#110

Hmm, I don’t know if I’ve ever posted anything on lines ( so hello! ) but I wanted to share this clip as an example of what an amazing module 100 Grit is turning out to be:

Sound sources are a Creep Cluster into the Grit, and a Belgrad self-oscillating for some low end, with a bunch of sloths modulation on everything, attenuated down to tame it.

The touchpoints are nuts - I don’t do anything with them in the clip above, but you can get some amazing starve and life out of them by using your own body, or just touch tips carrying voltage to them for super random results.

A+ module, love everything he does and he’s outdone himself with this.

3 Likes
#111

Have you looked at the JHS Crayon? When you described your dream sound earlier up thread it’s what I thought of. It seems to have a few destinations but the sound in your link is one of them if maybe a bit smoother but still that choking/suppressed sustain. I’ve almost bought it a couple of times but there are too many other interesting things around

#112

I recently acquired an OTO Boum and am in love with how well I can dial in just the right amount of drive on anything I’ve put through it. Excels at subtly in my opinion.
The Fairfield Barbershop most suits me for guitar. Again it’s great at subtle break up around the edges. The sag control is amazing and the v2 has the high cut. The brightness of drives always irritates me so this is a great feature.
My favourite fuzz (worth mentioning the Fairfield Unpleasant Surprise but that’s more of a speciality) is a DIY of the Demo Tape Fuzz. I particularly like that there’s quite a bit of tone control and the vol and trim interact to really taylor the break up.

5 Likes
#113

I will take a look, thanks.

#114

Curious if anyone has any experience with one of these guitar pickup emulator circuits before a fuzz.
http://www.muzique.com/lab/pickups.htm
There are a couple diy pedal projects that employ this, it seems largely for the purpose of guitar use when putting your fuzz after a buffered pedal (something something impedance something…) and I wonder if it “helps” with synths thru fuzzz

#115

I don’t like being all negative in a very nice thread but I just thought it would be useful to mention that JHS is a company owned by someone who supports an homophobic and extremist religious organization (see https://www.reddit.com/r/guitarpedals/comments/410a3q/probably_late_to_the_party_but_why_all_the_jhs/). They also have an history of cloning other people’s designs, but that’s a separate subject.

Giving them money is not necessarily the wisest thing depending on your personal beliefs…

7 Likes
#116

I was not aware of the guy’s personal prejudices but I had an unknown aversion to him anyway. Maybe this is why…
But I did know that the JHS range is pretty much all clones. They haven’t appealed to me generally but as far as I know the Crayon is not a pedal clone and sounds like it is unique in a guitar pedal. I would love someone’s suggestion for an alternative if they know one?? I had actually been looking for another alternative myself some time ago.
As far as cloning goes, I guess its largely part of the guitar pedal world and particularly for overdrives. I can’t really complain because I have DIY’d cloned circuits myself

Wait, isnt it JHS that make clones and then gunk the circuit board so people can’t copy ?!

#117

For what it’s worth, he has since stated that he doesn’t support that organization or its views (scroll down a bit, he posts a fairly concrete reply mid-way down):

3 Likes
#118

From the department of makers who are nice people: I’ve had the Landscape Stereo Field for a little while now and really more than anything it behaves like a distortion effect, and a really nice one at that. Tonight I’ve been playing the digitone through it and it brings a whole warm gritty world to the fm sounds. Hands-on expression of the distortion is weird and wonderful too.

5 Likes
#119

:point_up_2:This post is only intriguing without attached media. :smiley:

#120

Haha, I did record some guitar through it last night. I’ll hopefully be able to make a nice edit.

#121

broadcast anyone?

imagen
imagen.jpg1600×1600 283 KB

1 Like
#122

I’ve been exploring this method of patching up non-linear distortion described in a post by Rob Hordijk and it’s a lot of fun. Basically you mult a signal to both inputs of a ring modulator to double its frequency, and then use that product to apply negative amplitude modulation to the original signal. There are so many ways to play with the tone and it sounds absolutely lovely. Really nice for delay feedback too given its self-limiting behavior.

15 Likes
#123

Just followed the link. I think I followed how that works. Is there a chance you could outline your patch?

#124

very nice text. thanks for the link. i’m very interested in distortion right now so can’t wait to try this.

#125

I guess the easiest way is to draw a picture.

This is the basic gain cell:
single%20cell

And this is the gain cell within an additional feedback loop so you can make things extra crunchy:
dual%20cell

EDIT: important to note, you want to be using a linear VCA for this.

2nd EDIT: Also, you’ll need to mix your inverted ringmod signal with an offset if your VCA doesn’t have an onboard bias/initial level control.

11 Likes
Cold Mac Ideas
#126

Intriguing. I used the basic path since i’m only after a mild overdrive and the amount of control is surprisingly high already. I had tried to model something similar before on my own, without consulting any literature and couldn’t get the desired result. This, however, works, and seems quite versatile.

With a µVCA it’s interesting to overdrive with CV in both directions - negative and positive (i.e. not inverting the ringmodded signal, just saturate the CV path).

The only downside is the sheer number of patchpoints it “costs”. The upside is, unlike e.g. Tallin, the level stays constant as the overdrive changes. Will this talk me out of wanting an Optodist? Maybe not, but it calms me down somewhat =]

1 Like
#127

What I really love about patching up a function that’s usually contained behind a single face-plate like this is the opportunity to mess with the in-betweens. Takes a lot of real estate but you’re essentially building your own unique distortion circuit. I tried out the larger feedback patch with a lowpass on the feedback return and that added some interesting character. Some time this week I’m going to try sending different parts of the circuit through my D0 for its minimal phase shifting and see what happens. And see what I can get from injecting noise into different parts of the patch.

1 Like
#128

I have one. It’s a different version than the one in the picture, I have a store-limited edition in white that runs internally at 24v, with the old flipswitch rather than the dual stomp they added later. Looks like this:

bcast

Closest thing I have to an always on pedal, makes everything sound better. I tend to stack it with other pedals, don’t often use it on its own. The low cut is invaluable, surprised more pedals haven’t copied the idea. I use it mostly with guitar, been a while since I’ve tried it with other sound sources, can’t remember what I thought of it in other contexts.

1 Like
#129

Going to build this on both the Zoia and the Modular tonight! thanks for the link.

1 Like