well, one answer is that cocostuber is a unique design that doesn’t use a microprocessor. SRAM is directly addressed with flipflops and counters. it’s not just a question of dropping a different ADC in there (it does use an integrated ADC - TLC0820 - but extending the capture bit depth would mean tons more circuitry for the discrete memory addressing.)
a broader answer (to the broader question of, say, “why is it hardwired into this lo-fi topology”) is that it’s a ciat-lonbarde instrument and as such, has philosophical intentions:
Immanence / Post-Modernism / Subjectivity
- The sound of the instrument itself- the clock register of the cocolase delay, what you don’t normally hear in the symbolic abstraction is the clicking of the clock.
- Bringing these secret sounds to the surface, instead of creating a structural solution to the need for synthetic tones/LFOs.
you get what you get with peter’s instruments. in the case of cocostuber, the discrete delay line construction (exposing clocks, FFs and internal control-feedback paths), is integral to the concept. and i’d say there’s a kind of minimalism at work that favors a smaller, relatively low-cost and low-complexity version of the discrete delay design, instead of pursuing higher bit depths.
(i’m thinking now whether a 12b or 16b version of stuber would make sense. i think it would still work, with a corresponding expansion of the addressing circuitry - the frame clock is an important part of the sound, but i don’t think there is a discrete bit clock. not sure though.
[ed] i slept on it, looked at circuit again, actually seems not very easy to twist this design away from the 1byte == 1 sample paradigm.)
the instrument’s unique qualities are certainly not just about interface, or just about sound quality. the pair of stubers implements a relatively primitive nabra (analog brain - well here kind of a hybrid CMOS/analog brain) that is still capable of producing its own musical behaviors. you get a lot of control over these behaviors but it’s not a “normal” palette.
somwhere peter had a nice essay that goes more into the dialectic of “structural solutions” (deterministic systems of action->sound mapping) vs. the holistic systems that he makes, complete with some great cartoons of pierre boulez. of course i can’t find it.
worth noting that pete doesn’t make eurorack modules, Ieaskul F. Mobenthey does.