#81

I’ve never used frames, but have used pressure points to try a similar thing and found that it wasn’t really as accurate as I was hoping. When switching between speeds it would often not jump to exactly the same amount each time.

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#82

I started building this skiff to use it with my guitar pedals or as one huge return effect, currently have the PNW, Morphagene and QPAS. Love all three and the Morphagene really is living up to all the hype both as an effect and as an instrument in and of itself.

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#83

Erbeverb is mono in, unfortunately, so maybe its not worth it to downgrade to mono for it.

#84

Question for those Morphagene owners…

I just got a Morphagene, and I’m having trouble getting the balance right on the SOS knob for doing looping overdubs. Basically, I’m used to guitar loopers where there the current loop doesn’t fade away so quickly (or at all) and you can keep adding layers without losing the underneath layers so fast. I’ve trying messing with it a bunch and it never seems to maintain the underneath loops for very long before fading out. Does anyone have any advice on this?

Make Noise modules: design, usability, theory, philosophy, etc
#85

Its just not quite how it works, per email conversations I have had with Walker. Heres his reply:

The record input mix is set by the SOS control, meaning that anything other than the full extremes of the control is something less than full volume for both the input and the previously existing recording, and therefore repeated overdubs will always fade out over time.

Here’s something you might try:

  1. set inop to 1 on the options.txt file on the SD card. This will make it so that only the input is recorded, regardless of the SOS control.

  2. Mult the output to a mixer, and mix it with whatever you are putting in the input, at the highest level you can create.

This may result in no fading out over time. Without any fading out you are nearly certain to eventually overdrive the output and start recording distortion. How long it will take depends on the length of splice and the nature of your source material.

Also, there’s a chance that this patch will result in near-instantaneous very loud feedback noise. I’d keep a diligent hand on your system’s main volume control early on until you feel it out.

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Make Noise modules: design, usability, theory, philosophy, etc
#86

So this is what I figured. I don’t understand why this design decision was made. I wish there was an easy way to maintain a constant level of the recorded sound while just adding the new sounds. I’ve actually already tried what you had mentioned above already, with my mixer, by sending the live sound to the Morphagene through an aux send then sending the output of the Morphagene back to another channel of themixer, and then back out of that same bus to the Morphagene. It works sorta kinda but it does overdrive pretty quickly and you do get instant feedback if accidently push the SOS knob anything less thatn full clockwise.
This is a general rant here, but I don’t understand why there is no simple looper in Euro that operates exactly like a guitar looping pedal in terms of adding new sounds. There’s a million of those out there and they are not hard to make I’m guessing. I spent a bunch of energy trying to get the same results with the Nebulae but I encountered similar issues. The Magneto also was quirky as well with the fade outs and other weirdness.
I’m trying to avoid having extra guitar pedals in the mix, and I love all the other features of these euro modules but please, someone just make a module that operates on a basic level like the old Akai Headrush becauase I’m sick of having to cart that thing along if I want some good ole fashion looping! :slight_smile:

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#87

W/ will perform typical guitar looper tasks depending on how you have it setup. I use mine for such all the time, with guitar and with other sound sources.

Edited to say: I have also been doing this with Mimeophon, though it is certainly not traditional.

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#88

Something like the TC Electronic Ditto should fit into a relatively small hp footprint.

Since TC was acquired by Behringer maybe they could convert it to eurorack with some nagging!

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#89

Just in case you have a Disting mk4 somewhere in your rack, you can do looping with the stereo clockable SD delay algorithms (K7 or K8). It can handle loops up to more than an hour I believe, and you can set the feedback so it doesn’t decay at all. K7 lets you set the loop length by pressing the button on the module, and K8 let’s you do this with an input trigger.

#90

Ah yes! Good idea.

Really? And it locks to a click? I shouldn’t have sold my Disting. Crap. I guess I’ll have to buy one again.

#91

So, I have a Mimeophone too… I’m so annoyed that the Hold button doesn’t snap to the clock. Everything else about the module I love.

I’ve looked at W/ but the manual i so confusing I didn’t want to consider buying it. It does standard guitar looping though?

#92

I guess I dont use Mimeophon to loop that way, and its more free form. I basically get it into one of the upper zones and keep repeats knob at 4 o’clock but, yeah, it’s not going to get you perfect loops like a guitar looper.

Regarding W/, you could certainly set it up to behave like a traditional looper in live mode utilizing this/that cv inputs and some kind of a gate source to punch in/out. Im sure @voidstar could describe with more accuracy and brevity how to do this exactly. I use it in live mode, dub this/dub that with a voltage source into that to set how much decay I want (0v into that will overdub continuously, increasing to 5v or decreasing to -5v will start behaving like a sound on sound looper/delay in which layers start fading, though there is some nuance in the difference between the two voltages). In this mode, a gate sent to this will toggle recording on/off. Im sure there is even some kind of foot pedal that could output a gate in order to punch in/out via foot control.

#93

Hah yes - everyone needs a disting. (I’ve ended up with three in my 6u case!) It’s essentially just a (very long!) clockable delay line so a clock can give you the loop length easily, and it has a wide range of selectable multipliers and dividers to the clock which is handy. For a traditional looper you want to be able to punch in and out I guess, which you’d need to do separately with a switchable audio path (another disting with the new switch algorithm would do this nicely :wink: )

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#94

Jeesh, I just watched the Youtube vid explaining this algo on the Disting and this is probably exactly what I’d need. Silly that I had this and it was right under my nose the whole time, I never would have gotten rid of it had I known.

#95

Hi everyone, I just stumbled upon this on the YouTubeszes and thought I’d share. :slight_smile:

Looks fun!

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#96

So last night I made some progress in getting the Morphagene to loop in the way I want to.

I have a Pittsburgh System Interface which I use as my main mixer. The way I have it setup is that I put the Morphagene on the bus send, so I am quickly able to pull sounds from any channel on the mixer that I want by just flipping up the bus switch and hitting record on the Morphagene. The problem as noted above is that the overdubs die out pretty quickly. The best way I have found get this work in a useful way is to use something like Pressure Points to have preset voltages for the SOS mix knob. If you crank the SOS knob all the way up on the Morphagene you are getting the loudest recorded mix and no incoming audio. That is the ‘base setting’ so I have a coresponding voltage output from Pressure Points set fully clockwise on one pad. On another pad, I adjust the voltage to the SOS mix to taste, so that you are getting a good mix of recorded sound and incoming sound. I have the main gate output of the PP going to the record input of the Morphagene. So, now when I flip flop between the pads on the PP I can get it so it simultaneously hits the record button and moves the SOS knob, then back.
I was thinking you could also do this with Stages as well, if you want to keep PP for doing other tasks. Set up a two channel sequence on stages, with each stage sending the appropriate voltage as mentioned above. Then send a gate from button (I have the Pittsburgh KB-1 which has gate preset gate/trigger buttons) Everytime you send a gate it will flip flop the voltages back and forth on the Stages to adjust the SOS knob for the proper settings for recording.
This really helps because if you just leave the SOS knob in the same place the whole time the relative volume of the recorded mix stays much quieter every time.

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#97

The Tape and Microsound Music Machine is now available. I’ve collected nearly all the modules for my own (missing Wogglebug) & think that the Morphagene is really the centerpiece of the system.

I’m curious what other modules / types of modules that you think fit in with the ‘spirit’ of the system? My only additions so far have been a

  • sequential switch (Mystic Circuits Tree) which has worked great by triggering with the Morphagene’s EOSG trigger and distributing the CV OUT env follower to various places in the system.
  • comparator circuit (Mystic Circuits Ana) which acts kind of like a Maths expander, doing logic operations against two inputs and providing a variety of outputs.
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#98

Looks like there’s just enough room for Crow and Cold Mac in that TaMMM :slight_smile:

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#99

excellent ideas. I have Crow & have been looking at Cold Mac for awhile. Lots of flexibility with these solutions. W/ might fit in well, to reinforce the core, bounce ideas to. With all the stereo aspects of the system LRMSMSLR could be interesting, but I tend towards making mono signals wider with it. Perhaps some form of drive / saturation or EQ like Kith Ruina would also fit.

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#100

So I finally get why the Morphagene is so awesome. I had my ‘ah ha’ moment with it this weekend…

I picked mine up about a month ago, and I liked it, but was sorta non-plussed, thinking I preferred the Nebulae better, which I stupidly had sold. I’ve also had Clouds and used the granular processor on the Zoia a bunch.

What I discovered with the Morphagene, which most of you probably already know, is to make very slow changes to the settings. The Nebulae really sounds interesting witht faster random changes to CV but with the Morphagene you get these slow evolving ‘morphing’ sounds that are so beautiful when you slowly adjust stuff. Also, and this is probably really obvious to everyone but me, but I think the Morphagene does more interesting things with pre-sampled sounds rather than I synth voices. I sampled a bunch of stuff from my baby grand piano, some straight playing and also some prepared stuff, and it sounds unbelievable with the Morphagene. I just left the settings like they were for an hour and listened to it in the background while I was doing stuff. Its a whole piece of music in and of itself.

There are two things that I wish that the Morphagene had which the Nebulae has though… A button or a way to easily switch between live input and samples, and a quick and easy way to jump octaves. The Nebulae makes this very easy, with pots that have the ability to be pushed it.

That is all. :slight_smile:

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