gold's Serge book:

"Sub-Harmonic Generator: If a series of triggers are applied to the VCS faster than the total rise and fall times, the module will divide the incoming signal by a whole number. In the audio range the output will be the sub-harmonic series."

The VCS has the benefit of an AC-coupled output, but I feel Maths offers finer control over the settings. As this patch relies on the rise time, Math's EOR pulse can be used to provide an even beefier sub signal.

The technique simply involves patching a mult of your principal oscillator to Maths' trigger input and mixing either the envelope or EOR with the main VCO in a filter etc. Set the response to linear, fall to fully CCW and then gradually increase the rise time. Additionally altering the fall time will give you more control over the timing and hence sub-divisions.

Here's what it can sound like:

subharmonix

The patch relies on the envelope's inability to respond to a second trigger until it has completed its cycle, meaning it will 'skip' pulses and thus generate a lower frequency. You can try this patch with other trigger-able envelopes like the Plan B Model 10, Cwejman CTG-VC or Doepfer A-143-1, bearing in mind that the minimum possible cycle time and trigger response will affect the possible sub-divisions.

Berlin Music Days - Navs Live

2010-11-03T09:33:00.003+01:00

>
photo: g.p.macklin

I'll be taking part in the De:Bug Musiktechniktage this Saturday, helping Andreas Schneider with his workshop and playing a short live set. Time should be between 16:00 & 18:00. See the De:Bug link for more information.

Look forward to seeing you there!

De:Bug Musiktechniktage
5th & 6th November 2010

Radialsystem V
Holzmarktstr. 33
10243 Berlin

Schneiders London Testsalon Opening

2010-10-15T11:07:00.003+02:00

Some pictures from the opening event at Rough Trade East last Sunday.

It's been a while since I've been down Brick Lane and I was amazed at the buzz on the streets. Rough Trade East is a great location for the Testsalon and I wish Andreas and the lads every success with the venture. Thanks to everyone who came along - it was great to meet you!

TOP: Cwejman RES-4, MMF-1, Toppobrillo TWF, A-132 VCA, Harvestman Hertz Donut, VCA-4MX; BOTTOM: A-147 VCLFO, A-160/1 clock divider/ sequencer, Fonitronik Attenuverting Mixer, Analogue Solutions SH-NZ, Make Noise Wogglebug & Maths, Bananalogue/ Serge VCS.

Above is a picture of the 6U case I took with me. I can happily confirm that it met Easyjet's carry-on luggage regulations. There was a sharp intake of breath from the passengers behind me as I opened the case at security in Berlin - the people at Luton didn't even bat an eyelid. I asked Easyjet about taking a 9U as carry-on: unfortunately, it's too big.

Putting together a 6U performance case was a real challenge. My normal approach is to ensure that I have all eventualities covered e.g. VCAs, polarizers, mixers etc., but this time the solution was to think in terms of the set I wanted to play and populate the case accordingly. Anything I hadn't used in rehearsal (mults, logic, sound-shaping filters, complex envelopes etc.) was easily left out.

My set comprised of three sections and relied on re-patching & repurposing the modules e.g. filter as oscillator, envelope as trigger delay etc. Rather than using LFOs, a joystick or keyboard/ Pressure Points, I made all changes manually.

Section one: white noise tuned by the RES-4 to provide a pad, the MMF-1 randomly pinged by the Wogglebug (the Allen Strange 'tail-chasing' patch); section two: my faux binary zone patch (MMF-1 through TWF as bassline), RES-4 pinged by clock divider for 'Berlin-style' stabs, high-pitched waveform discontinuity sound from Hertz Donut principal as high hat, modulator as kick drum and, section three, the RES-4 excited by the VCS and run through the TWF for some distorted klonks, with the HD providing some 'stupid' accompaniment and the MMF-1 rumbling the subs.

Part workshop, part gig, this was an interesting experience - despite rehearsing, the one thing I wasn't prepared for was shaky patch-hands. On more than one occasion, I missed the jack and hit the face-plate! Self-contained instruments like Maths, the Wogglebug & Hertz Donut are perfect for small systems (although the latter's secondary CV inputs, which need to be activated, are hardly performance-friendly!). The biggest lesson, though, was to bring your own monitoring: if you can't hear your music properly, you can't respond. Next time, I'll be wearing headphones!

Navs Live @ Schneidersbuero London

2010-10-05T11:33:00.003+02:00

I'll be performing a short set at the opening of Schneidersbuero's London showroom at Rough Trade East this Sunday.

Here's a short taste of what it might sound like:

Roughtrade Teaser by navs

The carry-on luggage regulations mean I'll be traveling from Berlin to London with a 6U case. It's been quite a challenge to find a happy balance between favourites and functionality, but also quite revealing to discover just what my desert-island modules are.

I hope you're as excited as I am about the opening and look forward to seeing some of you there!

Schneidersbuero London Showroom
Sunday 10th October, 11:00-17:00
Official opening and music @ 14:00
Rough Trade East

Patch Tips #13 - Binary Zone Clone

2010-09-20T21:54:00.004+02:00

Imitating John Blacet's complex staircase generator with Eurorack modules.

My first modular sequencer consisted of an A-160/ 1 clocking combo and a mixer. Patching four outputs of the A-161 to an A-138 and then on to a VCO was simple but fun. I don't know why it's taken me so long to realize that I should have tried the clock divider's outputs too!

Here's a short recording to demonstrate the difference between mixing the clock sequencer's outputs and those of the clock divider:

The principal difference is that, while the A-161 will yield single steps, the A-160's gates will push and pull the sequence higher or lower depending on the mix levels. This results in a variety of the number of steps and the overall sequence length.

The Binary Zone offers six clock divisions. Using a polarizing mixer like the fonitronik mh-01 will limit you to four, but if you substitute the A-160 with a 4MS Rotating Clock Divider, you can generate some very interesting shifting patterns.

Patch of the Day - Lagtyme

2010-09-07T18:15:00.002+02:00

Featuring the Toppobrillo Sport Modulator as VC divider and Triple Wave Folder as VC Multiplier.

<a href="http://navs.bandcamp.com/track/lagtyme">lagtyme by Navs</a>

Today's PotD is based on the 'VC divider' patch with the added twist of a multiplied pulse train courtesy of the TWF. Mult your clock source to four destinations: the TWF, Env1, SM1 S/H and SM2 S/H. Set both sections of the SM to cycle in 'hold' mode, send the output to two VCOs (in this case for pitch and PWM) and the End Out to envelopes 2 & 3. Take the TWF's pulse output to trigger a fourth envelope. In the recording, the first sound you hear is paced by the source clock, the two VCOs by the divisions generated by the SM and the hi-hat by the TWF stream.

You might not want the pitch changes generated by patching the SM's outs to the VCOs, but in this case it allowed me to generate some noise bursts by flicking each section's mode button from S&H to lag and hold. I also added some variation to the patch by sending three CV variables from Pressure Points to the two Toppobrillo modules.

For more patch ideas, see the Sport Modulator page and manual here.

Patch Tips #12 - More Mixed Envelopes

2010-08-22T12:16:00.003+02:00

Mixing envelopes for tailor-made transients. A follow-up this post.

Today's Patch Tip aims to overcome the limitations of the simple ADSR envelope when used to open a filter or VCA. I often find that in addition to controlling the time it takes for an envelope to reach it's peak value, I also want to control the level of that stage. This is especially true of the attack portion when I want more 'bite' without increasing the overall modulation depth of the D, S & R stages. Mixing an ADSR with an AD envelope solves this problem:

Cwejman VCO-2RM (+ sub ex A-160) > Borg filter, ADSR-VC2 + Bananalogue VCS > Fonitronik polarizing mixer > Borg. Gate to both envelopes. Pitch CV > VCOs + Borg 'key in'. Makenoise Pressure Points row 1 offsets pitch of oscillator 2, row 2 > VCS VC rise.

This is a simple but effective solution without getting into the complexities of patching-up a time/ level envelope as found on the Korg Poly 800 or Roland JD-800. If you did, however, want to try this, the Maths, Brains/ Pressure Points and Doepfer A-143-1 manuals all offer examples.

Monday Sport

2010-08-03T17:34:00.007+02:00

A couple of action shots of the Toppobrillo Sport Modulator.

Mounted alongside Maths, PP + Brains, A-151 & Choices, the SM makes a great addition to the team.

Sport Modulator - Staircase to Heaven?

2010-07-31T16:07:00.010+02:00

An overview and demo of the Toppobrillo Sport Modulator, a dual lag + hold/ sample + hold CV processor and generator which takes its cues from a classic Serge design.

The Sport Modulator features two identical but related sections, both of which are capable of smooth & stepped functions, low and audio-frequency oscillation and pulse streams. For more information and patch tips, see the product page and the SSG Wizardry section of the Serge Fans site.

Here's a basic run-though to get started:

LFO sine > SM in. SM out > VCO. Manual modulation of slew rate. Then pulse from same LFO to 4ms SCM, x8 out > SM T/H in. Lag + Hold mode first, then S+H. Hi hat provided as timing reference.

Here's the SM processing some white noise:

Bottom section cycles, end out provides T/H trigger for top section. Manual tweaks.

And here it is processing itself:

Both sections cycling, top > bottom S/H in, comparator out > bottom CV in, bottom end out > top CV in, bottom out > VCA.

And lastly, a variation on an Allen Strange S&H patch:

2 VCOs. One receives all notes, the second gets timed 'grabs': the main sequence is 8 notes long. Taking a shorter or uneven division from a clock divider causes the S&H to grab a different note on each pass. After about 40 seconds you can hear the difference between S&H + T&H modes: the latter lets the note stream pass while the gate is high and then holds the last note when it goes low. The second part of the recording, after 1 minute, uses the SCM to generate triggers at a faster rate than the main clock, opening the doors to staircase madness.

I have to admit, I spent the first five minutes staring at the Sport Modulator not knowing what I was supposed to patch where. The SSG tips were a great help, although there are some differences between the two. Firstly, as mentioned, both sections of the SM are capable of both smooth and stepped functions making it more flexible than its ancestor. However, the SM's cycle function is not gate-able so, while the cycle button provides convenience, some patch possibilities may have been sacrificed.

The build quality and layout are great and the circuit does indeed hold for quite a while without noticeable droop. Cross-modulating two cycling sections can generate chaotic repetitive patterns, with the comparator output documenting the two oscillators' struggle. An LED for the comparator output and 'attenuverters' for the CV ins would have been useful, but their absence in no way spoils the fun. Like the Wogglebug, which covers some of the same ground, the Sport Modulator is greater than the sum of its parts and the musical results are unique.

PotD - Brains Releasequence

2010-07-30T11:14:00.006+02:00

Today's Patch of the Day showcases some of the features that make the combination of Brains, Pressure Points and Maths such a flexible & tactile sequencing package.

Here are the patch details:

Cycling Maths Ch1 acts as clock. EOR > Brains CLK.
Linear, R = 0, Fall = 14:30
Envelope controls VCA depth + VCO FM Index.

Maths Ch4 slews Press CV from PP buss (use input, not trigger).
R + F ca. 15:00, exponential.
Slewed CV > VCA (dynamics), Brains 'Run' + Maths Ch2.
Set Ch2 to ca. 22:00 (-ve) and patch to Ch1 Fall VC

Patch PP rows 1-3 > sequential switch. PP row 1 gate > A-152 clock.
Digital out 4 > reset, common I/O > quantiser > VCO.

And here's what's happening:

Although Maths is cycling and providing Brains with a clock, the sequence is blocked from running until the press CV exceeds 1V. On release of the touch plate, the Press CV fades out, allowing the sequence to continue running until it again falls below 1V. An inverted mult of the press CV, which is fed to Ch1's Fall VC via Ch2, controls the speed of the clock. The harder you press, the faster the clock. As the press CV fades, the clock slows. Try different rise and fall times for both channels 1 + 4 and the amount of fall VC from Ch2 to taste. You could, for example, have the sequence get faster as the volume fades. The remaining connections (Ch4 EOC > Brains reset, PP rows 1-3 > multiplexer etc.) are non-essential, but nice.

Make Noise Brains

2010-07-28T19:27:00.007+02:00

If you didn't spot Brains lurking under my DIY desktop rack in Monday's post, here's another glimpse:

Brains provides sequencing power to Make Noise's Pressure Points, offering some of the functionality of the classic Serge TKB. For a full description, see the product page and make sure you read the manual! I'd never have thought that such a small and seemingly simple clocker could open up so many possibilities. Nice work work, Tony - Brains, Pressure Points & Maths make a cracking team!

Here's a quick example using the stepped out of a Wogglebug to change the direction of a four-note (i.e. one row) sequence. When the random voltage is above 1V, the sequence runs forward. When it's below, it runs backwards. At about 23 seconds, the /6 output of a 4ms RCD steps a sequential switch to add rows 2 & 3 to the chain, creating a 12-note sequence.

Bugbrains

Brains comes with all the necessary cables to connect the unit to two Pressure Points as well as chain the touchplates and is available now from Schneidersbuero. I'll be taking a closer look at the possibilities offered by Brains later in the week. In the meantime, if you have Pressure Points, do yourself a favour and get this module. It's … a no-brainer.

A Simple Case of Brawn over Brains

2010-07-26T18:39:00.008+02:00

Got a spare 3U rack that you'd like to use on your desktop to house performance modules like Pressure Points and Choices?

Unscrew these:

Take them to your local Schlosser and get him to fashion them like this with his Schlagschere:

Screw them back in place and enjoy!

Thanks to Max Kruppa in Kreuzberg for their time and effort.

Release: Best of Patch of the Day

2010-07-26T10:30:00.003+02:00

I've just released The Best of Patch of the Day Vol. 1, which is available from my bandcamp page for three Euros.

<a href="http://navs.bandcamp.com/album/best-of-patch-of-the-day-vol-1">prebloom by Navs</a>

The EP contains some patches from the past plus one new recording. Prebloom is a live performance featuring a Cwejman RES-4 & CTG-VC, Toppobrillo TWF, Doepfer A-143-1, Plan B Model 15 & Harvestman Hertz Donut VCOs, Makenoise Pressure Points and f(h) Choices joystick. I'll leave you to figure out the patch configuration from my previous examples!

4ms Shuffling Clock Multiplier & Expander

2010-07-24T12:39:00.005+02:00

Some patch ideas featuring the 4ms Shuffling Clock Multiplier and Breakout box.

For an overview of the concept and functions of the SCM, see this post.

This first example makes use of the SCM's tap function. Given two gates, it will 'remember' the tempo until it receives new marching orders. The most obvious clock source is an LFO, but this feature means you could also feed it with a gate signal from your keyboard:

fingered

2 VCOs, left gated by keyboard, right by manually-clocked SCM. The shorter the intervals between played notes, the faster the trills.

Here's a variation on the above using a tail-chasing Wogglebug to generate gate and pitch information. I used the x1 output of the SCM to trigger Maths and fed its envelope to the level VC of a Cwejman CTG-VC to fade out the echos. This works better in the slower sections i.e. the beginning of the clip. An option would have been to VC Maths' fall time with the pitch CV e.g. higher notes = faster echos = faster fade. If you don't have a Cwejman envelope, you could use a second VCA to add similar dynamic control of your your envelope.

echo

Because the SCM 'reads' the interval between two pulses, large timing changes from fast to slow will display an amount of lag as the SCM catches up with the new tempo. This is possibly the only failing of the module but, given the difficulties in implementing clock multiplication (the SCM can't 'predict' the new tempo before it has happened!), two taps are more than acceptable and this lag can also have its musical uses as a 'ghost' beat.

lag
LFO as clock, speed manually changed.

The most obvious use for the SCM is as a drum trigger/ sequencer driver, but this last recording is an example of the SCM in an auxiliary role, helping to time the changes of a quantizer to generate sync'd glissando.

gliss
Main VCO left, clock reference right. At six seconds a slewed sequence is patched to the VCO. At about 18 seconds the sequence is re-patched to an A-156 quantizer. The quantizer responds to changes in voltage, so the steps are not in sync with the main clock. Patching an output from the SCM to the A-156's trigger input (27 seconds) resolves this and, with some rotation and slip, allows for swung or odd time glissando.

The SCM and breakout box have undergone some changes since I tested the prototype. The main differences are the addition of a x1 output, or mult of the clock source, and the loss of some of the 'straight' gate streams. I found the former to be useful on the RCD and, because the SCM generates pulses even without an input, it can function as a main clock source in a patch. The lack of some of the 'un-swung' outputs means you'll have to rotate the SCM if you want to make use of the phasing effects I demonstrated in my original post. The Breakout box has also undergone some changes, now offering a global x4 multiplier and mute function. As I previously noted, if you have an SCM, you really need the expander. Not only does it offer access to the swing & skip parameters, but it brings the SCM to life as a playable instrument. The breakout box should be available soon, so plan for one in your rack!

DIY Quad Slew

2010-07-07T11:01:00.007+02:00

Got a spare A-180 multiple and need a simple slew to round off jaggy gates and S&H signals? Then get out your soldering iron and follow this simple schematic from the Doepfer DIY page.

As you can hear, it's great for removing the clicks you get when feeding a VCA with abruptly changing signals:

(before and after)

Filters also benefit from 'softer' control. I built this as a companion to my Plan B M23 ASR, but you could also feed the quad slew with the outputs of a clock divider like the 4ms RCD and take these outputs directly to your VCA. A cheap and small alternative to tying-up four envelopes!

I used a 4k7 resistor and 1uF capacitor, but you could try other values for a more or less rounded result.

Thanks to fonitronik for the suggested values and help!

Cwejman RES-4 Demo

2010-07-02T10:45:00.007+02:00

A run-through of the quintessential Cwejman module, the Quad VC Resonator.

For an overview of what the module does, read this Sound On Sound review and for some practical tips on how you might use the RES-4, read this chapter of the classic Synth Secrets series.

If the formant techniques described by Gordon Reid sound too much like hard work, you could, of course, just patch a sawtooth into the RES-4, twist the knobs and see what happens:

oriental
M15 VCO > RES-4. Pressure Points 'press CV' > quantizer > VCO FCV at less than 1V/O for oriental glissando effect. RES-4 manual tweaks, both BP & Notch outputs.

The above recording not only shows off the sort of vocal effects the RES-4 is capable of, but also the stereo spread caused by the phase cancellations and additions of the four filters when mixing the BP & Notch outputs.

Here's a similar recording using higher Q settings for some resonant phasing:

voice

Both recordings show the RES-4 could be used for frequency-dependent panning.

Unlike the MMF-1, for example, the RES-4 needs an input to start oscillating or ringing. A little white noise or short trigger impulse from Maths' EOR does the trick nicely:

ping

For me, this is the quad resonator's trademark sound. I know it drives some people nuts, but I love it. Higher Q settings will yield longer rings, using Pressure Points or an analogue shift register allows you to play four-note chords or complex cascades. Feeding the result into a wavefolder can add bite or bring out steel string-like qualities:

twfolded
RES-4 > Toppobrillo TWF, shonky rhythm courtesy of the Doepfer A-143-1.

Tuning the resonant frequencies and adjusting the gain levels gets you into physical modeling territory:

logdrums
Patch similar to above.

This final recording show-cases some of all of the above. It's a single pass, live recording featuring just one VCO, the RES-4 and maybe a touch too much EXH SMMH delay. When the oscillator is slow and the Q high enough, the filter is pinged. At audio rates, the effect is similar to the first couple of recordings.

spacejam

One last feature that should be mentioned is the amount of voltage control this module offers: frequency and volume on master or individual level, bandwidth per filter. As stretta expertly shows, this allows dynamic and precise settings, although so far, I've been happy enough making manual changes.

I ignored the RES-4 for many years, in part due to its price, but in the time that I've had it has become a firm favourite. The build quality is top notch and the sonic results unique. For more RES-4 examples, listen to the 'dampf', 'nutong' & 'eszieht' tracks from my Synthetic Nature EP and feel free to buy a track or two if you found this or any other test useful!

Patch Tips #11 - AC-coupled Mixing

2010-06-28T16:36:00.005+02:00

Abusing the Fonitronik Attenuverting Mixer as a fixed-rate slew limiter.

Mixing CVs can yield complex modulations. Fonitronik's mh-01 is perfect for the task and also has a hidden trick up its sleeve. Flicking the mode from DC to AC sends the sum through a capacitor, which leads to a pleasant and unpredictable rounding of the signal.

Two mixed LFOs. Change from DC to AC mode @ 8 seconds.

This is great for cyclical modulations and, while it's less useful for pitch information, can also be used to avoid clicks when feeding a VCA with a S&H signal.

Kids & Modular Synths ...

2010-06-28T12:37:00.003+02:00

... they just get it.

Thanks to everyone who came along on Saturday - I hope you had as much fun as I did!

Navs Live + EP Release

2010-06-21T16:07:00.003+02:00

Photo © verstaerker

I'll be performing live as part of the Bloom Garden project at the 48 Stunden Neukölln arts festival in Berlin this Saturday (June 26th).

I'll start patching around 16:00 at Parzelle 20 in the 'Hand in Hand' Kleingarten Kolonie in the Rütli Strasse 8, 12045. Same procedure as last year, as they say in Germany!

To accompany the open-air art installation, I've made a collection of recordings, called Synthetic Nature, available for paid download at my new bandcamp page:

<a href="http://navs.bandcamp.com/album/synthetic-nature">blüm by Navs</a>

I hope you like the sounds enough to buy the EP and, if you can tear yourself away from the football action, look forward to seeing you on Saturday.

Patch Tips #10 - Pre-Decay

2010-05-25T12:39:00.004+02:00

Mixing envelopes to emulate a reverb pre-delay.

Here's a very simple patch I use to change the impact of a sound. Mix a short negative voltage envelope with your main envelope to duck a portion of the attack phase. If you get the timing right, it can sound like longer pre-delay settings on a reverb:

In this patch, I used a Doepfer A-143-1 for its built-in polarizing mixer, triggering both envelopes with the same gate, but any combination of envelopes and mixer would do. You could of course also do the reverse and, using a positive envelope, add a second attack or 'bite' (e.g. trumpets) or flutter (claps) to a sound. See the A-143-1 manual for more ideas.

4MS RCD update & SCM preview

2010-05-09T20:42:00.005+02:00

An overview of the updated 4MS Rotating Clock Divider and a taste of the company's next product, the Shuffling Clock Multiplier.

I liked the RCD when I first tried it, but missed the ability to output gates and, more importantly, wished it could count on the downbeat. This latest update delivers both features and makes the Rotating Clock Divider perfect.

Here are some short examples:

Downbeat counting. /1, /2 & /4 outputs drive three envelopes, Pressure Points rotates.

Similar to the above, but with gates rather than triggers.

This third recording demonstrates an interesting side effect of the way the RCD generates its gates in upbeat mode: the /1, or mult of the source clock, is inverted, resulting in a funky offbeat. The first half of the clip is upbeat the way we know and love it from the A-160 (source plus /4), the second half is the RCD. If you want a 'normal' upbeat division to play against your source, take the mult directly from your clock rather than the RCD.

Upbeat + Gate. A-160 then RCD.

I've been very lucky to have had the beta versions of the Shuffling Clock Multiplier and SCM Breakout for testing. In the past week, I've had so much fun twisting rhythms that I'm sad to have to send them back. The final feature-set and layout will likely change, so I won't go into any great detail. Suffice it to say, that rotating, shuffled clock multiplications are an even bigger hoot than divisions.

The SCM takes an incoming clock and multiplies it. These multiplications are available at separate outputs and, like the RCD, these can be rotated. The x4, x6 & x8 clocks have twin outputs, and these can be played off against each other for swing and drop-out effects. Lastly, you can also modulate the pulse width of the resulting gates.

Here are some examples of the key functions:

Left = x4, right = S(x4). Slippage altered first, then shuffle, then both. These functions are related: one determines the amount of swing, the other which beats are swung.

Same as above. Skip selects which beats are 'dropped'.

For more details on the SCM see the 4MS website and Youtube demos.

The breakout module is key as it gives you manual and CV access to these functions and, as you can tell from this final recording, makes the SCM a very playable instrument:

4ms SCM jam by navs

Two VCOs, SCM, quantizer, analogue shift register and a couple envelopes and VCAs. Sequence sent to VCO1 (left) and multed to the ASR which is clocked by the S(x4) output. The shifted clock and pitch information is sent to VCO2 (right). Manual tweaks of the clock, SCM, ASR output and quantizer scale.

Thanks to Dann of 4MS for the updated RCD - I can't wait to get my hands on the final SCM!

Clash of the Borgs

2010-05-08T16:51:00.006+02:00

A quick comparison of the Malekko Wiard Borg 1 & 2, also featuring Plan B Models 12 & 13.

The Borg 1 (white knobs) employs slower vactrols, allegedly giving it a mellower sound and longer decay than the more aggressive, black knobbed Borg 2. I'm a big fan of the Plan B Model 12, but sometimes find it's response to CVs either too linear or lazy, so I was keen to hear the Borg 1 for myself.

Here's a fairly representative recording of the difference between these filters:

(Borg 2, Borg 1, Model 12)

I really liked the Borg 1's soft edges and muted tones. Its response is slower than the Borg 2 and this makes it a more natural sounding LPG. It might even have the edge on the M13, which tends to lose the initial transients. I don't find either Borg particularly useful for BP or HP duties and this is where the M12 shines. I tried patching both Borgs in a BP series, but didn't find the results as interesting as the dual-peak BP mode of the Cwejman MMF-1. That said, both Borgs are fantastic LPFs with attitude and character. Sonically, the B1 sits squarely between its more aggressive sibling and the rubber-funk of the M12.

You can download the full set of recordings, including the obligatory LPG 'thwap' test, here (3.2MB), but be careful with your speakers on the 'rumble' MP3!

Thanks to Schneidersbuero for the loan of the module.

Richard Scott Live Tonight

2010-05-01T09:28:00.003+02:00

If you're in Berlin tonight, be sure to check out Richard Scott's trio at the Sowieso in Neukölln.

Here are the details:

Sowieso Neukölln e.V.
Weisestr. 24
12049 Berlin

Richard Scott (UK) - Buchla Lightning, Analogue Synthesizer
Gustavo Aguilar (US) Drums and Percussion
Olaf Rupp - (GER) Guitar

9 p.m.

Patch Tips #9 - A-119 as Frequency Doubler

2010-04-23T12:02:00.004+02:00

The A-119 External Input module can be used to double the frequency of an LFO when used for clocking purposes. Here's the how and why:

Patch a square wave LFO to the A-119's asymmetrical input, set the input gain so that no clipping occurs and then adjust the threshold level to attain a 'clean' signal from the gate out.

Here's an example featuring the original and doubled clock:

Because the A-119 features a full wave rectifier to accomplish its envelope following duties, the negative half, or 'off' period, of the square wave is flipped into positive territory, in effect doubling the frequency.

There is a slight delay to the doubled clock, but this is understandable due to the speed of the A-119 and the threshold necessary to avoid a standing, permanent gate.

In the second example, I've also taken the sine output of the LFO and fed to a wave multiplier to get a third, syncopated clock:

Feeding the wave multiplier with a triangle wave will yield different clocks. For more wave-folded beats, see this post.

Patch Tips #8 - More Feedback

2010-04-18T13:38:00.005+02:00

Getting the Plan B M12 SVVF to self-oscillate and 'sine-shaping' à la Bubblesound µLFO. An update to this post and part of my ongoing drive to sell the Doepfer A-133 VC Polarizer.

If you've read that post, you'll know how I go about this so, without further ado, here's the Plan B M15 sine being fed back to varying positive and negative degrees:

And here it is being used as a modulator:

I don't have a µLFO and don't know the Bubblesound circuit, but this certainly seems to yield similar results:

I'd be interested to hear from any µLFO users whether the sine-shaping also causes a change in frequency as per my examples.

Feedback with the Model 12 yields some very interesting results! Depending on the amount of feedback, internal resonance setting and input gain, I got some wonderfully wild sounds. This is the bandpass output being fed-back negatively:

Part of the sound is down to clipping on the input circuit as you can see from these 'scope shots:

Surprisingly, I found that it is possible to FM the M12 at audio rates, although of course not with the precision or clarity you'd get with a non-vactrol-based filter:

The sine output of the M15 was used to FM the M12. The output of the filter was also sent to the sync input of the VCO, resulting is some pleasing, if groggy, harmonic stepping.

4MS Rotating Clock Divider

2010-04-13T19:56:00.005+02:00

First impressions of the 4MS Rotating Clock Divider.

This colourful module is an update on the classic clock divider design, offering even and un-even divisions of 1 to 64 and a unique rotate function to shift the resulting triggers along its eight outputs.

Here's a run-through featuring four voices. Towards the end, a random CV is applied to the rotate function.

The next example focusses on the rotate function, which is addressed via a CV. While this is more complicated than stepping with a gate, it allows programmed timing-changes with a sequencer or preset controller like Pressure Points.

The RCD outputs triggers, rather than gates. This is useful for percussive material, but has implications for certain logic gating functions. In this example, the main clock is AND-gated by the /4 output, first with a Doepfer A-160, then with the RCD.

The RCD will also function as an audio sub-divider. Here too, the results are different to the A-160 because of the lack of gates.

Sine wave source mixed with 'divided' signal. Choices joystick used to first rotate and then also change pitch.

The following example uses the RCD as a simple three-voice sequencer. The clock is reset on the first beat of the bar until the 1:25 mark (shortly after the FM index riser). Thereafter, the divisions are allowed to run free until about 1:50 (after the decay of the open high hat is lengthened) when it is snapped back into sync. A joystick was used to provide the rotate CV.

This was a lot of fun, but it did highlight an issue common to both the RCD and A-160: neither play 'on the one'. This is apparent when the drums are faded in (0:30). The cymbal denotes the down-beat, the RCD is playing off-beat. This can be 'corrected' on the A-160 with a logic inverter but, as the RCD outputs triggers, this is not possible. Another thing that became clear was the need for some planning with a programmer to set appropriate divisions, rather than wiggling a joystick!

The RCD got me thinking and working in a way I hadn't previously and I wanted to see whether the A-160/ 1 could compete. In this recording I mimicked the previous patch with the Doepfer clocking modules and fed four different reset triggers via an A-151 sequential switch which I stepped with a manual gate.

This resulted in less drastic changes than rotating divisions, but the shifting rhythmical patterns were no less musical or interesting. I also got the impression that the Doepfer divider had a bit more 'funk' than the 4MS, but this might just be down to timing inaccuracies on the part of the A-160.

The 4MS Rotating Clock Divider is mesmerizing, immediate and a lot of fun. Having easy access to un-even divisions was a revelation and the reset possibilities allow for complex rhythmic patterns. I'm not sure I'd want it as the only clock divider in my system, but it could certainly fulfill that role.

To wrap things up, today's Patch of the Day features the RCD and Plan B's M23 ASR.

shufti

Two VCOs, panned left and right receive shifted pitch and trigger information. A Wogglebug provides a random CV to rotate the RCD, modulate Maths' envelope length and transpose the sequence.

Patch Tip #7 - Synced Transposition

2010-04-05T17:31:00.004+02:00

Today's tip is adapted from Rob Hordijk's excellent Nord Modular tutorials.

Here's the situation: you have a clocked sequence that you want to manually transpose with Pressure Points. Try as you might, your timing isn't precise enough to avoid pitch glitches:

In the above, PP's row 1 CV was patched directly to the transpose input of an A-156 QNT. Taking the CV and first patching it to a sample & hold, which is triggered by a clock division, synchronizes the manual changes:

Hordijk's patch is a little more involved, but in the second example I simply used an inverted output of the A-160 to trigger the S&H. Another option would be to use the 'step1' output of an Analogue Solutions SQ8.

Patch Tip #6 - Wogglebug Smooth Out

2010-03-27T18:21:00.006+01:00

The 'smooth out' was the least used output on my much-used Wogglebug until I stumbled across this incredibly simple patch:

Plug the 'smooth out' into the 'clock/ chaos control' in. You can hear the result here:

smoothcontrol

This is a simplified version of the 'tail-chasing' random patch described by Allen Strange and adapted by Doepfer in the manual to their A-149-1 Buchla Source of Uncertainty tribute. What surprised me is how well-suited the smooth out is to driving the clock/ chaos control: it doesn't need further attenuation - it's just plug and play.

Patch Tips #5 LFO Freeze

2010-03-19T15:39:00.004+01:00

Today's second patch tip - how to 'freeze' an LFO - comes courtesy of Dieter Doepfer.

This was something I hadn't thought of doing until I saw Chris Muir's Periodicity for the Buchla. I could see how one could achieve this if the LFO was digitally generated, but wondered if there was an analogue solution and asked Dieter after the workshop.

He explained that there was indeed a very simple, if imprecise, analogue circuit but, given a VCLFO like the A-147, it could also be patched by feeding a negative voltage to the LFO's CV input and forcing it to slow down to a crawl.

As you can hear, this works well for short durations, less so for longer ones:

In the patch, I sent the -ve signal to the A-147 via a VCA, which I opened with a manual gate from a Choices joystick. On release of the gate, the LFO races back up to its original speed and continues more or less where it left off.

Thanks for the tip Dieter!

Dieter Doepfer's Workshop

2010-03-19T15:20:00.004+01:00

Some images from Dieter Doepfer's workshop, held last night at Schneidersladen.

The evening started with Dieter introducing us to his favourite past-time by baking a south Tirolean speciality - a buckwheat and berry cake ...

Andreas & Dieter get to grips with the Melita 106 filter.

Mixing it up.

The DIY synth

The board plus mini PSU

Here's one I prepared earlier.

Last slice

The DIY synth packs loads of features into an affordable board and sounds great. The filter has real weight and, if desired, very aggressive resonance. Standard op amps are used throughout, so no obsolete Curtis parts to worry about. For more info, check out the DIY synth product page.

At times it was hard to concentrate on the electronics with the mouthwatering smell of fresh baking wafting in from the adjacent room, but it was worth the wait.

Thanks to Dieter and Andreas for a lovely, informative evening and delicious cake!

Patch Tip #4 - Gate to Trigger Converter

2010-03-19T15:10:00.005+01:00

Using Maths to convert a gate to trigger to ping a filter.

To get really percussive sounds when pinging a filter you need an extremely short impulse. Envelopes are either too long or generate a decay phase which can lead to a misfiring of the filter.

To get clean, short spikes feed your gate signal to Maths' channel one, set R&F to zero and patch the EOR out to your filter's audio input. You can vary the trigger length by altering the fall time or, for more subtle changes, the response curve from log to exp.

In the example I've used the Pressure Points to generate the gate signal which is fed to Maths for conversion, row one to provide a pitch CV and row two to set the dual peak spacing on a Cwejman MMF-1.

Flame Tame Machine

2010-03-19T11:12:00.004+01:00

Tame Machine, spotted at Schneidersladen:

Can't be long before it's available!

Patch Tips#3 - Analogue Digital Logic

2010-03-17T22:14:00.003+01:00

How to invert digital signals by analogue means.

Today's patch tip is the result of my frustration with Doepfer's A-160 clock divider and the fact that I don't own an A-166 Logic module.

The problem: the A-160 divides incoming clocks like this:

Which is fine for some applications but not when you want all divisions to start on the same, i.e. first, beat. Hook up a couple of sequencers or try to programme a 'straight' drum pattern with an A-160 and you'll soon see what I mean.

More often than not, I need divisions like this:

... exactly the opposite of what the A-160 pumps out.

An A-166 Logic module, with its two digital inverters, would offer a work-around. As I don't have one, I wondered if I could press one of my other modules into performing similar duties. I found the solution in my Bananalogue/ Serge VCS and Make Noise Maths.

Both offer an 'End Out' gate which goes high on completion of a cycle. Patching a Logical 'high' from the A-160 to their inputs causes the End Out to go 'low', in effect inverting the digital signal. For this to work properly, use the 'input' rather than 'trigger' jack and set both the rise & fall times set to zero. With Maths, use channel 4's EOC, rather than channel 1's EOR.

While I don't have enough modules to invert all the outputs of the A-160, this method at least allows me the option of forcing some to play 'on the one'.

PotD - Patch Collective

2010-03-10T19:35:00.004+01:00

Live performance patch featuring 4 VCOs, 2 LPGs, 4 EGs, quantizer, analogue shift register, mux, Choices, Pressure Points, a bunch of mixers & VCAs and a pair of hands.

PotD_Patchcollective by navs

As you can tell from the long list of modules, this patch took some setting up, but was quite simple once I knew what I wanted. The combination of PP & Choices offered a variety of control options and made this patch come to life.

You can probably guess most of what's happening in the recording, so I won't go into detail. One tip I'd like to share with you, though, is how I controlled the Low Pass Gates as this was key to the patch. I mixed Choices Y output with the envelopes to open the LPGs for the sustained sounds and then close them for the short note runs. Really simple, but effective.

And if you're wondering how I achieved the slow, rising pitch in the sustained passages, that's the sound of a voltage-loaded but un-triggered Plan B M23 ASR!

Hands On Experience Part II

2010-03-08T20:55:00.004+01:00

A collection of recordings and patch ideas, focussing on manual manipulation and featuring Flight of Harmony's Choices joystick and Make Noise's Pressure Points touch keyboard.

In this first Pressure Points patch, I fed the X & Y rows to an A-151 sequential switch and the bussed gate to a clock divider to generate an eight note sequence. The bussed press CV was used to provide volume control. This is a simple patch to overcome the limitations of only having one PP and also provides variation on an otherwise predictable sequence of notes, depending on the division you use to trigger the multiplexer.

eightpointplan

Variation on the above. Press CV used to provide mild pitch bend of a self-oscillating filter and modulate the frequency of an LFO .

whistler

In this patch I sent the press CV to a quantizer via a slew limiter to generate a glissando effect in addition to the main pitch CV. I used row X to set different slew rates, the effect of which you can hear towards the end of the recording.

gliss

One odd thing about capacitance is the fact that it is always changing. Have a listen to what happens when I touch the metal frame of my Doepfer case:

rackbuzz

Make Noises' Pressure Points brings the capacitive keyboard, best known from Buchla and Serge systems, to the Euro format. This sort of controller might not be as immediate as a joystick but it offers a wealth of subtle possibilities. PP is tweakable and, given the right settings and playing style, responsive. For best results with the press CV, a slew limiter like Maths is a must as is an exponential VCA for dynamic volume contours. It is possible to confuse the circuit with rapid finger movements or multiple presses but, as Tony Rolando points out, this is the nature of the beast. It'll be interesting to see what the promised Points Expander brings to the party.

To round things off, here is a last patch featuring both controllers:

idlehands

PP transposes the sequence and generates volume levels (both signals slewed by Maths). Choices provides panning control and cross-fades between the sine and PWM (row Y sets rate) outputs of a Plan B Model 15 VCO which is filtered by a M13 LPG. The manual gate is used to open a VCA containing the output of PP's row Z, which is used to change the speed of the clocking LFO.

For more programmer patch tips, run a search for the Rich Gold Serge book and Buchla Music Easel manual.

Hands On Experience Part I

2010-03-08T20:48:00.005+01:00

A collection of recordings and patch ideas, focussing on manual manipulation and featuring Flight of Harmony's Choices joystick and Make Noise's Pressure Points touch keyboard.

First up, Choices is used to modulate the FM relationship of two VCOs and the time-base, or overall length, of a Plan B Polyphonic Envelope. Choices' manual gate was patched to the M10's cycle input to provide the trills.

trillkillkult

In this patch, Choices was used to manually trigger the envelope. Depending on the modulated envelope length, this sometimes results in trills. The joystick was used to modulate the pitch of the VCOs and provide the CV for an A-134-2 cross-fader.

crossover

A similar patch, minus the cross-fader, of 'chirps and cheeps' generated by a self-oscillating filter, FM'd by the modulated envelope.

bugsnbirds

Using a joystick is very intuitive and a lot of fun: move it, and you have a pretty good idea of what's going to happen. I considered getting Doepfer's A-174 because I like sprung joysticks. As it was out of stock and a new shipment of Choices had just arrived, I bought the f(h) module and have no regrets: unsprung joysticks have their own benefits and the manual gates are very useful. Choices has a hotter output than the A-174 and offers more control over in & ouputs. Match this up with an integrator, quantizer, cross-fader and a re-triggerable AD envelope for a dynamic performance tool.

Toppobrillo TWF Update

2010-03-04T13:14:00.004+01:00

Some more examples of the wonderful Toppobrillo Triple Wave Folder.

PotD_Back2Seven by navs

Self-running patch comprising two VCOs & VCAs, Maths & Wogglebug. One VCO is folded, the other modulates the TWF's Bias, WB is triggered by Maths' EOR, stepped out to pitch, envelope slopes and WB clock.

Recorded in response to Rechner7's Stockhausen-esque Noise Ring/ Pressure Points patch.

Wavefolders respond to dynamic changes, so I gated both the carrier and modulator before sending them to the TWF. This can have a dramatic effect and this patch would not have sounded the same had I gated the output post folding.

This is an example of using the TWF to achieve linear-FM-like sounds:

tbtwf_doublebass

Again, the VCO was first sent to a VCA. An envelope modules the bias, manual tweaks to envelope times and DC offset. Pure sine first, then folded.

This sort of sound is normally quite tricky to achieve via analogue FM, because of phase and tracking issues.

Here's an evolving sound featuring a sine wave some light envelope modulation of bias and manual tweaks.

tbtwf_evolve

The Triple Wave Folder has so many sweet-spots for this kind of tonal shaping and the output is clean enough so you don't need further filtering.

Lastly, here's an example of the TWF's saw to sine function:

tbtwf_saw2sine

TBTWF_saw2sine, 'scope shots PDF.

As you can hear, it does a great job. I asked Josh about the rounding of the saw evident in the 'scope shot and he confirmed that this is normal. He also explained how he achieved the panning effect in his demo: the resulting sine is 90 degrees out of phase so all you need is a multi-output LFO/ oscillator. Thanks Josh!

PotD - Toppo Banjo & the Wonky Beat

2010-03-02T11:36:00.007+01:00

Two patches/ applications featuring Toppobrillo's Triple Wavefolder: first as a traditional audio waveform multiplier, then processing an LFO to generate syncopated rhythms.

Toppo Banjo

Although the TWF is capable of creating more extreme sounds, especially when fed with polyphonic or FM'd material, in this first recording I've kept the settings fairly tame.

For the plucked banjo sound two stages of the TWF processed a single sine wave which was then filtered by a Wiard/ Malekko Borg. The bias was modulated with an envelope. The guitar sound was similar, with the exception that I modulated the DC offset with an LFO. The Hammond/ Leslie-like sound was the result of three stages folding an exp. FM sound from a Cwejman VCO-2RM, an oscillator the TWF seems to love.

In this second example I used the TWF to multiply an LFO to mess with an otherwise straight rhythm:

BeatFolder

The kick drum is triggered by the pulse out of a Doepfer A-147 VCLFO, the FM click sound by the folded signal and the FM klonk by a subdivision of the same (A-160). In the first 40 seconds I adjusted the bias settings of the three folding stages, thereafter I altered the DC offset. This was a lot of fun and the results are certainly useable.

The Toppobrillo Triple Wavefolder has been a revelation to me - despite having built my own CGS Lockhart Wavefolder and tried Doepfer's A-137 and the Bananalogue/ Serge WVX, I never quite 'got' wavefolding/ multiplying. The Toppo sounds fantastic - to my ears, the best of the bunch - and its open nature makes it a flexible tool: you could, for example, tap the output at stage two, send it to a resonant filter it and then return it to stage three for some final folding. I managed to coax subtle plucked harp sounds through to aggressive sync-like 'digital' basses from this module, all with minimal fuss. Its taken me a while to cotton on, but the Toppo has opened my ears to wavefolding and got me inspired.

Thanks to Herr Schulz at Schneiders for his almost missionary zeal in recommending the TWF!

PotD - We All Pass Out

2010-02-27T14:14:00.004+01:00

Using the All Pass output of one of favourite filters - Plan B's Model 12 State Variable Vactrol Filter - to create a phasing effect. Inspired by this old thread at modularsynth.net

PotD - We All Pass Out

FM'd self-oscillating Cwejman MMF-1 filter sent to both a mixer and the M12, All Pass out returned to mixer. Gated by a Bananalogue/ Serge VCS which is responsible for much of the sequence's funk due to its inability to re-trigger.

The phase cancellations are clearly audible at around the 10 second mark as I fade in the all-pass signal to the mix.

The balance between original and all-passed signal is key to getting the phasing right. The M12 is capable of some very musical distortion (more on this below) and I think I pushed the filter's input too much in the first example. To compensate for the source material's lack of harmonics and to help set a better balance, in this example I first processed the sequence with my Ken Stone Lockhart wavefolder:

M12 as Phaser

This last clip demonstrates the Model 12's characteristic 'vactrol fuzz'. An FM'd Hertz Donut is fed into the filter, Maths sweeps the cutoff while I manually adjust the filter input level. I also compensated for the increased volume at higher fuzz levels by turning down the final VCA accordingly.

M12 Vactrol Fuzz

Normally, this is just the right amount of fuzz for my liking but, if you remember this, you'll know that the M12 is capable of some truly molten sounds.

Does Size Matter?

2010-02-27T11:19:00.007+01:00

Synthspotting at Schneidersladen this week ...

The impossibly sweet yet unfathomable Leploop:

Sounds fantastic and begs to be tweaked. The fact that no-one in the shop knew how to programme it added to its allure and the fun-factor. I've got to have one of these!

See also this Matrixsynth post.

The gigantic Mungo Enterprises State Zero:

8-note polyphonic patchable beast of a synth. Looks stunning, but unfortunately I didn't get a chance to play with it. More info and sounds at the Mungo Enterprises site.

Under Pressure

2010-02-20T14:55:00.005+01:00

Introducing Hubert, a DIY pressure controller.

I got to play with the prototype last week and had a lot of fun. Here's a brief description of this hand-held device from Zauner Elektronik:

"Each channel has three outputs: CV Out, Inverted CV Out and Gate out. Each side is capable of holding the current voltage on CV Out, whereas the inverted CV appears on Inverted CV Out. If a CV is held in the CV Out you still can use the inverted out, even switching from positive to negative voltage as often as you want without disturbing the held CV output."

The hold function exhibits minimal droop and is key to working with Hubert: you can set a voltage with the pressure pads, sample it and then use the second output to generate another voltage on the same channel. This gives you a total of two dynamic and two static CVs.

I'm looking forward to getting my hands on Make Noise's Pressure Points but, having seen Katavist's wonderful BugBrand CTL-1/ Wiard JAG demo, I'm beginning to wonder whether it offers the full monty viz. its current lack of sequencing options.

Also, despite the allusion in the name of the Make Noise module and the controller description at the BugBrand site, neither of these interfaces actually respond to pressure. This might be semantic hair-splitting on my part but, as you can see from the Hubert demo video, there really is a different feel to playing a device with genuine pressure sensors.

Zauner are currently working on a second revision which will include two independent manual gate buttons and threshold level pots for the pressure-activated gates.

PotD - Ghost Tracks Pt II

2010-02-10T19:28:00.007+01:00

Free-running noodles are all well and good, but what if you want more control over the events in a complex patch? Today's Patch of the Day revisits Morton Subotnick's ghost tracks technique, first in its original form using an envelope follower and then MIDI CC > CV automation.

This first recording comprises three multi-track takes. I used a mic patched into an A-119 Ext In/ Env. Follower and fed the resulting CV to different voice parameters e.g. volume, filter cutoff, FM depth, clock VC etc. This involved a lot of barking, howling and clucking into the mic and was a lot of fun.

Nevertheless, this method has its limitations. Firstly, it works best with short, staccato bursts - sustained notes take a lot of breath! You could slew the tail of the envelope, but this alters its original shape. Also, you are limited to a single control voltage. This meant that I found myself reaching over to the modular to alter, say, the pitch of a VCO while bellowing into the mic.

I wanted to be able to play all voices simultaneously and react to the changes dynamically, in other words jam. With just one set of vocal chords and mic/ envelope follower combo, this clearly wasn't going to happen, so I resorted to configuring some MIDI faders and the Aux outs of my Kenton Pro 2000 II.

PotD GhostTrax2 by navs

This is a live stereo recording of a four-voice patch. Admittedly, this method is a departure from the original concept as the faders & CC/CVs are nothing more than an automation remote control for the modular. However, the movements are recordable and, having the MIDI controllers conveniently in one place, meant I could 'conduct' all voices in the patch.

To add a few unpredictable elements, I cross-multed some of the CVs and audio sources so, for example, a CV that decreased the pitch of one VCO also increased the FM index of another, unrelated voice or, another example, the carrier of a ring mod duo also acted as a modulator in an FM voice.

TTA Z8000 Matrix Sequencer

2010-02-07T16:15:00.005+01:00

Funny how things come in waves. The last breaker brought us envelopes, the next threatens to flood us with sequencers, programmers and control devices.

Det3 and Sequentix both have standalone sequencers in the works, STG Labs and Malekko/ Wiard plan to release slider-based programmers. The two possibly most closely-related and awaited products this year are Make Noise's René and Tip Top Audio's recently released Z8000, which is the subject of today's mini-review:

The Z8000 is billed as a matrix sequencer/ programmer and offers ten independently-clockable lines of CVs. Given its price and relatively compact size, it is a remarkably flexible and affordable package. You can find out more on how the Z8000 works here.

First up is a brief run-through using four 4-note sequences:

TTA Z8000 by navs

Rows 1, 3 & 4 were clocked by an LFO and subdivisions generated by a Doepfer A-160/ 1 combo. I used a Bananalogue/ Serge VCS to delay the gate for row 2 to provide some syncopation. A manual gate was used to change direction and reset individual rows.

Lost in the Matrix.

The first example is relatively straight forward, something one could achieve with multiple analogue sequencers or a digital multi-track sequencer like the P3. The remarkable feature of the Z8000 is the fact that all outputs 'share' the same pot values. This takes some re-thinking on the part of the user. My initial attempt at tapping one of the aggregate lines resulted, somewhat comically, in disaster:

Z8K Matrix Hell

As I say, it takes some getting your head around! The reason this is relevant should be apparent: any change you make to an individual sequencer row/ column will have repercussions in the matrix, so beware.

Naturally, this can also be musically beneficial as you can hear in this longer take:

Z8K Live Jam (6 mins)

Four VCOs, tuned to the same root note. At about the 3 minute mark, I introduce a fifth voice taking its CV from one of the aggregate outs. I then change my mind and try the other out! As you can hear, the Z8000 is very hands on, certainly this jam was made by the fact that all pots were directly accessible, unlike the P3.

Because the Z8000 offers independent clock, reset and direction control for each 'sequencer', Reich-isms and polyrhythms are easily achievable:

Z8K Reichism

Four VCOs, four rows each with the same pot values. The burst out of a Wogglebug and an A-151 sequential switch were used to reset the rows and thus shift their relative positions.

Z8K Polyrhythms

VCS, Maths and A-160/ 1 used to provide gate delays/ divisions.

--

The Z8000 is well-built and laid out and looks fantastic. The knobs are clean and responsive and offer enough clearance for the 'large-fingered'. It packs an astonishing amount of sequencing into 28HP. So, what's not to like?

Some might bemoan the lack of gate outputs, but this can be overcome by taking a mult of the gate signal via a Stackcable or other clock sequencer. I would have liked VC step addressing and wonder whether this and the direction function couldn't have been implemented as it is in the A-152, rather than via a gate signal. I do, however, like the fact that the method used means that one row can be programmed to provide direction triggers e.g. a pot tuned fully CCW = forward, above a certain threshold = backwards.

In use, my largest frustration with a module featuring ten separate sequencers was the lack of a global reset! Ironically, I used a muxed manual gate from my A-Sol SQ-8 to solve this. If you're particular about this sort of thing, you should know that the Z8K resets to step one, meaning that the first step when clocked is actually step two. The work-around here was to use the SQ-8 to step all sequencers to position four. My last observation is actually not related to the Z8K but Doepfer's A-160/ 1: because of the way it counts, I failed to get a sequence to go forwards and backwards in equal measure, pendulum style. If you understand German, you can read more about the problem in this post at the sequencer.de forum.

As TTA's Gur has pointed out, the Z8K's open nature means you'll need a variety of other modules to get the most out of it. Clock dividers (A-160/ 1, 4MS Rotating Clock Divider or Flame Clockwork), logic, sequential switches or a multiplexer like Doepfer's A-152, not to mention a quantizer or two, would make excellent companions. Given the voltage addressing capabilities of the A-152, a random source or a joystick would also expand the patch permutations.

The wealth of possibilities on offer might seem dizzying or daunting, but if you have the head and the supporting modules, the Z8000 could be sequencer heaven.

Just for the record ...

2010-02-01T16:20:00.000+01:00

A couple of things have come up recently that made me feel the need to address the following issue:

I do not work for Schneidersbuero, do not get paid for my tests and I am certainly not Andreas Schneider!

I am a long-standing customer of Schneidersbuero and, when I'm particularly interested in a module, Andreas generously allows me - as he does others - to try before I buy. As I might only have a weekend to get to know a module, I make as many recordings to document its strengths and weaknesses and help my purchasing decision.

I've found these tests enormously useful and figure others might too. Hence, the blog. Naturally, in thanks for the loan, I pass my posts on to Andreas and this is why they will occasionally also appear on his blog, Stromkult. The modular community, whilst currently experiencing a boom, is relatively small and manufacturers, dealers and retailers need all the support they can get.

One last point. I don't always buy the modules I test! This would not be financially possible and, truth be told, once the initial rush of GAS has evaporated, I often find I can do without the latest whizz-bang and make use of the modules currently in my two-case system.

Thats it - now, back to the modules!

Patch Tips #2 - Doepfer A-133 VC Polarizer

2010-01-28T16:27:00.003+01:00

As you might have gathered, I'm a fan of Doepfer's A-133 VC Polarizer. It's neither flash nor expensive but it's often overlooked. This is a shame because it's a very flexible and compact utility module that could be useful in any Euro-rack system.

The A-133 comprises two voltage controllable DC-coupled ring modulators or bipolar VCAs. It can process both audio and CV signals which can be inverted, boosted (up to 2.5x) or attenuated. Two handy LEDs show the level and polarity of the output.

It can be used as a standard linear VCA but also to flip a signal from +ve to -ve. This can have a dramatic effect on modulation sources in a patch, particularly when using a bipolar random signal to VC the polarity. Processing two audio-rate signals results in ring modulation. The nice thing about using the A-133 for RM is the fact that you can set the intensity/ colour of the effect. Chain both units to gain voltage control over the modulation depth.

The A-133 can also be used as a cross fader. Take the two signals you want to cross-fade and patch them to the ins of units 1 & 2. Set the manual offset of the top unit to ca. +2 and the bottom unit to ca. -2. Take an LFO and mult it to the CV ins of both units. Take the outputs of both units and feed them into a mixer. When the LFO is positive you'll hear the output of the top unit and when it's negative, you'll hear the bottom output.

Anyone who has Maths, needs an A-133 to gain voltage control over its contours. As outlined in Patch Tips #1, non-linear shapes can be achieved by introducing either positive (log) or negative (exp) feedback into Maths', or indeed any VCADSR or VC LFO's CV input. You could also use the A-133 in a feedback patch with a filter to gain voltage controlled resonance.

My favourite use for the A-133 is rather more mundane: it's a handy, if basic, voltage meter! Great for checking whether you are actually getting a signal out of a module, what its polarity is and how fast it's swinging.

Hope this helps you understand the A-133 a little better. As I say, it's not flash, but I'd be lost without it.

It's the Envelope, Stupid!

2010-01-27T16:46:00.005+01:00

An early Easter bunny.

(Repost from Easter 2008)

I dug these old tests out of the archive in response to these (1, 2) threads at Muff Wiggler's forum.

Bear in mind that this was 2008 and that the range of modules now on offer is far greater. Given the choice today, my recommendation would be the Cwejman CTG-VC and Make Noise Maths. Nevertheless, I hope the tests are still of use!

IT'S THE ENVELOPE, STUPID!

"Common wisdom has it that the most important module for shaping your sound is the filter. I beg to differ: it's the envelope, stupid!"

Download the test (3.3MB) here. Features Doepfer A-140, A-142, A-143-1, Cwejman ADSR-VC2 (rev.1) & Bananalogue/ Serge VCS.

Later that summer, I posted the following:

SOFT BOILED EGs

"Faster is better, right? Not necessarily ..."

Download the test (1MB) here for a comparison between the Roland MC-202 and Doepfer A-140 envelopes.

Sometimes 'sluggish' is just what you want.

Music Minute - Aquavit

2010-01-24T18:27:00.004+01:00

Today's Music Minute is dedicated to the soothing, digestive qualities of Aquavit, a cumin-heavy Schnaps which I only drink once a year after a traditional German winter meal of Grünkohl, Pinkel, Kassler & Kochwurst. My regular Grünkohl host insists Aquavit is the only thing strong enough to cut through the fat and guarantee a good night's sleep.

Aquavit by navs

The three voices were snipped from a one-minute jam on a Hertz Donut, tossed into Ableton's Simpler and replayed.

Patch of the Day - Maths Trills

2010-01-23T10:40:00.009+01:00

More Maths tips - this module continues to inspire me! Picking up on this thread over at Muff Wiggler's forum on how to attain trills and bursts from Maths, I tried Yohda's patch:

Chianti Trills

It works a treat! As per Yohda's suggestion I used a mixer/ VCA, but I think Rechner7 is right: a logic module would be better: when I lengthen the decay time in the example, you can hear some 'flamming' where the gates overlap.

The patch is simple: use channel 4 as your envelope, as it is equipped with an EOCycle rather than channel 1's EORise. An LFO clocks a sequencer and A-160/161 clk div/ seq. The main gate is sent to channel one of a VCA-4MX and the EOC to channel two. This is gated by the division output of your choice from the A-160/161 combo.

You could also replace the A-160/1 combo with a Wogglebug to VC Maths' 'both' input, transpose the sequence and use its burst output to generate random trills:

Pills, Trills & Wogglecake

Be sure to read Tony Rolando's patch tips for gated looping in that thread. And thanks to Mr White (Mr Yellow) for asking the question!

EDIT: the trills patch will also work with a Bananalogue/ Serge VCS! I also replaced the VCA-4MX in the patch with an A-134-2 VC Xfader to generate somewhat 'cleaner' trills. Using a cross-fader means the main gate is 'pushed out of the way' when you want the EOC to take priority.

Patch Tips #1 - Maths Slope Control

2010-01-22T18:40:00.004+01:00

First in a new series of tips and tricks, recapping some of the ideas I've covered in Patch of the Day.

It should be fairly obvious by now that I'm an envelope junkie. Of the eight different EGs I have or have had in my system, one of my favourites remains Doepfer's A-143-1 for its natural, rounded 'sound'. It's not the fastest transient generator in my rack, but it twangs a low pass gate like no other. Part of the reason for this is its logarithmic rise and exponential fall:

The only problem with the A-143-1 is that it's large, lacks voltage control and, to be honest, I rarely gang its four envelopes to form one complex CV. I'm running out of space so I wanted to see if I could get the same response out of Make Noise's Maths which, on the surface only offers control over the contour of both rise and fall simultaneously:

With some creative patching, however, it is possible to gain independent control of Maths rise and fall curves, without the need for other modules. Much like the Bananalogue/ Serge VCS, all that's called for is a little feedback:

Set Maths' response knob to linear/ noon. Take two mults of the envelope output and patch one to Maths' channel 2, the other to channel 3. Set channel 2's output to about two o'clock (+) and patch it to the rise CV-in, set channel 3 to ca. ten o'clock (-) and patch to the fall CV. This will give you a logarithmic rise and exponential fall:

Increasing the amount of positive or negative feedback will increase the severity of the response, flipping the polarity to the CV-ins will yield an exponential rise and logarithmic fall. If you want to go really mad, use Doepfer's A-133 Dual Polarizer instead of Maths' 'attenuverters' to gain voltage control over these parameters.

Cwejman Update

2010-01-18T18:42:00.003+01:00

For those of you for whome the MMF-6 demo recordings were too 'heavy metal', here is a recording of some of the more subtle shades of saturation Cwejman's new filter is capable of:

MMF-6 Subtle Saturation

Low Pass 'clean' output. An analogue sequencer was used to modulate the cutoff frequency while the resonance and symmetry parameters were manually tweaked. The VCO's frequency was constant.

I liked the effect of this 'harmonic sequencing' so much, I tried it with my MMF-1. In the following example, I manually tweaked the frequency, resonance and 'spacing' while in dual-peak 12 dB band pass mode:

MMF-1 Dual Peak Harmonic Sequencing

Some more information on the CTG-VC and new look:

With no gate applied, the CTG's sustain is 'high' and can be used as an offset.

Despite lacking a D-Slope CV input, this parameter can be voltage controlled by taking a mult of the envelope and feeding it back to the decay CV. This is exactly the same patch trick I used to attain CV control over Math's curves. Depending on whether the feedback is positive or negative, one can change the response from exponential to logarithmic. Again, +1 for Doepfer's A-133 VC Polarizer!

And finally, Wowa says he plans to successively change all panels to the new, classy 'pearl white'.

PotD - Polystyrene / Buchla Lust

2010-01-17T10:32:00.007+01:00

Today's Patch of the Day was inspired by Morton Subotnick's Sidewinder.

PotD_Polystyrene by navs

A Plan B M15 VCO running through the bandpass section of a M12 filter provides the polystyrene, the ring mod output of a Cwejman VCO-2RM the glassy tones.

On a side note, the following was recorded in response to this thread over at sequencer.de discussing how one would go about cloning a Buchla Music Easel with Euro-format modules.

All sounds were created with Plan B models 10, 12, 13 & 15 plus one modulating oscillator:

Buchla Bore

Sure, I'd love a vintage Buchla too, but I don't need one. Honest.