#31

I’ve owned an LD1 and currently a Polyspaze and also an OT Mk1 which I sold. I would almost say they are incomparable in experience other than they have sequencers sampling and effects.

Gotharman encourages you to go off somewhere else OT wants to control everything, that is my experience. Both totally valid and great tools.

2 Likes
#32

Awesome… thanks for ur detailed answer! and now… i’m struggling with that dilemna… Tiny LD + filter board or Little deformer 3…
Definitely this seems to be some kind of next level instrument. As I told in my previous message, i’m not into noisy things… more into some kind of etheral delay based sine and square trippy stuffs… since i use my Norns and modular a lot… I’ve also haven’t done a propper track since i’ve sold my octatrack 2 years ago… This one was a good experience despite all its drawback… Thus’, deep ergonomia does not afraid me. And those gotharman instruments seem to be the a good way to tie my little melodical clips alltogether…
So, yeah, i’m quiet excited… and this is all your fault!! :slight_smile: Thanks again for this detailed answer!

#33

For what it’s worth, here’s a sample of the kind of stuff I’ve been trying to make on the LD3.
This is entirely the sound of the LD3 apart from a 30 Hz shelf and light compression/boost added in ableton.

It’s three sampler voices, two stereo and one mono, each following its own sequence and processed by various modulated effects. For example one has a stereo delay with a positive/negative LFO signal controlling the L and R delay times respectively, like a faux Mimeophon. This voice is also being stretched a little. The choir is going through the output granulator; the mono voice is going through a multimode analogue filter. Etc. Please excuse my questionable mixing and EQing abilities. Still learning!

Regarding the choice between Tiny LD and LD3, even on the LD3 there are quite a lot of hold-shortcuts and button combinations. I’m grateful for as many direct controls as possible. I almost bought a Tiny LD myself and can see the virtue in a smaller device with exactly the same firmware at a lower price. The analogue filterboards do add some unique techniques and timbres to it.

4 Likes
#34

I wrote this too soon. I’ve just found parameter snap mode, which prevents any parameters from changing unless the pot value passes that of the value the parameter is set at. I had it turned off.

2 Likes
#35

Stem arranger: Yes, you can record, edit, play, sequence and mangle samples and also create full songs, but it’s not a DAW. The Octatrack isn’t either though. They’re both more like groove boxes with sampling features.

Clean filtering: Depends. Some of the analog filters can be clean and one or two of the digital filters as well. But it’s not meant to be a clean filter effect box.

Sampling quailty: Yes, sampling quality is great, as far as I can tell.

Time stretching: It’s an effect to deform audio mostly, so not really clean at all :wink:

Sequencer: It can do swing, even per step, and is very very capable. No parameter locks like on the Elektron gear, but instead you get sequencer morphing.

3 Likes
#36

If you’re not into “noisy things”, then you might not use the LD3 to its fullest extent. Most of its effects are for noisier, granular, choppy, digitally harsh sounds and it does those reaaally well. It adds tons of character to everything you do and won’t keep things clean and quiet for long.

Regarding LD3 vs Tiny LD:
I’ll have a Tiny LD as well soon :smiley: I like, and will probably also prefer, the control of the LD3. Its eight edit knobs and sixteen step/function buttons are great for working quickly. I ordered a Tiny LD for when I’m traveling without much room in my backpack, but I’m sure I will make different music with it, compared to the LD3, because of its minimal controls. I plan to use it more for sampling and effects, instead of synthesis, but we’ll see :slight_smile:

1 Like
#37

Thanks for taking time to detail :slight_smile: Actually, yeah, never used the Octa as a Daw in a box… Ad not reallly looking for this kind of ergonomia… thus’ i would love to be able to resample advanced patch from my modular (more likely to be the skeleton of my track) and being able to arrange the result into further pattern. so with the element you gave me, it seems the the tiny LD or lil deformer would be a great alternative, I mean auto chops, redistribution of the chops ect… And so, despite the limitation of one recording at once. In this field, the octatrack seems more flexible… (i guess u can record 4 track at a time…) but huge flexibility is perhaps one of the drawback of the Octatrack in my own way of seeing it. I mean, sometime i felt i was losing more time to configure and doing some audio and midi plumbing than actually recording the fleeting vibe out of my gears.
The noisy DNA of the gotharman gears can be an added value for me…and perhaps gonna make my own DNA (proto jazzy etheral hip-hop based muzak) mutates :slight_smile:
Great for the sequencer… seems to be quiet versatile.
What appeals me the most is the morphing feature… you can confirm it works for the sample (gradually swapping sample content and settings?), for the the synth settings, but also the sequencer content ( i mean morphing to 2 diferent sequence with a knob twist or a modulation)? If so, it opens many possibilities… :smiley:
Thanks for your review, and thanks for your work on ur channel! really quality contents since it beginning…and really appreciate ur disruptive choice of gears shown… Refreshing!

1 Like
#38

I‘m not quite sure if you can morph between samples with the dedicated Audio Morph knob, but I think it should work. Sequence morphing works as you describe though. You program two different sequences and then morph between them, resulting in some fun intermediate sequences.

2 Likes
#39

I often switch between snap and pick-up knob modes. I like the parameter jumps when I‘m designing sounds, because I can just twist the knob into the position I want and the values will automatically be there too. When performing I prefer the pick-up mode then. I like that the setting is not buried somewhere, but right there on the main setup page :slight_smile:

1 Like
#40

I hadn’t considered this, but it’s indeed sensible and gives both snap-function settings a good use value. Having spent a lot of time with the setting off, and only recently turning it on, I now find that it is indeed better off for setting up patches more quickly.

It’s possible to morph any continuously variable parameter, including the sample being used by a voice (1, 2 or 4 samples can be assigned to a single voice). To morph between these, you’d adjust the co-called chop parameter for each morph layer. If you morph from slot 1 to slot 3, I don’t know if slot 2 is audible at any point - I haven’t tried yet. Here’s a rough demo where I morph between two samples (it’s actually the same sample but it’s loaded twice, into the first two slots, and each slot has a different start point). Some filter parameters too are morphed. I morph also between two different sequences. The audio and sequence morphs are controlled by two different LFOs. This is actually my first time using the morph features at all. I finally got around to it! And it’s fun.

I generated the sequences quickly on the LD3 by setting a scale and dragging the note values around a bit.

3 Likes
#41

Sounds great @Net ! You should use the morph feature more often :wink:

My Tiny LD arrived on the weekend and I’m already getting some good results with it, jamming on the couch. The transition from my LD3 isn’t difficult at all, even though the Tiny LD relies a lot more on the touch screen of course.

Enlight23
Enlight231500×1125 479 KB

2 Likes
#42

Here’s a first YouTube jam session with the Tiny LD. Programmed some sounds with the internal digital oscillators, filters and effects and re-sampled a bunch of them for further granularization :smiley: Then I put everything together into a performable preset, using track mutes, morphing and the fourth edit button for (subtle) effect modulation. This all happened on the couch with my power bank by the way. I only got up to film the video in my synth closet as usual … but I might start filming videos on the couch as well :sweat_smile:

2 Likes
Variations for Concert Ukulele
#43

Youpla-boum! I’m a proud owner of a LD3! Only scratching the surface by now, but it has already blown my mine by its capabilities. The sound itself is for me a brand new scope to deep dive in!
Tonight I have finally set it up to control my eurorack case. Found easily my way into the trig and v/Oct set-up, but strangely, the trig provided is quiet weak…so weak it can’t trig envelope on my system-1m or clock input on my René.
In the same idea, the continuous CV it sends to controller track is also a bit low … It tracks approximatively 3 Oct correctly… Which seems to me a bit small…
Just wanted to know if someone with a LD3 with CV board can confirm the same type of behaviour?
Thks in advance!

#44

I’ve noticed this as well. I’ve found that applying offset to gates and triggers (found at Edit / Mor / CVout / P_1 unless you have the SpazeBoard installed, in which case it’s at the VCF3 menu) has sufficed to boost them enough that modules in the rack respond to them. Is that any help?

Still I haven’t yet tried using controller tracks to send note values. Have you made sure quantisation is active on the controller track you’re using? I’ve been meaning to try this myself. I’ll see how I get on with it today.

PS Happy deforming!

1 Like
#45

I’ve already messed with all parameters under CVout (P1/P2)… strangely, it works nicely with my standalones ADSRs (Maths, Function, and Pittsburgh modular) but hell not with my René (clocking) and my System 1M (gating)
I’ve also applied the voltage offset… thus’ i found it having no effect…

But in one way, i am reassured that someone else noticed the same behaviour… this is not a problem wich is specific to my machine… more like some kind of flaw in the design. … even if I can’t really say it’s a flaw, because it indeed sends a trigger… but not a pulse or a gate…
I just have to wrap my head around the fact that this is not the all in one workstation i can do everything with… :wink:

But still… this is an awesome machine! Tonight i wanna try to use CV INs… perhaps in order to modulate the Morph parameters… Damn… sky is the limit!!

Thanks for ur reply!

#46

As you’re the owner of a gotharman device you will surely have noticed already that Flemming is thorough and helpful in his responses to any queries. He’s patiently answered several questions for me over the months since I bought an LD3. I’d send him an email if you have doubts about how to set up a function.

A mild illness kept me from examining CV outs much today, contrary to my promise. Sorry about that. I did discover that a little offset was enough to gate my mungo g0. I then tried using a quantised CV sequence to send a melody to w0 (an easily tuned digital osc). No luck getting a consistent range over more than a few octaves here either. This may be by design after all, but I think an email to Flemming would be a good idea to know for sure. Since you can set specific notes over a very wide range, it should be able to output them correctly.

#47

Yeah you are right… I think I’m gonna try to get in touch with him… I was hesitating 'cos I bought the gear second hand… Don’t really know if he gonna be eager to answer my questions… Wanna give it try and let you know!

#48

I’ll email him if you prefer – there was another matter I was going to mention to him anyway. :slightly_smiling_face: I don’t think he would have any problem giving support to a second-hand owner though.

1 Like
#49

I haven’t used the CV expansion much myself yet, but the LD3 outputs 0-5V CV and gates/triggers. Maybe the Rene and System 1M want 8V or 10V gates? You should check their manuals for that. Some rare Eurorack modules apparently want that, while most are fine with 5V or below.

0-5V also means there is a maximum of five octaves of 1V/Oct pitch CV possible. Because of tolerances I could very well imagine that there might be tracking nonlinearities at the extremes of the range, so three octave tracking sounds like a reasonable range. However, do read up in the manual about it, as you can scale the CV outputs in the LD3 to better match the tracking behavior of your VCOs. Eurorack VCOs seldomly track well over five octaves, so it could be both the VCO and the LD3 adding their nonlinearities.

2 Likes
#50

Yeah, i guess this is something wich have to do with the power of the trig recognized with both of this modules. wanna check in the manual of the rerelated modules.
It’s not much a problem of tracking… i feel that the 3 octave are tracking quiet correctly… it’s more a “tessitura” related interrogation wich seems really narrowed…
Any way thanks both for your input.

As I said, this is limitation i can decently live with!

@Net, thanks for writing to Gotharman for me :wink: Curious to here is anwer.