also found this v helpful
I generally try to keep the sounds coming out of these in the useable mid-ish range at max and rhythmic slow pops at still perceptible speeds at the slowest. Not a fan of ear piercing HF content.
.001 uf = 1500 hz
.01uf = 150 hz
0.1uF = 15hz
Socket for hotswap funsies.
4 Likes
crucFX
3183
Oh that is excellent!
I love the breakdown in “timing” of the Pulses 
Am I right that you have CQ & PB2? If so then gesture from deerhorn is a really good way to interact with both instruments, you can trigger stuff off, meddle with the rolz section & mess with man with red steam.
It’s a shame Peter dropped the comparator knob from the snare dust output when he released PB2 (it’s why I’d never buy one), it was always a good way to vary the amount of dust & therefor vary the amount of interaction with that patched to other things. People used to complain about v1 snare but honestly it was my favourite bit, not for the sound but for the modulation of other elements.
I’m not familiar with PB2 but from what I remember it has control over the vca’s in the mixer section, I’m presuming that you could use vc on the audio so split the audio output & feed the signal back into the other side via a format jumbler (if that makes sense). You have a left gongue, av dog & ultrasound audio signal that can be used to modulate the right gongue, av dog & ultrasound in a controlled way via the vca section of the mixer. These controlled signals can also be used on the mwrs & rolz. It’s sometimes good to treat the left & right channels as two separate instruments. I’ve also used the left side through a delay pedal to modulate voices on the right side.
I had two PBv1’s, two PB’s are great as you can get really slow by connecting both mwrs’s. CrucFX is right to suggest some slower rolz, I’ve build loads and always preferred to use slow (often painfully slow) rolz with PB’s.
The joy of these instruments is discovery & sometimes what you’d always considered to be an output can also be an input, audio is just a voltage so is useful for modulation and never be in too much of a hurry to ‘create’, spending time on one section to see it’s potential is the way to go. I’ve created far more uninteresting patches than interesting one’s but when you do hit a sweet spot you like you can get lost for ages.
Most people’s approach to modular seems to be they have an idea or read about something new so they buy the module. If that’s not right they sell it and move to another module. Ciat Lonbarde is an instrument & you’d have to get rid of the whole thing if it doesn’t fit, there are annoying little bit’s in each of the instruments but I don’t feel they’re so bad that you need to get rid of the whole thing, often it’s accepting limitation & working with it.
3 Likes
baleen
3185
okay so very not analytic and a small someone was distracting me BUT I:
•SQ1 had no problem with advancing steps via orange rollz, straight time or modulated/stacked.
•patched CV out of SQ1 thru LowGain jumble box, to gongue purple and yeah i’m still not sure how PB feels about 1/2/5/8v BUT i was able to get pitch changes.
•gongue green totally happy with gate out from SQ1.
•so i patched up the rest and it sounded like this, the left channel gongue pitch changes are relatively clear but yeah the rollz are having fun with the gongues via ultrasound
this has definitely been my attraction to any instrument and I’ve always tried to approach eurorack with this mindset which makes Getting Into CL very comfortable for me: i’m not expecting instant output, i’m expecting to practice. I definitely find the CL process more intuitive and exploratory, something I pursue with my euro setup but there are different limitations there which are intentionally elided in how CL instruments are designed.
6 Likes
Zeke_B
3186
That sounds really great. I’m sure there are some examples out there, but I haven’t heard one before.
Sounds great, often something simple like adding a potentiometer to limit CV can create the variation needed. Here’s a little experiment I tried years ago using a simple passive matrix mixer patched between mwrs & av-dog. I never really pursued this approach in compositions.
https://www.youtube.com/watch?v=44-SDp-8K2M&t=8s
I can kinda see where you’re coming from, it’s easier in eurorack to end up with a bunch of random parts cos it’s more of an open system. Serge, Ciat, Buchla & Bugbrand (to name a few) are fairly well thought out systems regarding a single instrument approach. I think the joy of eurorack is options but at the end of the day you still have to consider the instrument and, especially with eurorack because of the points you mention, how you play & interact with that instrument. I personally don’t think you can go wrong with whatever system you buy into as long as those considerations are at the forefront of any chosen path.
1 Like
909one
3188
Yeah I’d thought this too at first, and after getting into and out of euro twice, I think the options are a negative for me. I much prefer going to a restaurant that’s highly curated with a few choices than some of those places that have everything on the menu, it gives me anxiety in the choice.
3 Likes
rmro
3189
These are some working method experiments using one Gongue as both a pitch and sound source to trigger other samples. Both the pitch and the duration of the Gongue has an effect on how the samples are triggered, there’s a surprising amount of control possible from fine tuning the Gongue decay time.
8 Likes
baleen
3190
yep and last night i tried this same experiment just using MWTRS and the attenuators on my jumbler to dial in different step values. neat, definitely more of a proof-of-concept for me and maybe i figured out MWTRS a little more. i’m not huge on sequencing (which has also worked out for if not been a main attraction to euro and here we are w a PB) so I’m still sorting out MWTRS’s potentials.
3 Likes
yobink
3191
Nice sounds! What are you triggering from the gongue?
1 Like
crucFX
3192
SPOON with onboard Tarp amp (bbob’s board)
And separate SPOON amp hacked together from Lorre Mill’s walking ring amp that I made some boards for.
So you put the spoon in your mouth… it’s connected to signal input of the amp, and then touch nodes on your CL devices and voila.
Originally displayed here
6 Likes
rmro
3195
Thanks. I’m using the M4L IRCAMax plugins to interpret the audio into midi then usual suspects: Sampler patches of my recordings and Grain Scanner for detailed textures, lots of possibilities.
4 Likes
Can you explain how to get audio rate out of the Rolzer?
On the below patch, I patched all of the 3-Rollz together and that got them up to audio rate. Since I went for an artsy shot, I’m not 100% sure but mostly sure that I just patched each roll to the next one. Usually, I’m less methodical and patch randomly until it makes not-click noises.
1 Like
That’s hilarious - I even commented on how I keep forgetting to try this!
But you did say 3 rolls… on my Rolzer, I’ve got 2x6, 1x7, 1x5. Could you elaborate?
1 Like
I don’t believe there are 7-Rollz in the Peterbilt Rolzer, but here’s something silly with two 6’s and a 5. No patch strategy, just kept going til it made noise. I tried using different colored cables to make it easier to follow, but not sure how much that helped.
2 Likes
I’m going for it - thank you!
2 Likes
crucFX
3201
you cant.
below 1uF starts to get more “audible”, but Rolzer is 1uF through 10uF.
you can hear clicks and pops from positive pulses at most values. 
Some progress on my Fourses build!
10 Likes
