Mungo Modules


#1

After the Make Noise and Mutable threads I thought we could discuss another, albeit less ubiquitous manufacturer, Mungo. I just saw that they’ve released three new modules and while I’ve never owned any of their gear, I’ve developed an interest after listing to some examples (particularly the c0) and am excited to hear more and see everyone’s thoughts and experiences with them


#2

I had a g0 and I loved the sound. I tried really hard to love the module as a whole as well, but the user interface (even with a zoom module) was far beyond my grasp. I think I understood how it is supposed to work, but I just couldn’t get my brain to understand it on a deep enough level to be able to use the module without first resetting everything to 0 and then carefully (thinking through every knob-turn in advance) manipulate its state to get where I wanted to go.

The main issue for me was that both the module itself and the knobs of the module have internal states and that none of these states are communicated to the user in any way. I just couldn’t operate it in a meaningful way, so I had to sell it. After that, I avoided Mungo modules, even though I have the impression that they are very well constructed and that there’s great sound to be found in there.


#3

Mungo stuff fascinates me, I own a w0, g0, c0, d0 and r0 and am keen to get my hands on a p0. I think this stuff sounds simply incredible and the zoom implementation allows a level of detail and control unparalleled elsewhere (and is actually pretty immediate when you get your head around it - look at this: http://mungo.com.au/eurozoom.html). In a recent downsize I’ve sold a lot of modules but the Mungo’s will always remain.

It’s well reported that the documentation is very basic for such complex modules, the UI is a headscatcher and there are few tutorials or whatever. The modules are also expensive and production is limited. So for me there is this thrill of how it sounds, combined with a deep learning curve which is entirely mitigated by the fact that even if you adopt a more experimental approach - you can still have remarkable results. Truthfully I rarely have more than a basic handle on exactly what’s going on, but am committed to continue learning bit-by-bit. It’s this combination of immediate and complex that convinces me it’s worth the time.

Being able to store and recall settings for all the 0 series modules on the select bus - is crucial (using a macro machines storage strip or expert sleepers select bus breakout). I use this as a kind of ‘home base’ strategy, develop a patch, move it forwards and then review, adjust or return to the last saved state. It also encourages use of ears and is indispensable for live use.

The g0, w0 and c0 all use SD cards for loading samples / waveforms and impulses. My only complaint around that is that there is no visual cue indicating which of these you’re on. Resultantly I barely ever have more than 10 on a card at once, as you need to manually click through to locate a specific. It’s also the only aspect that can’t be recalled on the select bus. While a pain, it should also be mentioned that it is possible to get completely lost in even 1 sample, in terms of the myriad ways a sample / waveform or impulse can be regurgitated and reformed.

The Mungo King as far as I’m concerned is Uzala / Timoka, no one has done more for expanding my understanding of Mungo potential: Listen to these playlists:

c0: https://soundcloud.com/uzala/sets/mungo-enterprises-c0
d0: https://soundcloud.com/uzala/sets/mungo-d0
g0: https://soundcloud.com/uzala/sets/mungo-enterprises-g0
p0: https://soundcloud.com/uzala/mungo-p0

Also he produced a g0 guide of sorts: https://www.muffwiggler.com/forum/viewtopic.php?t=163680&sid=e0bd8aa45ac786a3dc6ab912cebf0cd0

Anyway, I probably have lots more to say but interested to hear others perspectives.


#4

I had a g0, d0, and n0 for a time. They sound phenomenal, but like @x2mirko, I ended up selling them because I found the interface difficult to the point that I didn’t use them… The invisible state recall and multi-zoom knobs are cool features, but make getting back to settings I liked almost impossible. I will wanted to keep them, they are incredibly unique and sound so good, but I had to choose things that were more conducive to making the music I want to make.

As you can see, they seem to work for others… so as with anything in modular YMMV.


#5

I’m on the hunt for a d0 now. The examples I’ve come across of it doing karplus strong and physical modeling are just phenomenal. Too few audio demos around though! If anybody has some clips to share, especially of physical modeling stuff, please do.


#6

Me too! There is one I saw on MG but the resell price is too high for my blood. I should really get around to emailing John and seeing if he is still building these…


#7

Here’s some d0 from my instagram a few years ago


#8

Also these have just been announced


#9

I ended up ordering a d0 from Analogue Haven earlier tonight. They’re all out of Zoom modules though, and it seems everyone else is, too. Anybody know where to get ahold of one? Or the Macro Machines Storage Strip, but they’re also discontinued and I’ve read a lot of bad things about those failing. I wonder if I can find someone to DIY me a 1u version. Looks like it’s just a passive momentary switch and I’ve got a 4hp gap in my 1u row that I’ll never be able to fill with anything…


#10

You are right! It is just a 3-way momentary switch with three cables. One goes to ground (GND) one too ZOOM and the last to 3.3V. You don’t even have to solder (at least not to the module), just use female jumper cables


#11

You can also try emailing John (mr Mungo) direct via his website. He’s done various things for me over the years. Not sure if he’ll have zoom switches on hand but doesn’t hurt to ask.

http://mungo.com.au/contact.html

It is a simple DIY job as mentioned though.

Also, I’d consider a zoom switch mandatory. While you can use jumpers, you’re missing a major feature of these modules (though not all take to it).


#12

My understanding is that these new analog modules don’t require the zoom. The zoom being solely for the digital ones (d0 / g0 etc). What module did you buy?


#13

if you have a Malekko Varigate it will save the settings as the same designer worked on both the Storage Strip and Malekko. The original Storage Strip was discontinued.


#14

Oh, the d0, I mentioned I was trying to find one earlier but should have mentioned that in the post about actually getting one, haha.

And yeah, definitely the zoom module is mandatory. it seems pretty straight forward, and played around with the demo on Mungo’s site, so I guess maybe the difficulty users talk about lies in not having a visual indication of where you are on the timeline?


#15

The Storage Strip + d0 combo was great, allowing you to sequence through various delay presets, resulting in some spectacular sounds.

I’m not familiar with what the Varigate can do, but I’d definitely go find out.


#16

Sweet fancy Moses. The d0 is why I got into modular synthesis. I just spent the morning sitting down with it for a first session and got this awesome physical modeling drum and flute patch out of it. The only sound source here is filtered white noise mixed with a voltage offset. Frames is sequencing the mix of feedback and sending some voltage out to d0’s time and some other stuff. A few feedback loops at other points in the patch, too.


#17

this is fantastic…


#18

That’s something I haven’t tried. Will give that a go, sounds wonderful.


#19

I’d love to know what people have tried with using the d0 to delay CV signals. I’m out of town so I can’t try any ideas right now, but I imagine you could get some really cool results when feeding back CV on itself.


#20

Months later and I’m still learning so much about the D0. It’s so flexible and simple–where other delays give you tailored controls to create interesting sounding repeats, the D0 does one thing: it transports a signal through time. And when you approach it that way it becomes much more interesting to work with than other delays.

I’ve been using it as a standalone FM oscillator a lot recently, which is lots of fun. Just using a couple stackable cables you can have both channels self oscillating and FMing themselves or each other and it sounds great. Clocking it with an external square wave oscillator makes for perfect pitch tracking where the operator intervals remain consistent.

It makes for a lovely voltage controllable shift register. Sending a pitch sequence into A, feeding A into B, you get two independently delayed copies of your sequence that you can then apply modulation to for lots interesting variation. The fact that the time controls will lock to divisions or multiplications of your clock signal make it really easy to keep this sounding musical when you’re modulating the copies.

Similarly, multing any vanilla LFO into the same patch allows you to come away with a tripple-phase LFO, your original and two phased copies.

It can do very cool things as a clocked trigger delay, too, especially when you start factoring in feedback.

It can be a pitch shifter effect! This is my favorite recent discovery. It’s hard to control, and you probably won’t get a stable sound out of it (lots of warbling), but using sawwave LFO’s and very short delay times, you can strike a rhythm between the delay time and modulation speed/amount that will raise or lower the pitch of your signal without speeding it up or slowing it down. Sounds very cool on speech samples.

It makes for a pretty cool end-of-chain stereoizer, being able to dial in a millisecond or less of difference between the right and left channel makes for very real sounding spatial effects with mono source material. Using some filtered ping-pong feedback with this can actually create some very convincing sounding reverberance.

It’s an excellent distortion module. Using short delay times and modulating the time with noise or audio rate modulation signals, use the slew to control the tone of the distortion. This is especially nice on drums, it can get very dirty without having an overwhelming bottom end.

It can be a very interesting expander to any filter, given its ability to invert signals and apply very minute phase-shifts to them, just try multing the output of your filter into channel A and mixing the output back in with the filtered signal for endless tone shaping.