Take Seven - modular jazz revisited

A longer improv and edit inspired by this modular bebop sketch.



This track started out as a test for my old Boss SE-70 Super Effects Processor - the kitchen sink FX box from the 90’s, loved by The Prodigy - which I had dusted off to check out the pitch shifters.

A medium-paced Wogglebug conducted two Plan B Model 15s and Maths. There was a bit of FM and wave-folding involved. I’ve always felt that the Wogglebug had the jazz so it was a short jump of the imagination to add some Rhodes/ Cwejman RES-4-ish tones from a Clavia G2 Voice Filter patch and some brushed beats.

I guess this was an exercise in re-contextualisation - hope you enjoy it!

Basic Electricity - Concert Today!

A reminder about tonight's gig with Derek Holzer, Vanessa Ramos-Velasquez and JenaMu6. The venue is the Kino on Kastanienallee 77, 10435 Berlin Prenzlauer Berg. Doors at 21:00, music at 22:00 sharp.



I won't be playing, but had some fun with this patch last night:



Inspired by the sound of Japan's Gentlemen Take Polaroids, it features a Plan B M15 VCO FM'd by Doepfer's A-143-9 QLFO. The gated sound was fed to an A-199 spring reverb with the feedback routed through Cwejman's FSH-1 frequency shifter. I added a touch of Logic's Ensemble, but 90% of the effect is the shifting reverb. Lovely.

Look forward to seeing you tonight at BE#6!

Patch of the Day - Basic Variations

Two takes on a theme. One involving FM, the other AM techniques. My Basic Electricity #2 epilogue.



This first patch was inspired by Richard & Rastko's jam on Friday night. It features the FM and Low Pass Gate action of the former and the lo-fi Ciat-Lonbarde sound of the latter. I recorded two passes of a Wogglebug & Maths driving Plan B's models 15 & 13 and Doepfer's A-112 sampler delay.





This second patch has a similar core, but the sound is based on amplitude modulation. The dual peak sine of a Cwejman MMF-1 modulates a VCA-2P. The carrier was the sine of an A-143-9. I altered the C:M relationship throughout the patch. Delay was courtesy of the EHX SMMH.



These patches show the types of complex timbres that can be achieved with modulation. With the current trend for 'West Coast' synthesis, FM is a familiar technique. AM seems to be regarded as ring modulation's poor cousin, but it can be a rich source of sounds.

For me, part of its strength lies in the fact that the carrier, effectively the fundamental, is still present in the resulting signal. To get the most from AM, you'll need two VCAs and possibly some form of offset/ attenuation. As ever, Gordon Reid has the dope.

Thanks to everyone who came to the gig and to Rastko, Hayden & Richard for the wonderful performances.

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!

Clash of the Borgs

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.

Patch Tips #8 - More Feedback

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.

PotD - Patch Collective

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!

PotD - We All Pass Out

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.

PotD - Polystyrene / Buchla Lust

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.

Patch of the Day - Backwards

This is one of those simple patches that can yield great results: using a comparator or gate delay to shift the onset of an event, in this case a change in pitch and timebase:

PotD_Bkwds2  by  navs
Hertz Donut first, then Plan B M15

I used a looping envelope (Plan B M10, slow attack, faster decay) to open a VCA and also voltage control the VCO's wave-shape. The M10's End of Attack pulse clocks a Wogglebug which provides a stepped random CV for the VCO and the envelope's Timebase. The change in pace and pitch occurs during the note's decay.

VC-ing the waveform discontinuity on the HD might be easier and the pitch change more apparent, but the Model 15 does sound great, especially with a dash of delay.

Patch of the Day - Harmonyhertz

I twisted my knee and had to undergo an MRI scan this week. For those of you who haven't had the pleasure, this is what it sounds like:

Harmonyhertz-PotD  by  navs

Having entered the machine, you're given a pair of noise-canceling headphones. The classical music that is piped through these is supposed to calm and distract you from the grunts and buzzes generated by the scanner. Don't know which device was responsible, but the kick and hi-hat pattern was a bizarre counterpoint. Sort of like a Clockwork Orange warehouse party. Someone with a sense of humour at Siemens, the company that built the contraption, decided to call it 'Harmony'. The nurse told me that the larger unit is called 'Symphony'.

THE PATCH

The patch features four voices: kick and hi-hat, ring modulated squarewaves, FM klunk and some 'ducked' classical music. Although I managed to use up nearly all of my patch cables, it was actually fairly straightforward.

Drums: MMF-1 sine wave kick, M12-filtered-noise hat. LFO provides rhythm, VCS provides gate delay for 'swing'.

Buzz: Wogglebug stepped out provides slow pitch changes for VCO-2RM. Two square waves, with a touch of XMod and manual pitch and PWM tweaking, are output from the ring modulator. Timing is generated by the burst out of the WB which is patched to a clock divider. The /8 gate signal triggers one Maths channel. An inverse /8 gate is fed to a second Maths EG so that the klunks are timed to occur after each buzz has sounded.

Klunk: M15 & AFG lin FM plus some pitch woggle and envelope thwapping from Maths and the mix out of an A-143-1. Maths' EOC used to trigger the Doepfer, klunk gated by M13 LPG.

Classical: Borg-filtered with a bit of FM from the combined buzz & klunk CVs. Vactrol speed in evidence as the CV takes a while to fade away from it's peak.

Ducking: this was achieved by sending the classical sample to the first channel of an A-134-2 VC Xfader, the audio mix of buzz and klunk to the second and applying the combined buzz and klunk CVs to the (asymmetrical) Xfader.

Hope you enjoyed the sounds and remember to look after yourselves!

This PotD dedicated with thanks to the docs and nurses.

PotD - The Organ Grinder

Featuring the Plan B Model 23 Analog Shift Register.



The Organ Grinder plays his merry tune. All is well until monkey and Schnapps get the better of him:

PotD - The Organ Grinder  by  navs

In this patch the M23 was used to shift a quantized sequence to a pair of detuned VCOs, the 'both' input of a Bananalogue/ Serge VCS and the CV input of a VC-LFO. The sequence was transposed by the stepped output of a Wogglebug. A sequential switch was used to alternate between a 'regular' and voltage controlled clock. The switch was triggered by a comparator reading the output of a second random source.

--

UPDATE: Patch details

I tried to keep the patch description as simple as possible, but for those of you who want to try this here is a patch chart.

The A-147 VC-LFO acts as the master clock and feeds the SQ8, which sends a gate to the VCS (or Maths).

The envelope generated by the VCS is patched to the output VCA. In my patch I fed the two VCOs to a separate mixer (VCA-4MX) before the final VCA (VCA-2P), but for simplicity I've shown an A-131 in this chart.

The sequence generated by the SQ8 goes to an A-156 quantizer, the CV goes to the ASR and the trigger output of the A-156 clocks the ASR. From there, output one goes to VCO1, output 2 to VCO2, output 3 to the second input of an A-151 switch and the last output feeds the 'both' input of the VCS.

The random elements:

the 'step1' output of the SQ8 clocks the Wogglebug. In turn, its clock output steps the S&H/ noise.

The Wogglebug's stepped out feeds the transpose input of the quantizer. At the beginning of the patch I kept the randomness to about 9 o'clock, towards the end I swept it up manually and then back to zero.

The SH-NZ output feeds an A-119, which I've used as a comparator. Depending on the gain & threshold settings you can generate an amplitude-dependent gate. As the A-151 feeds the CV-in of the VC-LFO, the gate toggles the switch between 'regular' and VC-clock. As an alternative, you could use a VCA to alter the amount of VC-clock or, indeed, alter the CV amount manually. If you don't have a comparator or A-119, you could use the burst output of the Wogglebug. I sometimes find this too frenetic, so I send the burst gate to a clock divider to calm it down a bit!

Maths Test

This module needs little by way of introduction - shortly after it was announced, it sold out in the US and Europe. So what makes Make Noise's Maths so special that it prompted the largest used-envelope sell-off in Euro format history?

Have a listen for yourself:

Maths Test Taster  by  navs

Maths packs a pair of voltage controllable slope generators, much like the Bananalogue/ Serge VCS or Plan B Model 10, plus two channels of 'attenu-version'. It's this 'package' that is probably the key to its success. It's a compact, complete system. Most patch 'problems' can be solved without resorting to other modules and, like the Wogglebug, it's fun and inspiring.

In use, I found the envelopes clean and spike-free. Setting rise and fall times was far easier than on my VCS or Model 10. As the manual states, the contours have a dramatic effect on timing. Like the VCS, filtering audio is not one of its strengths but when used to slew CVs it is precise.

The only two things I missed were a single-shot trigger button and, more importantly, voltage control over the polarizers. The latter would, for example, allow VC contours and greatly enhance the mathematical possibilities!

You can download the full test here (13.5MB)

Update: here's a short clip demonstrating Math's slew/ portamento capabilities.

Patch of the Day - Long Way Down

Something gentle for a Sunday afternoon:

PotD_longwaydown  by  navs

Live, four-voice patch with manual tweaks.

Self-oscillating Cwejman MMF-1 dual-peak sine modulated by WB smooth out. A-Sol SH-NZ noise to Plan B Model 12 HPF, VCA VC'd by Doepfer A-147 VCLFO sine, itself VC'd by the output of a A-156 Quantizer. Ring Mod output of a VCO-2RM filtered by a Malekko/ Wiard Borg, envelope from Bananalogue/ Serge VCS VC'd by Woggle out. M15 VCO (linFM) gets WB stepped, gated by M10 envelope which is triggered by WB burst and VC'd by stepped out. M10 EOC to A-142 envelope which provides the voltage which is then quantized by the A-156.

Patches. They always start out simple, don't they ...

Borg, Boogie & the Thwap Test

I only went to Schneiders yesterday to pick up a second Doepfer mixer...



Enjoy the recordings.


Borg Low Pass. Starts in LPG mode, then manual tweaks.


Borg Modes. EG + Manual tweaks


Boogie Modes. EG + sequenced/ random CV of mix relationships (Cwejman VCA-4MX).



I also borrowed a Makenoise QMMG to run a quick 'Thwap' test.



For some, the gold standard in Euro is still the Plan B Model 13. Decide for yourself.


LPG Thwap Test. M13, Borg, QMMG.

VCO and envelope were multed to the three LPGs. The Borg, QMMG & M13 all use different vactrols with different response times, so I adjusted the modulation depth until I got a similar timbre. The M13 was used as the 'control' i.e. offset at zero, MD at full.

Thanks to Schneidersbuero for the loan of the modules.

New Series - Navs' Music Minute

First track in a new series of 60 second compositions. These are tracks featuring multiple takes, a little editing and some effects. In short, anything I can't file under 'Patch of the Day'.

Cat's Cradle by navs

Edit: the SC Player didn't seem to be working at time of posting. If it's still not showing the waveform, just click on the 'Cat's Cradle' link above.

The main parts (random melody & resonant sweep) were generated by a Jomox SunSyn, the occasional bloops, klonks & spurts were generated by a live patch featuring a Livewire AFG, modulated by a Plan B Model 15 VCO. A Wogglebug generated pitch CVs, triggered a Model 10 EG and controlled its Time Base.

For the main part, I cross-modulated the SunSyn's VCOs and set LFO1 to generate a random pitch for one oscillator and played the 'melody' by hand. Proof, maybe, that the best source of randomness is the human touch.

Patch of the Day - Waiting for Woggle

Waiting for the Makenoise Wogglebugs to land, I patched up a little alien welcoming committee using a Frostwave Resonator Korg MS-20 filter clone, a random source and two VCLFOs (Doepfer A-147 & Plan B Model 10).

Waiting4woggle by navs

Synth DIY - Trigger Twin Dual Comparator

First public outing for my second DIY module: the Trigger Twin dual comparator.



Inspired by Peter Grenader's Triple Event Timer, I gave up on my original LM339 design and settled on a simple Op-Amp circuit. A timing CV is fed into the lower middle jack, pots one and two are used to adjust the delay time, triggers are output from the left and right jacks, orange LEDs indicate the on and off time.

I designed this module as a companion to Doepfer's A-147 VCLFO, using the pulse output as the initial trigger and the triangle output as the timing CV. In order to fine-tune the device, I added an offset voltage which, using the Plan B vernacular, serves as a Time Base control. Counterclockwise is 'tight', clockwise is 'sloppy'.

For those of you wanting to try this at home, just consult the TL072 etc datasheet for example comparator circuits. The timing CV and offset are mixed via resistors and fed to both comparators in series (no fancy limiting or switching involved!). I brought the outputs down from 12V to ca. 3.5V with a couple of resistors and followed this with a diode to block any negative voltage. I opted to make my reference voltage zero to +12V but, of course, you might want to make it bipolar.

The parts and components were bought from Rapid in the UK, Banzai and Schneidersbuero, both here in Berlin.

Background to this project including audio is here, here, here and here.

Patch of the Day - Arrhythmia

Take a generous handful of comparators, a pair of voltage controllable LFOs, a random source, a wave-folder and an equal measure of VCOs, EGs & VCAs. Toss them into a marinade of tape delay and poly chorus and this is what you might get.



All elements were triggered from a single clock source with subsequent rhythms derived from a home-brew dual comparator, Doepfer A-143-1 and Plan B Model 10. A sequential switch was used to inject random timing and pitch modulation.

Patch of the Day - Bugfest!

A 10 minute modular jam to close the month.



Everybody modulated everybody else. Enjoy!