#181

@desolationjones and @smbols, thank you both for your responses. Indeed I’ve been unable to add any noise to the signal by combining slew and other parameters oddly - it seems to be totally clean there. There’s just this noise floor, constant no matter what else is going on.

If you’re interested here’s a side-by-side comparison of two similar mono-to-stereo chorus patches, the first courtesy of d0 and the second courtesy of c1 in BBD mode. The signal was g0 → m0 → f0 → mult, of which one out went to L out and the other to d0/c1 to R out. Direct recording to Ableton from the output module, no compression on the way out and no post-processing. The g0 audio is just a frozen buffer from radio music and some modulation. I reduce the f0 cutoff in each example to expose the noise.

So both d0 (this one anyway) and c1 have noise floors that are unimportant until higher frequencies are freed up. Even with the cutoff down the noise is negligible with c1 IMO, but with d0 it seems surprisingly high to my ears.

Edit: I’m starting to wonder if this is all an overreaction and that there’s nothing unusual about this at all. It certainly isn’t important in practically all of my patches.

#182

this is stupid beautiful

#183

a friend of mine borrowed me a very nice mungo rack, with p0, g0, c0 and r0 , all zoom equipped. i’m starting explorations! they are quirky, sometimes unnerving but utterly beautiful modules! after a few sessions i’m starting to get a grip on them, especially after i fully realized all parameters are bipolar so i can kinda reset them by reaching the 12 o’clock position and starting from there… thanks all for all the infos in this thread, very useful.

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#184

Would anyone care to share how good the g0 is in terms of usability? I did the rounds and I keep seeing people mentioning that it takes a while to get used to it, etc. Is it more so the case than say a d0? I’m very happy with my d0 purchase, and I’m considering a g0 for sound design purposes (although I’m sure a c1 would be more useful).

I’m also not sure a g0 is such a good way to go these days. I have an upcoming Miso Modular Corn Flakes granular module and it sounds absolutely pristine, so I’m really on the fence on whether g0 is a good purchase or not. Any opinions on its uniqueness is more than welcome. If it does for granular what d0 does for delay, I wouldn’t want to miss out on that!

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#185

G0 is an amazing granular processor. For texture and sound design it sounds excellent. It’s mono and monophonic and plays only one grain, but it has that elastic sound with a much finer resolution than I’ve heard in any other granular module. Hard to believe how smooth it is even when the grain size is at its smallest. That resolution - and its zoom parameter ranges, which seamlessly cross between audio and CV rates - are where it likely outperforms most other granular options in eurorack. It’s a great CV generator too.

I am falling out of touch with the latest granular stuff though - haven’t heard of the Miso Modular one you mentioned for instance (edit: Oh, is it your own module?). There must be lots of other viable options now. I had an SDS Reflex LiveLoop for a few years and that would be my choice again if I were to switch away to e.g. something stereo. Sandrine (as you know) is absolutely awesome.

C1 is a strange and wonderful module with enormous potential for sound design (sample convolution, live convolution of two signals, self-convolution of one signal, bitcrushing, bucket-brigade delay going well beyond analogue ranges). I use g0 and c1 together all the time and can barely keep on top of what’s happening. They bring much joy. I know Mungoes can be hard to use but their complex flexibility, imposed upon mostly generic functions, always impresses and delights me.

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#186

Been thinking, what is the most hp efficient way to get a wet/dry delay patch out of the D0. I use the happy nerding Mia and it takes me two channels of the module to achieve it. Just wondering people are using with it.

#187

Assuming it’s a mono patch, it can be done with as little as one mixer. if A and B are linked and the signal goes to B and then directly to A, no mixer is needed for the wet signal. The signal going into B can be multiplied with stackables or a splitter to skip a mult. Then all that’s needed besides d0 itself and anything you stick in the feedback loop is a cross-fader for the dry and wet outputs (if simulating a typical dry/wet pot) or just your MIA.

Did I understand correctly?

Edit: oh, rereading your post it sounds like this is exactly what you’re doing already. Sorry.

#188

My bad, I appreciate the answer but I forgot to mention I’m asking about stereo, not with the internal feedback routing. Thanks!

#189

Fair enough. I haven’t tried a stereo patch yet. But as I have a quadratt in a box I would probably use that for the dual mixing. I’m not familiar with any dual two-channel mixers in 3U but there must be some. For the dual dry/wet control a pair of ladik a-410s with a multed manual offset going into each might do the job for 8hp. Or there’s tiptop miso (10hp) which I think would allow straightforward stereo dry/wet control with a single knob.

On a different subject: has anyone here tried v0? Any thoughts/demos?

#190

i wouldn’t look at g0 for the typical granular synthesis sounds, in fact i don’t even think the g0 is a granular module, doesn’t it need at least two simultanious grains to be granular?

the live mode is for me where the magic happens, instant, elastic and cristal clear sound quality. oh and all for cv too, as for i think all mungo:)

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#191

I thought granular referred simply to the (usually) very small size of the samples. But it’s surely true that using multiple samples simultaneously is an important part of most granular synthesis, especially anything software-based.

#192

Is anyone making something like the macromachines storage strip module for use with the mungo modules these days?

#193

There’s nothing quite so direct. The upcoming Harlequins Context from Shakmat comes close; it’s a select bus-enabled modulator. Also some Malekko modules and SDS Digital modules can send on the bus (@ParanormalPatroler I think has the Melisma…).

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#194

yeah i’m not an expert but every definition i found speaks about simultaneously played samples, i think even the very first compositions with granular synthesis has this ‘cloud of grains’ sound…
but i’m not sure

#195

The Melisma can act as a master or slave, and so can the Harlequin. Funny you should mention, I was testing their interaction just yesterday! Either of those would be able to control the Mungo modules. I did not explicitly test with the d0 (I managed to get a storage strip for that case), but I have tested with the Omnimod and it works.

No idea about Malekko modules that can instigate the change although I do know their sequencers can control the Select Bus. I also know MakeNoise has modules that can act as masters, for example the Rene can control Tempi via the Select Bus. I recently read there is some very basic incompatibility between how MN and Malekko are handling the signals: something to the extent of one requiring a Start message before receiving CC. If I recall correctly the newest Disting EX (the big one) can also send messages on the Select Bus. The previous version, mk4, can only receive messages.

Hope this helps.

#196

I’m impressed by what I know so far about both Melisma and the forthcoming Sequarallel. Some of it I’ve found difficult to grasp, including select-bus stuff. Would you give an example of how Melisma might control a Mungo module? I would guess that sequence and note data for instance can be transmitted but don’t quite understand where or how this ties into e.g. state save/recall.

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#197

I haven’t had my hands on a Sequarallel yet, but it sure is a crazily powerful design. The Melisma, well, what can I say, the module keeps blowing my mind every day! It’s like having a pianist in 8hp, under CV control. And this is pure praise, no pitching or trying to sell the module at all. I simply love it. It could be seen as a deep module since it has a menu system so some people might find it too complex, but if you feel ok with handling Mungo this shouldn’t be hard to wrap your head around. Different but not more or less difficult. Personally I don’t have any problem working with it, but I worked on the module since day -1 so that’s expected. If you have specific questions I’ll be happy to answer them. There’s a dedicated Melisma thread on lines, where I can answer any questions all day, and we don’t derail this one with me being excited.

In regards to the Select Bus and how Melisma can control the Mungo. I do remember the Mungo d0 has an option to receive MIDI notes, right? I haven’t looked into that at all but I’ll check, so let me get back to you on the note data and if that’s a control option. If anyone else can chyme in that would be great!

As for the actual Select Bus control, it’s super easy. You can use the Melisma to save/load states (call them save locations, programs, states whatever), and each one is tied to all other “states” on modules that use the Select Bus. Up to 64 states on the Melisma, other modules have less. I think the Omnimod has 32 for example. So you can change the state and all other modules will also change state accordingly. The same applies to d0, it can save its state (all on-board parameters) and change according to what the Melisma state is. That is what the Select Bus is essentially: you save states on modules and one acts as a master, controlling when states are changed on all slave modules on the system. When you save a state on the Melisma, the d0 would also save its state. When you change state on the Melisma, the d0 would also change state.

And a bit more detail. The Melisma can assign a different select bus state number on the different programs (chord information etc). You can even assign the select bus state on a customizable CV input and knob, so you can just send CV and have it change states on all other select-bus compatible modules on your system. Here I am controlling the Melisma’s select bus parameter via MIDI from the VCMC, and I’m changing states on the Omnimod, and the WMD SSM, from a single slider.

It’s easy to set things up. Let me know if the above don’t make sense or if you need any clarification.

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#198

The thing I’m keen to test is Disting EX with recall via teletype ops. I also have a storage strip but because I’ve got more than 3 mungo modules in the case the SS stops working (known fault).

#199

Thanks for the detailed explanation. I can appreciate better the importance Melisma might have in a rack (and Sequarallel too). I can see how saving and recalling states on Mungo modules would be extremely useful, perhaps especially in live performance, and generally massively open up a rack to practically any number of specialised uses.

Still it isn’t something I would really need - this is what I’ll tell myself to keep GAS at bay anyway. :thinking: I enjoy preparing Mungoes for use each time, even with six of them here. I know some have complained about the modules’ scant if any visual feedback or of their not recalling states by themselves. But I find the ranges easy to control and recall with zoom and love that there are no menus to deal with. My main problem is truly my lack of imagination in coming up with novel patches - @smbols’ various d0 patches earlier in the thread were really eye opening. And it never occurred to try g0 in a feedback loop, as @kilchhofer did earlier. Gonna have to try c1 in a feedback loop now.

#200

Yes, MIDI note data is added to the delay offset and time of both channels. It requires a button combo, per the manual:

Tune Button, generates a C4 reference square wave on both outputs. Feeding back this to the A input calibrates the delay transit time for tuned feedback. Holding zoom +/- while pressing this button sets the delay time of both channels to track midi note data.

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