#1621

4.7nF would be correct - peter uses 3 digit SMD code for Resistors and Caps.


Peter tends to favor green Polys - but often he will use the gargantuan Red PP Caps
1 Like
#1622

When you see these codes, usually the last number is the number of zeros appended to the other numbers so 472 is 47 with 2 zeros or 4700. The units are pico Farads. 4700pf = 4.7nf.

You can always go up in rated voltage of capacitors and you’ll be fine (they’ll get bigger and more expensive as you go higher). If you think about it, the circuit runs off of 9 or 12V so you probably wont see voltages higher than this. 16 or 20v would be fine too.

4 Likes
#1623

thanks a lot @corpusjonsey & @crucFX

that’s what i needed. i need to find some sort of makerspace or something. become an apprentice for a electronics engineer

1 Like
#1624

Here’s attic improvisation part two, in which I focused on using Cocoquantus as the sole sound source, with additional processing and manipulation from Barcode on Norns.

11 Likes
#1625

I did a DIY workshop with him. We built Tocante and IFM modules (he had pre-done the SMD work which disappointed me but was probably for the best).

He was very down to earth, knowledgeable, and helpful. Super nice. Fun to talk to over Indian burritos and beer at lunch.

He definitely goes to very personal universes with his art but he also seems to still be in touch with this shared one.

5 Likes
#1626

Would anyone care to share some Cocoquantus gain staging strategies? I’m having a hard time not overdriving something somewhere, even when the audio coming in to the coco is not audibly clipping. Through both the input module and the mini jacks at the bottom.

#1627

I would start by emptying the buffer with silence. Set the speed clockwise and record a few seconds with both input and feedback knobs completely down.

Regarding input, I wouldn’t push too far past noon or 1, and use the dolby switch up on the input. I’ve been playing with mine and that has helped me a lot. You want a signal that’s hot but not too hot, it seems. Based on these parameters I’m able to fine tune how much grit I’m getting.

4 Likes
#1628

Thanks! This is very helpful. I guess I’m kind of doing a “function check” to make sure my experiences are in line with others’ since I got my unit secondhand.

On that note, here’s a recording I just made with the settings you suggested. First couple of bars are the naked signal (i.e. not recorded by the cocos). Then I record it and start futzing. This stuff all sound within the tolerances for the coco (I know this is a super weird question, haha)? I think the answer is probably yes, just want to make sure!

(esp toward the end, which starts to feel less like low bitrate crunch and more like distortion to my ear. Though perhaps they are very similar sonic phenomena)

Also, is there a rule of thumb for the feedback knob as far as where to set it during playback? Or just to taste?

1 Like
#1629

This has been my experience also. However, watching some videos online I’ve seen people with the gain fully cranked, or close enough, and still get clean results. I’d assume they’re barely pushing the volume on whatever instrument they’re playing in to the Coco though.

#1630

For feedback, I usually have it somewhere between 11-12 for looping. Any more than that in things get crazy in my experience.

1 Like
#1631

After recording, I’ve been leaving feedback at about 11:00 depending on the level, flip both dolby switches up if you’re finding the crunch and hiss to be too much, but that’s part of the character. On the first pass, I record with feedback completely down. When you’re layering on top of prerecorded material, that seems to be where the chance for more overdrive starts to get much greater. I’ve only had mine for a few days too, but hope that helps.

3 Likes
#1632

as a general rule, if you’re still recording into the buffers, keep feedback below 12. if the buffer is frozen the feedback knob acts like a loop volume knob and can go as high as you want.

6 Likes
#1633

Oooh, never knew this! Must experiment some more :slight_smile:

2 Likes
#1634

Is there actually a comprehensive guide anymore which explains what the dolby switches do? I always keep them in center position cause I’ve never figured them out.

#1635

Last question (for now): are ya’ll making use of the grounding jack on the side? If so, when and how? Only with piezo?

#1636

I only use the ground if connecting to other instruments with banana. Since there’s only one conductor in a banana cable, this sets the ground on connected gear to be at the same level.

1 Like
#1637

Haha. Not really. Just Peter’s descriptionon the coco website. Might look at the pugix site tho.

1 Like
#1638

Ok, sounds like all is well with my unit, which means it’s time for less talking and more music making :clinking_glasses:

2 Likes
#1639

from what i can tell, so take it with much salt lol, the dolbys are…

left

  • up - noise reduction on input
  • mid - no noise reduction on input
  • down - almost like muting, but not ??

right

  • up - noise reduction on recording/loop
  • mid - no noise reduction on recording/loop
  • down - destructive recording/ overwrites the buffer instead of layering ??

when both switches are down you can layer rhythmic silences into whatever you have looping.

the down positions are the most difficult to define :sweat_smile:

1 Like
#1640

I enjoy recording into the buffer then overdubbing with Dolby left up and right down which splices the overdubs rather than layering.

5 Likes