Very interesting, was this recorded in multiple takes? I’m asking because I’m trying to figure out an idea modular > recording approach and workflow, but have not really something that works well for me yet.
Everything I do is in one take. I tend to rehearse a set before I record it, but not everytime.
I’m using an external mixer (8 ch) and takes its two outputs right into my soundcard. Besides that it’s just my eurorack setup + one Alesis Microverb 2.
I see, that’s why you have a pair of Rings I guess They actually sound like they’re even more, good job!
A thing I’ve enjoyed doing with Rings recently: running it into a filter. I know it doesn’t really need a lot of shaping, but I find that it often has a characteristic tone that I want to shape more beyond the parameters on offer.
I’ve been running into into a God’s Box Humpback (ie: 2-pole SEM-style multimode filter with seriously high maximum resonance/feedback) and, with the cutoff down, resonance up, and lots of CV, really enjoyed the weird screaming, percussive textures it produces; you can dial it back for something rounder, softer, and then pull in fairly natural sounding distortion.
Other things I really like in Rings: the 2-op FM mode, which I use a lot for basses.
I’m glad you enjoy this. The trick for me is to route and pan the outputs from Rings to completely different destinations. And you need to carefully modulate its cv’s to make it fly.
Sorry if this is a bit of a laughable question, but I’m wondering how you guys tune your Rings. Sometimes I just want it to sit at, for example, a c note. My O&C monitors the signal in ref mode, but I cannot get Rings to stay put.
How and in what mode to you tune?
I tune everything to it, if I’m using either the dissonant string or physical modelling modes… the movement of the harmonics in those modes is quite hard to predict, so I find it easiest to set structure to about 10:30, where it’s easier to pick out the fundamental, and then add harmonics from there. If you tune in one mode and then switch to another, the harmonic content will be different, so you’d probably have to retune.
yeah I also struggle with the tuning, especially if I decide to add Rings later on in the patch
Gave it a shot and it helped! Also found that tuning in Ableton is way better than o&c.
I’m using a Korg tuner (this one) I think it’s mostly a guitar tuner, so it works well with karpluss-strong sounds. I put STRUCTURE at DAMPING past and/or use some noise to get a steady tone. Then I tune it to whatever I need. If later it feels like it’s out of tune (as others have said, it’s easy for it to sound out of tune due to the harmonic content) I just retune by ear.
@HateNames mentioned this in another thread and I’d never seen it.
Lots of good stuff!
The parts about not just treating the module as a voice to feed v/oct and giving it noise though a filter and vca etc. instead was really interesting. That and the different explanations of the different Easter eggs seems to greatly expand the sounds you can get out the module.
Will be getting it as my first module soon and it’s good to know it can do so much more than the videos show!
Lately I’ve been using the 2op fm mode above the rest, great for bass lines in the green mono mode and awesome for evolving pads in the red poly mode and the damp knob turned way up
Yes, it’s a great module but I totally get why people tend to get tired of it. It’s so easy to get stuck in the same patching patterns with it just because the module itself sounds so good. I’ve found out that I’m using mine so it sounds almost like a lap steel guitar all the time and beginning to get sick of myself for not exploring stuff more. I’ve tried to feed all different stuff into it but I’m always getting back to the lap steel thing. I might keep doing this and pretend it’s my own signature sound
I had two for a while but that was a bit overkill for me. There were very few times that I used them both in a patch. I’ll stick with one and this will stay with me.
Get one. You’ll not regret it.
Feeding Rings back into itself is a lot of fun. So is cranking the frequency way down with a negative offset and using it as a lo-fi delay.
Feeding it “chirps” of sines with changing pitch, rather than constant-pitched sources, also opens up some new sounds.
Can you talk us though patching a lap steel sound? I love the sound of lap and pedal steels (I almost made one)
Feeding O&C’s Viznutcracker into Rings leads to some interesting results. Play around with the Bytes app till you find something you like
Yes, I can upload a video or so with some basics. There’s no aha-moments or so and no big deal. There’s even a possibility where I’m the only one thinking that it sounds like a lap (or pedal) steel. We’ll see
I would also love to see your lap steel patch!
I have definitely come up with Rings patches that sound guitar-like. IIRC orange mode plus slow modulation of structure and position = guitar.
This was my take. Maths Quantimator & Rings & Avalanche Run I think it was.
Edit: and some triple wavefolder