#1903

I’m trying to get a gong sound out of elements or rings, help me out. So far I’m im getting okay bells and pings. What do I need to do to get a good ringing “bong”?

#1904

A lowpass gate helps. I can’t remember the exact patch, but it’s definitely possible…

This features one I cooked up a while back using rings and Optimix.

https://soundcloud.com/by0/broken-windows

#1905

Currently trying to “finish” my system because I like the idea of having an instrument to master rather than an ever growing collection of modules. To do that, I’m trying to take inspiration from existing instruments and these last days I’ve really been into Madrona Labs synths because of their sound, layout and overall philosophy. I’ve worked on my own version of Aalto using as many as my modules as possible, and I ended very happy because for what I’ve come up with I only need to add a Mimeophon and a Befaco out (and that beaufiful Modulaire Maritime 68hp case). I will to sequence it with my Digitone, Octatrack or computer.

So I would love to have your feedback, what do you think of having such a “small” system? Do you think it lacks anything? What would you change?

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#1906

It looks like a great little system, you have your bases covered. I’ve had great fun and been productive with a system that’s about that same size and targeting the same overall architecture.

My only observation is that, while “you can never have too many VCAs” is a common adage, you sure do have a lot for such a small system. You could probably dispense with the 3x VCA and still be well off, giving you more room for maybe some bigger modules. (It does look a bit cramped.)

1 Like
#1907

Haha, I agree with the VCA point, I ended up there because my first one was the Quad VCA then I realised a Shades/3x VCA combination made more sense in my current 3U/84hp, but I never sold the Quad.

I rationalise having so many of them with the fact that they all bring a bit more than just amplification, they can be used for submixing, Quad VCA has a nice distorsion, Moddemix adds color too and can be used for ring modulation. I think I have good reasons to keep them all for now, but thanks a lot for the feedback!
(But I must admit I would really love to make room for Cold Mac, it looks like such a powerful module!)

#1908

You definitely have more VCAs than I would be able to put to use in a system of that size and you’re missing some utilities that I would probably want (clock dividers, switches) but if it’s working for you then there’s no reason to change unless you really feel like you’re missing something. It’s all pretty dependent on how you patch - I have a 15u system and have the same number of VCAs as you but I have a bunch of switches, crossfaders (which can also be used as VCAs) along with modules like Cold Mac which can be used as a VCA in a pinch. Also a large portion of my system (about 6u) is dedicated to sequencing so that means I use less VCAs.

1 Like
#1909

FH-2 with DIN expander

#1910

Make it bigger, add/replace one VCO with a complex oscillator and then add a 0-Ctrl.
Then you will be sitting pretty.

Also doesn’t Aalto have a multimode filter?

1 Like
#1911

Crow will get you the Norns to CV but I don’t know if it will do MIDI to CV.

#1912

Thanks guys for your feedback
@hinterlands I agree that there are many VCAs and some utilities are not obviously there, although I can use Stages as a clock divider or as a switch (if I remember correctly). Still I think I can also use those summing VCAs for some pretty interesting morphing of sounds and mixing of modulations and such things. That said, I’m definitely looking at Cold Mac!

@Joseph It’s true that Aalto has a complex VCO, but I think I can manage for the moment with the Plaits/Godspeed/Moddemix comb. Godspeed is a pretty cool carrier with sync, TZFM and wavefolding, while Plaits can either be an LFO, a good modulator in wavefolding mod, or another voice altogether. It’s true also that Aalto’s filter is a morphing one à la SEM, but I think I can manage with uVCF and maybe some LFOs to VCAs action to play with the mix of multiple outputs. And yeah, I would love a 0-ctrl! I’ll try to do with the Digitone for the moment though :slight_smile:

2 Likes
#1913

I’ve been thinking about clock dividers a bit (specifically the doepfer A-161-2) and wondering how useful people find them with more complex sequencers (specifically Usta but others like Vector Sequencer etc.)? Also with TT in another case and a Crow about, do people find themselves still reaching for dividers?

I’m especially interested in integer division at audio rate, using it to trigger TT scripts, and a way of mixing simple clocked events with more complicated temporal relationships between tracks in Usta.

What do people think? How do you find yourself using a clock divider among other options? There’s related questions about sequential switches too I suppose.

#1914

I love clocks, dividers, and switches. I like to make sequences without using sequencers, and clocks, dividers, and switches are great for that.

Even if you have a capable sequencer, dividers are super useful for resets, for feeding cv back into the sequencer, for firing off more slow-moving processes, etc.

Plus you can use analog dividers as a sub-oscillator/frequency divider.

CV-controlled dividers are especially fun for generating unexpected rhythms.

4 Likes
#1915

ES-9 Users -

I just picked up an ES-9 primarily to use as a multitrack recorder in Ableton, but also to start experimenting with integrating VCV rack. Interestingly, the VCV rack integration has worked really well, but I’m having a bit of trouble getting it to cooperate with Ableton. Specifically, when I record in audio, Ableton shows me that the track is clipping (it turns red). I don’t see any way to attenuate the signal in the web interface. I know I could attenuate in the rack, but I’m hoping I don’t have to burn up to 14 VCAs/attenuators just so my signals aren’t clipping. Anyone else dealing with this?

#1916

That is strange, I don’t experience that when I’m using Ableton and my ES-9. Have you looked at the config tool yet? Also, I’d send @expertsleepers an email. He has been great at replying quickly to my questions.

#1917

The ES-9’s inputs should cope with ±10V without clipping. What are you feeding in to it?

1 Like
#1918

I get clipping fairly often and have to attenuate in case. I’d be interested too if there was a way to avoid this.
I’ll try and get some more detailed info about which modules clip and come back with a more useful post.

#1919

I really love CV-able clock dividers hovering around /3 or /5 of the lead (16th note) clock, with modulation bouncing them out of there either randomly every few beats or in a regular way (eg. send an LFO to control the division, and a regular reset to both the divider and the LFO). I often find these rhythms more interesting than Euclidean stuff or things that I would sequence myself. But they are also nice for driving auxiliary sounds that you might like to have dancing around more traditional beats from a more traditional sequencer.

6 Likes
#1920

@Whatwetalkabout I’ve been using the config tool, but haven’t seen a way to actually alter the individual inputs, just to control where they go. I will shoot him an email! Thanks for the tip.

@expertsleepers and @HateNames - My original experience was just to learn how to use the module, so all I was feeding in was a square wave (WMD Spectrum), and sweeping through the pulse width. For what it’s worth, I didn’t actually hear clipping, but Ableton showed be the track going in to the red. It didn’t clip the whole time, though, just occasionally during the sweep. I can go back and try a few more modules and see if I can replicate this.

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#1921

Using clock dividers as a modulation source can create interesting accent patterns. Especially if it’s at an odd division with the pattern length, it can make patterns less monotonous without necessarily changing the perceived rhythm or melody.

Dividing any gate/trigger source by 2 turns a momentary to an on/off, which is mostly useful for buttons but can also be applied to things like converting sparse triggers to an even-ish distribution of high and low.

If you have the output of individual gates per step you can borrow most techniques used with one of the most popular (I’ve heard) trig conditions in the Elektron workflow: A:B. Having a specific note behave differently every X bar makes a short pattern feel that many times longer!

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#1922

This guy is now available.

I think it’s an adaptation of a Rob Hordijk design.

The module seems particularly relevant here on Lines given its patch programming nature. Lìon would sit quite comfortably amidst Cold Mac and Just Friends, for example.

9 Likes