#175

Thank you both!! This is exactly what I gathered from the demos. I’d still like to get one for that purpose, because I really enjoy the plug-in version (of the Akai filter it’s based on) and use it a lot to warm things up. But it definitely sounds like Ripples is the way to go for me right now. And lucky me, Control is getting them back in stock soon so I don’t have to wait long!

3 Likes
#176

Right now I’m really enjoying the Verbos Bark Filter. I haven’t had it for long, and despite it being quite minimal in its design I feel like there is a lot to explore. It has an excellent tone that does magic to rich sound sources, and can overdrive nicely too.

Anyone else rocking the Bark?

Here’s a patch I was playing with last night, with Verbos Complex Oscillator and Foundation Oscillator going through the Jolin Lab Agogo (amazing octal LPG, highly recommended for those who like LPGs! https://www.jolinlab.com/agogo/), through the Bark Filter and into DLD. There is some feedback patching from the send/return outs of the DLD into Agogo and Sisters via a Tanh, using the envelope followers from Bark opening the LPGs to stop the delay from running away:

Bark plus Sisters is incredible for feedback patches! So much to explore.

10 Likes
#177

That passive Bata version is tempting. But i guess i am good with 2-3 LPGs no need to burn cash. Yet diy…argh tempting!

So i got the 914 fixed filter bank. Cheaped out on the burp*inger Version, figured short of inductors, no need to overthink the version.

By itself, its tame but i got to some very nice heavily metallic-liquid room/body suggesting resonances with feedback patching through transformers and into complex delay, in my case CT5 wich is set to almost comb filtering. This way depending on material i can dial in ringing/resonance to taste quite nicely. I just wish i could mod the ffb to be more resonant/ringing/nonlinear by itself.

Anyway with samaple material or mangrove i can really change timbres a lot and would say things get more 3D and breathing. I havent compared without transformers but since i drive them hard and these are typical characteristics for them, i suppose they play a part aswell.

If theres enough patching points and feedback, submixes etc, i can recomend a FFB

1 Like
#178

I’m looking to get a second 603! Using it mostly before and after effects to tame reverb/delay/loops and add stereo movement.

1 Like
#179

The awesome thing about the Agogo is all the cascading normalisations. A single input can be split so it outputs up to all 8 channels, with each output going down the chain running one into the next adding a little grit (which accumulates!), one CV input can modulate from one to all channels and everywherein between, and the outputs are chained so that you can easily create submixes. It’s seriously so good, patching it up and getting more out of modulation and oscillators is effortless! From how you describe your feedback patching I think you would find the Agogo priceless, in the ways that it simultaneously works like a mult, mixer, filter, distortion and VCA :slight_smile: It’s active too so you can get some nice sweeps that aren’t possible with the passive Bata.

I’d be interested in hearing some of your FFB sounds too!

4 Likes
#180

Will try to rec sth next time i fire it on. I replaced a clouds in resonator mode with the ffb, the resonator used as filter not to strike. I would say i get in the same territory, less extreme but more organic and without digital artifacts and much more control. It should be similar to your bark, being able to dial in wich bands resonate.

2 Likes
#181

Right now I’ve got Ripples 2020, R*S Serge VCFQ, and Angle Grinder. Ripples is what I would call reliable without being boring; VCFQ has a lovely organic character and pings nicely; AG has a very sweet-sounding highpass as well as doing the quadrature thing really well and can range from predictable to chaotically unstable. I’d say that I like Ripples and love the other two.

I’ve also got a FXDf, which I like using for Planar, but honestly not much else – I think I’d rather have something with more control. I was thinking about Shelves, but wishing it had the same heavier distortion available that Happy Nerding TriTone does. But now I’m looking at the ADDAC603 instead, and thinking it seems more flexible. (A lot more power consumption than Shelves though.) I wish there were more demos out there…

Also I keep telling myself, I like software EQs, and except where latency would mess up my feedback loops, I can always dip into the DAW and back out for that… hmm.

3 Likes
#182

not exactly a demo but in this video you can hear the ADDAC603 filtering the Primetime delays nicely

7 Likes
#183

I spent some time this morning making some feedback loops with Bark Filter, Sisters and Springray with a Tanh in between, and going through a DLD. All modulation from a self modulated Triple Sloth. Sounded amazing! I could listen to it drone on all day.

11 Likes
#184

I am really happy I went with the Ripples! It’s a lovely and versatile sound - I can see why it’s called a “liquid” filter.

Also glad I opted for the 2020 version; having a small system I love that it can do some light waveform mixing and use the VCA with both 2-pole and 4-pole modes.

Thanks for the guidance!

2 Likes
#185

thinking about replacing an optomix + dipole with a qmmg in an easel-ish drone rack. i’ve struggled to get on with the dipole: it’s a powerhouse, can do some beautiful pings or soft four voice pads, but two filters controlled by a master filter is a little confusing, and the sound itself hasn’t resonated with me. (am i missing something?)

feels like i’m potentially giving up a great filter in the dipole for an expensive but interesting other set of features with the qmmg.

advice/reactions? ty!

1 Like
#186

The Roland system 100 model 101/102 filter is my absolute favorite filter ever made.

3 Likes
#187

@mdtz I’m left a little disappointed with my Stereo Dipole as well. Partly my fault, but partly because of what I think are questionable design and marketing decisions.

On my end, I’m still pretty new to Euro and am having to forget a lot of old ideas about making electronic music. I just don’t need growling 8-pole monster filter for my silly flute noises and harp plucks. So I rarely use the linked stereo controls/CV except to try to find the right balance point between the two sides (which is kinda a nuisance). Feels like wasted space for my application.

On the design side, the module has very little headroom and will distort at levels that none of my other modules (or outboard gear including line-level converters) have trouble with. I thought this must be a defect of some sort but Andrew at SSF confirmed that this is expected and that these issues have been reported with modules like Plaits, Rings, and Clouds (I pointed out that these were the top 3 most popular sound modules on ModularGrid so it seems curious that this never came up during production/testing and isn’t seen as a problem).

So the recommended remedy to this is to attenuate everything before running into the SD, which means dedicating even more resources to a module that is already pretty chunky. Eh.

Also, even when you attenuate the incoming signal, the SD does some really weird stuff to the processed signal, boosting certain frequencies that are nowhere near the cutoff point (even when properly setting the resonance all the way down, which is another weird aspect of the module since you actually have to set Stereo Res at 12:00). Here’s a video I made of the issue to send to SSF:

This boosting of certain frequencies is clearly audible but isn’t necessarily unpleasant. However, for some signals it can cause even the attenuated signal to hit the saturation stage and distort even more. Which is rad if you want to get some crunchy sounds out of it, but the marketing says "Designed to be clean …” and having “… clean frequency based panning” which I take issue with.

Alway, uh, thanks for coming to my TED Talk.

6 Likes
#188

QMMG is amazing, but its filter has a pretty aggressive sound and not the sweetest sweep. It’s incredibly useful in the way you can chain different channels together - for example, a cool trick is to set one channel with some self resonant squeal with cut off to taste, and run it into the next channel that you’re modulating, which makes the resonance take on an additive role to whatever you’re processing - but the resonance itself is very much an acidy meets old sci-fi squealy kind of sound. It’s flexible as hell, but not so flexible just as a filter. My favourite use for it is just as a LPG, which has the most incredible long ring, and I love that it has knobs for bias that make it much more playable than Optomix.

As great as it is, it wouldn’t be my first choice in a drone rack. And good luck finding one if you do decide to get one!

For drone you’d get better results from a fixed filter bank. Perhaps try to find a Fxdf and RxMx, which also has a LPG element?

2 Likes
#189

Could i get recomendations to substitute the ringing resonance thing that the QPAS does with other things? Are there some classic additive elements that can do this?
That ringing + the smilepass would be the main reason for me to go with it as i ve no main filter right now just a FFB wich can get into subtle harmonic additive rings but i would enjoy a „simple“ vcf that does expressive ringing resonation before and therefore in my rack as the ffb needs to live outside due to space. I am of course drawn to the span thing like in 3sis and qpas but i dont think there are many options for that and combined with the ringing in small hp?

To add on the thought, i am not much into filtering substractive either, i enjoy combs, notches, ringing, added harmonics. The qpas seem to be able to play with this. Sister also a bit.
But focused on the ringing -> damping envelope thing the qpas does, whats comparable?

1 Like
#190

I assume the headroom isue is with the ‘drive’ control all the way down? That is strange, considering if you wanted to overdrive the input you have the drive control for that, so if anything is seems like the un-driven input should enter the filter at a lower level…

1 Like
#191

Yeah, that’s exactly what I thought! In fact, Andrew at SSF said “The SD has just a small amount of attenuation when the DRIVE pot is set to the lowest position” so it seems that this was taken into consideration but falls short in execution.

1 Like
#192

I love the Dipole, it’s my personal favorite filter. The range of possible tones is nuts, once you get a handle on its various ranges across the filter combinations and routings, and feel comfortable with where the knobs are supposed to be and how they all interact with each other, it’s really incredibly powerful for its size. Its also great on sources outside the eurorack, and percussion in particular. Used it recently on hihats for a 70’s acid glam style track and it blew me away. It created a very 3D physical, feeling, moving stereo image that brought the track to a different level for me.

When I first got it, I barely used it as a filter. It does 4 sines quite well, but pinging the filter inputs for the variety of resonating tones was really special. The kind of harmonically tunable percussion tones I personally always seem to gravitate to. The resonating dipole through 3 sisters yielded particularly interesting sounds, and also sounded fantastic as an input source for Rings blended and shaped with some noise. Quite a different range using series vs. parallel when it’s used as an oscillator, the series results in a unique and mild wave-shaping that I like a lot, gives another filter a little more to chew on.

5 Likes
#193

Please share some demos of what you’ve described! Would love to hear.

1 Like
#194

Here’s a little patch I started putting together this weekend. Two parallel voices from the Stereo Dipole pinged, one into Three Sisters and a DPLR delay, the other mixed with noise into Rings and then Typhoon.

If you want more details on the process and patch I wrote them up here