Sport Modulator - Staircase to Heaven?

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.

Sport Modulator Explained

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.

Patch Tips #17 - Sport Detector

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.

Patch of the Day - Define Time

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.

Monday Sport

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.

Patch of the Day - Lagtyme

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



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.

Release: Trans Europa Exzess

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


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!

Release: Basic Electricity #1 Live EP

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.





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#18 - ADSR 'Free-Run'

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.

Mungo d0 Delay Demo

Sounds and thoughts on the Mungo Enterprises d0 dual channel delay.



The d0 can be a simple echo for audio or CVs, but it also allows the times and depth of control needed for tuned Karplus-Strong synthesis and DX7-like audio-rate phase modulation.

Here's how it sounds:



Download the EP for more recordings (basic runthru, random tap tempo, flanger, audio-rate phase mod, cv delay (envelope), comb cancellation, karplus, filtered repeats).

There's been discussion on the d0 here and the Mungo range in general here. The d0 is a quality delay but some users are frustrated with the Zoom function and a lack of documentation. The controls do take some getting used to. I'm grateful I got to try the module first, buying it 2nd hand locally. jnlkrt, outlines most of the d0's quirks here. Bear these in mind to get the best out of it.

Here are some of my thoughts:

The Zoom function is essential and should not be sold as an optional extra. Because of the way it works, the panel knobs are not always WYSIWYG. It took me a week to get a feel for Zoom: switch down to get into the right zone, mid for 'normal' changes, up for fine tune.

Once you have zoomed a parameter, the knob range becomes 0 to 10, even if it is nominally -5 to 0 to +5 like the bi-polar controls. So, if you have selected a zone around plus 3, when you release the Zoom switch the knob covers that range from fully CCW to fully CW.

The slew setting influences the delay time response. This might sound obvious, but I caught myself wondering why the delay time wasn't changing only to hear it catch up seconds later! PM sounds require a fine balance between mod depth, delay time and slew.

To gain voltage control over the slew time, null it (fully CW) and use an external VC lag like the Sport Modulator. Slewing even seemingly smooth control voltages like sine waves can have a radical effect on the end result.

I made some of the recordings in my demo before I'd located a source of noise in the d0's output. Musically, they were interesting so I kept them. When unpatched, the CV inputs and Z outs carry a DC offset. Depending on the settings (gain, feedback) this can cause crunch and clipping. For a cleaner sound, null unused inputs or use a dummy plug. A filter can be useful in the feedback path.

The build quality of the board is good, attention to detail on the panel less so. Despite having slots for the mounting screws, they are 2 mm shy of the Doepfer standard. Keyed headers on the PCB power connector are welcome, but the orientation might confuse: -12V is 'up'.



The Mungo d0 is unique in its sound and range. Other modular delays I've tried were limited by comparison. I didn't find the controls or interface insurmountable. When something odd happens in use it's usually a welcome and musical surprise. In future, I'd love to try the rest of the Mungo range at my local dealer.

PotD - Mutant Horse 2

A gentle gallop into Basic Electricity #5 on Friday. This is a take on the patch Tom & I played at BE#4, likened by Ian Boddy to "riding a mutant horse".



A Sport Modulator provides both timing information and CVs, driving Maths, a VCO-2RM, Triple Wave Folder, A-112 Sampler/ Delay and VCA-2P panner. The oscillators are FM'd before being gated, folded and sampled. A stepped and manual CV controls the rhythm, delay time and panning. Flipping between track- and sample-and-hold on the SM delivers the final crack of the whip.

A-143-9 Lin-FM & Buchla Saw Modification

How to add a linear FM input to Doepfer's quadrature oscillator and get the weird waveshapes of Buchla's 258 VCO.



The A-143-9 quadrature oscillator is a favourite for FM. Its sine wave is pure and the DC-offset is minimal. This makes it the perfect choice as the modulator in dynamic FM patches. It's a shame then that it itself doesn't have a linear FM input. Fortunately, the fix is simple and the result sounds great, especially in quadrature 'stereo':

A-143-9_linFM.mp3
A-143-9_stereo-linFM.mp3



Most analogue VCOs are linear at heart. To get the response we need for musical pitches, CVs need to be translated. If we bypass the part of the circuit that does this - the exponential converter - we should be able to modulate the VCO in a linear fashion.

This depends on the actual circuit design but, happily, this 'dodge' is possible with the A-143-9. I asked Dieter Doepfer and he identified pin 6 of the top quad opamp (TL084) as the target (see A-126 connection PDF for board layout). A resistor determines the modulation depth. Dieter suggested 100K but I ended up using 68K to allow for some over-modulation.



There is one caveat with this simple modification, but it's a limitation that can also be used to musical effect. Pin 6 is also connected to -12V via R8 (270K). This provides the current needed for the oscillator to work. If the modulation voltage 'robs' the VCO of this current - i.e. at 0V - the oscillator will stop. This is good and and bad: at low audio-rates, over-modulation could sound choppy. On the other hand, we gain the ability to gate the VCO/ LFO on or off, similar to a track-and-hold.



The reason FM-ing the A-143-9 sounds so good is that there's no waveform converter messing things up. Even with the best schemes, the sines on triangle- or saw-core VCOs show their heritage by being either brassy or buzzy. So, a sine-core makes sense if clean FM is a priority. Question is, what do you do if you also want a saw or square?

The latter is easily generated with a comparator. For the saw, we can take inspiration from the Buchla 258's 'funny waveshapes'. We can use a triangle-to-saw converter circuit or a patch:

Patch the sine (0) output of the A-143-9 to a mixer. Patch a multiple of the sine to another mixer (e.g. mh01). Set the channel to 50%. Mix in a 2.5V offset and patch the result to the signal input of a polarizer or DC-coupled ring modulator like the A-133. Patch the cosine (90) to a comparator (A-167, Sport Modulator etc.). Set its threshold to 0V. Patch the comparator's output to the CV input of the A-133 and send the result to the first mixer. Now balance the amount of original sine to get the shape you want. Altering the comparator threshold will yield other shapes. Here's how it can sound when modulated:

A-143-9_buchla258saw.mp3

It's not thru-zero, but the quality of the A-143-9's sine-on-sine linear FM is clean and stable. Given the right C:M ratio it can cover some of the sounds generated by wave-folding. With a little more circuitry to provide a permanent saw/ square output, a pair of these quadrature VCOs could form the basis of a budget timbral VCO.