#21

Okay but when in a patch i work with other sounds from norns timber, uisng the coast just for basics or miixng, i would have up to 3 inputs for summing? Cool!

The SubHarm is out of my price and kinda too layed out.

#22

Yeah, it is weird though. I was doing this a few days ago with the slope as free oscillator and the contour as subharmonic (because it can’t loop without help) and I noticed the polarity made a noticeable difference. It also added some weird distortion, which might be congruent with your flavor. Finally, because you’re effectively chaining crossfaders, controlling the levels is a bit awkward.

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#23

Mmm, not per se.

With the Balance control, it passes through the LPG, and you can only crossfade the external source with the output of the oscillator’s wavefolder. It’s more useful for adding a second oscillator or layering another source - for example I use the OP-1 to sequence the 0-Coast and also feed its output into the Balance to get a layered oscillator.

To use the Maths section as a mixer, you are losing the only source of CV mixing, which really reduces the complexity of modulation available to you. And one channel is fixed at unity so its usefulness is limited.

Again, it involves so much core functionality trade-off that I would really discourage you from planning on that use case. It’s a waste of its intentionally limited resources when there are plentiful cheap external ways to mix.

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#24

It would be a sketch tool for laying down ideas from timber and recording those, giving full coast functionality back on a overdub. I am not good with clocks and all that so for me sketching up things in 1-2-3 takes is best

Edit okay i get it, doesnt seem the best idea.

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#25

Yeah frankly a simple $40 Rolls mixer would let you retain full functionality of both with a minimum of repatching. And also it would let you use the norns in stereo.

Maybe there’s a way to mix within norns, feeding the 0-Coast into its audio input? I’ll let someone else speak to that.

#26

About midi, i just remembered i have that esi midi mate wich is very universal, pretty sure it should work.would leave me with 2 midi channels even, whatever the coats could make out of that

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#27

I got a cheap $12 USB midi device that I’m gonna chop and rehouse with trs jacks.

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#28

Nice! Which one did you get?

#29

I got it off amazon and picked it because it was the cheapest I could find at $14. https://www.amazon.com/gp/product/B01MXM1827/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1
It doesn’t work with my 2013 Mac Book(that could be on me), but it works fine with my Norns.

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#30

Do you guys happen to have some advices for melodic, plucky, smooth organic patches like piano hits and similar mellow, soft things? Its really a difficult synth when wanting to create certain lifelike timbres. Super expressive indeed but i often dip around bassy, brassy techno territory and trying to understand how to dial in for less in your face things.

#31

Balance at full CCW gives you the normalled triangle wave. That’s fairly smooth. Multiply fully CCW + attenuverter in negative goes into silence. Slope that repeatedly, and you get tremolo. Beyond the obvious dialling down of Dynamics (LPG) for fewer and smoother harmonics, Slope at audio rate into LinFM just a bit will give you a harmonic or two while still keeping things soft. Some very interesting sounds are to be found in the smallest of movements, or in the transitory points between one character and another. Focus on those and you can tease out all kinds of texture that the 0-coast wouldn’t be your first choice for. You can also try some less obvious things like patching noise into the balance or overtone input, or breaking the normalled Mltpl connection, so you get full control over the Multiply section. The EON output can help you with attack/release shaping, but I’d focus on simple things first. Add miniscule amounts of modulation to the pitch (e.g. via voltage math section and if you’re not using the CV midi out, switch it to LFO) then run the output through delay or reverb - should give you a smoother chorus-y sound.

tldr: you want the tiniest amounts of its more apparent character, and small, not sweeping, modulations.

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