Відео

thank you, I appreciate you letting me know. Going to try and do more (while still doing the normal demos too).

thank you

thank you! Glad you're getting good things from it right away.

Yeah it's such a natural part of doing anything on an instruments that's played physically and absolutely missing from most synths. Some keyboard led velocity respond of course. With modular though velocity can be so creative, routing it to all sorts of things for natural or non-natural results. This nicely takes the necessary patching to do these things and gives you a specific module for it. Like you, I'd like a few to dot around.

@@DivKid Exactly. It's a natural part of learning any physical instrument, yet it seems too often overlooked in the patching world. The modular music I hear that I like tends to be more dynamic (not always - I do also like drones and mechanical sounding tracks too, haha). I love that the more interesting and innovative modules at the moment are ones that offer techniques that would otherwise take a lot to patch up - the flip side of this though is that over time people are less likely to learn these techniques. Interesting to see this kind of evolution at any rate, and the kind of music we'll be hearing in time.

haha

drums and LPGs (I tried using it as the trigger or CV for the SSG, Optomix and Natural Gate and that was really nice) are great with a width and level changing decay envelope.

The Noise Engineering Sinc Bucina accepts dynamic triggers as well! I’m glad SSF tho made a device so I can free up using an offset, attenuator, LFO/ Env and VCA to do dynamic trigs.

for things that don't trigger dynamically I just use the CV input and the ability to then dial in the width of a pulse out or the decay of a short decay envelope / impulse gives the same results. So it should work nicely with anything. Good call on the NE module though, not tried that one.

haha

You would need to convert frequency into amplitude cv. How? Not sure.

From MW: Here is my version, if you like: You need something to build the overall level. Most envelopes or slew limiters will do this part. Set attack to 0(ish) and vary the tail to taste. To get a better memory effect you need to play with the envelope shapes (or just fake it - it is modular after all!). The envelopes need to have some 'unheard energy' at the extents of the tail and by that I mean the tail is still there where most normal AD circuits have already finished decaying out - after normalising them to each have as similar sounding of a decay time as you could. Anyways, if you keep building on top of these decaying 'floors', these very quiet floors do add into something hearable that has quite a bit of dynamic range to it and you will create a nice sounding memory. If you were to build on top of shapes that are more 'stubby', then you will still be hearing a lot of the (open) sound while it is building and it will not build as dynamically. In the memory demonstration video there, you can hear how far the notes are apart and if another comes, it still is slightly brighter. So yea, tail shape! Also make sure you are starting with a filter that isn't anywhere near fully open else the varying heights of your memory control waveform are clipped. It's pretty easy to forget how quiet or soft things should be sometimes, esp. if your ears are a bit fried. I think this is why sometimes memory is very blatant and sometimes it's not at all. On the NG itself, the most memory effect comes when set to the softest material setting. The varying envelope heights have lots of dynamic range over the filter/vca block. In the hard material setting, there is very little memory as the filter is already open all the way when you hit it - no matter how many more times. You have reached a rigid clipping line and thus 'it' applies the sharp hatchet! Good luck!

Maybe patch envelope back into level? That way it builds up over time

doing it with slew with a longer rise and fall is a nice way work in the memory effect. You can't self patch the envelope to the level as when you're triggered the envelope you're triggering an internal S/H circuit that samples the level change. There's also none of that overlapping longer envelope or slew to build up a signal over time in this case.

Eurorack gear. I can't remember the specific modules but that's not important to the techniques/ideas.

To the latter point if it's one effect into the other why not just patch the two FX modules one into the other? If you wanted to vary that over time in the performance you could alter the second effects dry/wet mix level over time.

thank you!

ah thank you, she really enjoyed making an appearance and asked recently if she could do it again.

no, not sure if they're still working on it or not.

certainly happy with a Fennesz reference! Thanks

hard sync!

Tricky as they're different. The Dipole is inherently stereo (though can be dual mono) and has 4 filters (though they're in pairs per side, not totally open 4 separate filters). It doesn't have any of the sequencing and snapshot functions of Etna. It also has drive and a different filter character compared to the clean high headroom nature of Etna. The decision would depend on the situation and the goal.

@@DivKid I thought you might say that Ben. Very different toolsets. Hence I cannot decide and will struggle to drop £800 on two filter modules. Cheers for your review nonetheless

Yeah it's a tough one and honestly I can't answer (not because I won't pick one over the other) without some context. 3 mono filters might go further than two dual parallel filters. You might be able to animate with lots of sequence the Dipole to do Etna's thing easily ... musical style, patch approach, other modules all play a part in deciding something. For you I'd try to distil do you want stereo and a characterful and dual filter peak per side type thing? Or is the snapshots and animation potential going to bring more to your set up?

hard sync wobbly! haha sounds funny.

hello ... yes, thank you. This was the first talk of the day and the team had some issues. These got better as the day went on.

let it out either end and feel the relief.

haha the knob turn to comment generator! Thanks.

Thanks, I had fun and easy to get characterful textures out of it.

Why is digital a sad face? It's based on a FV-1 Spin chip that does the DSP if that helps or means anything to what you're wanting to achieve. These aren't FX you can achieve with analogue technology.

Yeah they do, tried a couple of their pedals and wanted them at the time, playing with this makes me want a load of the pedals too!

Feels like they really did a good job of porting over some of their pedal ideas and making that respond to CV nicely.

much obliged

Yeah they email when things are coming and going on sale but I think they just sell out quickly each time.

thank you

Thank you, really appreciate that.

There's a Rack Rash Records in Vienna I just saw (had to have a quick search to see).

It's often a hard line to cross that one, attenuators/verters for CV inputs at the expense of CV. The in built randomisations in some of the modes help dial in modulation without needing it externally too.

Thanks Tom. Yeah the tape mode is great, that before a nice stereo ambient chain (typical delay/verb) is great.

Thank you. I just tried using a negative voltage to offset the clock lower and it's limited to the lowest point on the knob. So it won't get into those much lower, aliasing artefact rich sounds you're wanting. I too like those. I enjoyed the ones I got from it in the video though.

@@DivKid thanks for checking! Yeah it's not a dealbreaker as there is still plenty that's clever and appealing in the module, just a nice to have. My job means my brain naturally generates feature requests ;) Cheers!

Jeg og😎

Blei du dradd te an? ;)

With your melodies and patterns you'd have some great FX out of it! :)

@@DivKid yeah I like what I hear!! And the company name is super fun for us Scandinavians too.

"head box electric" does that mean something and not translate well?

haha thanks

The silver looks good too, nice they have the inverted option for jacks on top too.

the ability to bend those taps into falling or swelling levels is great, quirky reverse verb stuff was fun.

ah thank you, appreciate it. Presuming you mean the pianos one, that's a few layers of electro mechanical stuff (Rhodes, Wurli) and a piano. Different octaves, voicings, humanisations to offset and vary each one of time. All done with samples in the DAW quickly to use give an interesting sound to work with.

They have stock of DRADD, I know the pedals fly and sell out very quickly though.

yeah me too

Ok, good to know. Any way that can tie into the oscillator function? Plaits follows on Braids nicely in terms of weaving hair, weaving sound type thought processes.

Good stuff, I haven't tried that one but I definitely intend every video to be a set of ideas for the functions and applied with anything. Glad to hear that's the case here.