#158

It’s a messy situation. Waiting to see if PayPal will solve it or if the seller will get out of their stupor (their excuse, not mine) and hand over the d0 to a friend who lives close by. We’ll see.

In the meantime, here’s a physical-modeling-heavy hardware performance.

Starts at 50:45. Not sure why video doesn’t work here. Anyway, if you can listen with headphones that would be ideal, as there’s lots of small sound events and a bunch of spacial movement.

Let me know what you think! :relaxed: And since I know this is not a performance topic, feel free to comment on the sound design, or other elements (mixing etc). Always looking to improve.

3 Likes
#159

That’s really shitty. Do you still think it’s a scam, or is the person just dragging their feet on shipping? I’ve seen a few cases of people trying to do scam sales of Mungo modules on Muffwiggler. Seems to happen a lot with any of the more expensive manufacturers like them and Cwejman.

Interesting sounds in that performance. What modules are you using for the various parts?

#160

I’m not sure what to believe. The reason being that on one hand I think the seller is in a bad situation and is genuinely incapable of solving the problems he creates for himself. I do believe he owns the Mungo module and placed it for sale with the intent to send it over, but it’s been more than two weeks that he hasn’t shipped it. And I’ve also offered to have a friend pick it up on my behalf, in the city where the seller is located. He has not answered that suggestion, so I’m inclined to consider nefarious thinking.

I was alerted when he first insisted to use a more immediate method of payment, instead of PayPal. I’m hoping PayPal will see things my way and return my money. Either that or that the seller gets out of their haze and decides to give the module to my friend. That would be ideal as this thread has got me craving for a d0. I kinda jumped on it as soon as I saw it!

In any case, back to the thread (thank you for asking though, it does help to discuss this with people who care). The modular is mostly used for sequencing and post processing. Sounds are PCM and physical modelling based, around the GEM engine called DRAKE:

“The rp-x is powered by Generalmusic’s break-through technology DRAKE. DRAKE (Dsp-Risc-Advanced-Keyboard-Engine) is the ultimate DSP: probably the most advanced piece of musical hardware in the world. Its 32-bit and 50-MIPS internal structure and its totally programmable software architecture make this processor so fast and powerful that any kind of algorithm, from Wavetable to Physical Modeling, can be implemented in real time, either in generation or in post-processing. Using the Physical Modelling power offered by DRAKE, Generalmusic has created and patented a number of new algorithms which replicate some of the world’s most famous vintage instruments like Rhodes, Wurlitzer and Clavinet. DRAKE has found unanimous, enthusiastic appraisal from experts in these fields”

You can really push this to extremes. I like the balance between things sounding real and fake. I have some things in mind I want to achieve when performing and I think I hit some spots during this performance, sound-wise.

2 Likes
#161

that’s a quite unique performance @ParanormalPatroler! so if i understand correctly the main sound, the piano sound, comes from this rp-x box? is that something like a yamaha vl70m? you use the addac cv to midi correct? i always wondered how the addac interprets note off messages, how does this work? and is that a hinton pin mix module or what is that with the ems style pins?

1 Like
#162

Coming from you that’s a major compliment @kilchhofer. Thank you!
The piano sound comes from the GEM rp-x indeed, which is something like a hidden gem (pun intended). It is far from being as powerful as the VL70m in terms of programming, but it is very powerful in terms of synthesis, so I can only take credit for 10-20% of the sound design. All the sounds in the box are pretty standard, pianos, claviers, el. pianos, etc, but with some clever layering and a bit out-of-the-box thinking you can push it to some interesting territories.

In this occasion I’m using the Doepfer a-192-2 in conjunction with the fairly new mxmxmx CV2MIDI module (https://www.modulargrid.net/e/other-unknown-c2m there’s a link to Git on the page there, the module is open source if you’re interested).

The ADDAC222 is the main MIDI translator in my other case, the jazz one (which if interested you can check here https://www.youtube.com/watch?v=PeKnHJA0e-o Disclaimer: the sounds are not physical modeling so it might not be of interest for this thread. I’m working with a Roland ROMpler on that set but I’m quite proud of my work even though I know I have a looong way to go to reach what I have in my head). The ADDAC has three modes, and depending on the mode it interprets NoteOff differently, but generally it has NoteOff inputs that end the note when a Gate is received. Does that answer your question? I’ll be happy to explain anything in detail if you want.

The pin matrix is from Future Sound Systems. It’s a lovely module called MTX9. Another hidden gem for modular systems. It’s a 9X9 matrix which you can either get as passive or powered form. This setup was actually built around this module.

2 Likes
#163

15 posts were merged into an existing topic: Mungo Modules

Mungo Modules
#164

more wind instruments, first example has the r*s vcm middle section within the feedbackloop, some dc bias goes on the second input there. the instrument reacts quite heavy on pressure, overdrives etc.
second example is with exaggerated noise on the free d0 input. g0 as pitch shifted pseudo delay.

9 Likes
#165

Very nice!

Have you ever tried using a breath controller for playing wind patches? I’ve got a case with a pulp logic 1u row now, and I’ve been eyeing their breath controller tile with that in mind.

1 Like
#166

i had a ewi usb which i thought would be very nice to play such patches but i didn’t like it at all and the usbmidi to cv is just too steppy for such things. anyway now you reminded me that i actually ordered a pulp breath controller but as normal 3U module http://pulplogic.com/product/breath-control-2/
but something went wrong with the order, need to write to them.

edit: i played the trumpet for many years and so i always am eyeing on auctions of original steiner evi’s!

1 Like
#167

I created the wind instrument case after getting the Pulp Logic BC module (3U). It makes a huge difference in expression and I can’t recommend it enough.

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#168

I was experimenting with the Erbe-Verb last night and ended up in some quasi-physical modeling territory.

  • Gate from Rene into the input
  • Wet at 100%
  • Absorb in the 75-100% range
  • Decay to taste, I prefer the 75-100% range (accounting for that it goes to 120%)
  • Size to taste, though I think small-mid size setting sounded best
  • Tilt to control body resonance

Very much resonant metallic objects

2 Likes
#169

Finally! All the pieces are here and I managed to squeeze them in

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I haven’t dared try the Mungo yet. I did the modification but I won’t get into details as we already moved the discussion to the other thread. First check with the CG Delay was underwhelming but I’m still finding my way around it, so I’ll reserve my judgement for later. So much physical modeling road to cover, so many things to study …

I think that 3 delay lines (counting the Comb filter) might be overkill. We’ll see. Right now I can’t decide between d0 and CG Products. They seem so unique.

3 Likes
#170

Nice!

YMMV, but I wouldn’t say 3 delays in a physical modeling setup is overkill at all. I’m pretty regularly using two delays to create bell/metalic sounds, and then a third to sort of give them some space. Or one for string vibration, one for body resonance, and one for effects.

2 Likes
#171

Well, I gathered as much from the patches suggested by Ron Berry (link earlier in this thread). I saw that he uses more than two delays at points, but it’s good to hear that you do the same. For now I decided against adding the WMD Gieger Counter and utilized the space by keeping both CG and Mungo delays in there - if nothing else I want to spend time and make a proper comparison (that will take time, so don’t hold your breath on that one).

Right now, case-wise, I’m torn between adding a reverb, extra compression, or an envelope follower. I’ve been listening to Emptyset, and their use of compression gave me some ideas about layering sounds inside the same patch and letting elements breathe in.

In case anyone is interested: I ordered

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from Amazon. I’m sure similar information is readily available elsewhere, including some links in this thread, but the book includes information on playing techniques for each instrument being modeled, as well as sampling suggestions which could come in handy for use with the Play module by 2hp. Seems nice to have all the info under one roof.

6 Likes
#172

I don’t hate 2hp modules or mini knobs, but my chunky fingers couldn’t handle those three Mixes side by side like that. To me mix controls are often more important than tuning knobs once the patch is set up.

#173

Discovered a good pairing: park a 2hp Mix next door to 3 Sisters and leave it patched to provide high/center/low mix. Makes an excellent “tilt EQ” for physical modelling patches!

Another small discovery, Plaits vowels make excellent exciter material for d0 saxophone patching.

2 Likes
#174

By sampling suggestions, do you mean ways to sample your patch, or ways to use samples as exciters? Or something else?

#175

To be honest I’m trying to keep the case as is. I do have a 12hp matrix module on the way, mostly because it was cheap, but I find that having three 2hp mixers makes up for the lack of a decent matrix mixer module. Plus I have more inputs per output. Granted, the small knobs aren’t ideal, but so far I don’t mind them. I’d be hard pressed to perform using the feedback on the mixing side - and for that I prefer the small knobs, they are far more difficult to knock out of position during a performance.

So far I’ve had the best results using saw and vowels indeed!

To be honest, my initial idea was to use it for enhancement. Listen to how Colin Stetson utilizes the thumping of the saxophone valves to add percussive elements on his tracks. But lately, I have the 2hp there to use as an exciter, to fake some parts of the sound I can’t get without expanding too much (re: “spit” or attack on trumpet is a good example), or maybe even grab the sustained part as a sample and work with that? I don’t know what the smallest size of of sample I can use on the Play module but I’m hoping it’s doable.

The book describes areas of a sample (in terms of size etc) which would be useful when trying to sample each instrument. On the trumpet for example it suggests getting four samples per octave (re: every three semitones).

1 Like
#176

That’s a good point. :+1:

I found myself moving my 2hp Trim – which I had originally planned to just set aside – next to my new Filter 8. I love that filter, but the one thing it was missing was attenuation for its two inputs. I haven’t yet thought about applications of mixing the outputs though.

#177

I went with your advice yesterday. No specific patch or audio path in mind, I just patched as I saw fit, adding the Comb module in the feedback path of the CG Delay. You are absolutely right - the Comb module is marketed as a Comb filter or a short Delay line, both of which are correct, but I found that it makes for an excellent resonant space for other things to exist in.

Obviously these are no breaking news, but I’ve never conceptualized short Delays as larger resonant spaces, only as smaller resonant bodies. It seems the Comb is ideal for such a use, with just three parameters, it’s super easy to dial things in without too much fuss.

I’m having trouble finding how to properly use the Resonant EQ to recreate instrument bodies. I’m hoping that the book will have some information on the bands that get accented by the body of each instrument. But I’m wondering whether something like the new ADDAC603 Triple Band Pass filter is better suited to such a task since the frequencies of the bands aren’t static.

Also, general question: do you use DC offsets when modeling bowed string sounds or is it just for plucked strings?