Gotharman Little Deformer

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!

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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.

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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:

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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.

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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.

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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:

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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!

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!

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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!

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.

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!

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.

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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.

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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.

This post is intended mainly for @encephalitislethargi, but I hope others may find it helpful or interesting. By request, here are demos of several of LD3’s discrete granular effects.

I had no luck recording tarantula silk in my last attempt, so I dug up a moderately successful contact-mic recording from several years ago. The sound is of a thick net of tarantula silk (no longer required by the spider) being stretched across a stereo pair. I narrowed the stereo field, reduced the dynamics and sent it directly into the LD3 and back out again into the DAW, where I compressed and boosted slightly the final signal.

In each example I either adjust parameters manually, use internal modulation (but nothing more elaborate than ordinary LFOs), or both. Having a groovebox sort of structure, it lends itself very well to rhythmic modulation matrices, but this is something not demonstrated at all here.


Effect name: Variator
Effect description: Records grains of the input signal and ‘creates variations’ (user manual) according to the configured parameters.
Parameters: variation pattern, RAM buffer size, single-grain size, feedback level, pitch-shift amount
Notes: the dry signal loops a couple of times before I mix in the wet; several internal LFOs are used to modulate parameters. Internal modulation (let alone external) is a joy with this device.


Effect name: Stretcher
Effect description: Stretches grains of the input; attempts simultaneously to keep up with the input
Parameters: stretch amount, stretch sensitivity, stretch octave range, feedback


Effect name: Pitch shifter
Effect description: Detects the pitch of the incoming signal and shifts it by a set value using a granular buffer
Parameters: pitch, pitch-detection sensitivity, buffer size, octave range, feedback


Effect name: Time stretcher
Effect description: Attempts to change the length of the input signal without changing the pitch; capable of either stretching or shortening
Parameters: Buffer size, stretch amount, trigger (the effect can be triggered by internal or external events), coarse pitch, feedback


Effect name: Xfade granulator
Effect description: Granular buffer that cross-fades between grains in an order determined by step-sequencer values
Parameters: number of steps, feedback, grain number, buffer size, step-sequencer assignment, pitch


Effect name: Reverb
Effect description: Granular reverb effect
Parameters: Feedback loop, taps feedback decrease amount, intermodulation, reverb time, taps time decrease amount
Notes: weird effect unlike any other reverb I know.

I hope these give a reasonable overview of how the LD3 granulators sound with external audio, and that they were enjoyable in some way. There are numerous other granular effects on the LD3 - one of my favourites is called pitchshaper - but I ran out of energy.

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Fantastic sounds :smiley: I’m a big fan of the Variator and Stretcher effects too. Haven’t explored the Granulator effects much yet.

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Any time!
Yes, it’s very crisp and clean sounding. The optional analogue filterbanks are a good idea for gritting things up a bit, and I quite like the filters I chose for that (not used here), but I prefer to do send/return to and from my eurorack. The optional extras (additional audio ins/outs as well as CV ins/outs) open it up substantially for me, allowing all kinds of integration, and were worth the increased cost.

Here’s another quick demo of that reverb effect to give a fuller idea of how it sounds. This time using a hastily generated internal sequence and an onboard oscillator, with some LFO modulation of waveshape pulse width and filter cutoff.

The reverb is one of the output effects (as opposed to the insert effects). Output effects can have insert effects placed into their feedback paths, for nice filter shaping or bizarre stuff.

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Interesting, what are the reverb settings you are using? I have a Polyspaze but never really used the reverb that much. Sounds great.

I didn’t save the patch but if memory serves, mix was about halfway (for most of the demo), feed at 300-400, feedX and timeX at 480-511 (with an LFO modulating timeX by only about 3/511, for more stereo movement) and time moved more or less around the full range.

When I first acquired the LD3 I was disappointed by this effect because I think I was expecting a general-purpose reverb, and instead found something distinctly synthetic and unusual sounding. And although it’s helpful to have something more orthodox standing by (in my case, 2hp Verb) it’s starting to grow on me a lot!

Sorry, I forgot to respond to this! Yes, it’s just a sample looping in Ableton and routed straight into the LD3’s main LR in (external inputs are assigned internally to output busses; assign an insert effect to the same bus and it will begin to process the incoming audio).

Yeah, the stretcher has a cool sound. If I understand it correctly, it holds a grain buffer until the sensitivity and stretch-amount parameters cause it to update. When sensitivity is very high (and stretch very low) it updates this all the time, creating a squelchy, almost resonator-like sound that I love. It’s a versatile effect.

The effects can work at karplus/comb ranges, especially with feedback turned up. I think some of this in the demos may have come from the dry/wet balance as well.

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I recently modded my Tiny LD :smiley:

It now has a MIDI controller built in, with two switches, three potentiometers and a light dependent resistor (LDR), for even crazier modulation!

More pictures:
https://www.muffwiggler.com/forum/viewtopic.php?p=3416590#p3416590

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