#295

Great questions!

You’re right that the circuit acts as a low-pass filter, but not for audio: the capacitor is there to stabilize the op-amp and reduce high-frequency oscillations. The value was chosen so that there would be no noticeable filtering in the audio band.

The arrangement with the feedback taken from outside the current-limiting resistor is referred to as a “zero-impedance output”, and it helps reduce instability due to capacitive loading. It also avoids attenuation caused by the output stage of this module forming a voltage divider with the input stage of another, but that is less important for this particular circuit. The gain is actually -1.0, rather than -1.01, as the output is taken between R24 and R22; have a look here: circuitjs

With that said, were I building a Nearness today, I’d use a lower value for R24 - just make sure the op-amp can supply the necessary current.

Douglas Self’s Small Signal Audio Design describes both these techniques in detail. I’d also recommend having a look at the schematics published by Émilie Gillet/Mutable Instruments for many more examples.

16 Likes
#296

Hi Jesper,

thank you so much for your reply, that makes things a lot clearer! I guess I’ll go read a book now :slight_smile:

#298

I am unsure about the jumper configuration possibilites on the back of the TELEXn, please, can somebody or @bpcmusic enlighten me?

1 Like
#299

Up in my github repository, in the extras folder, there is an instruction document that contains the following diagram:

image
image2000×1015 332 KB

I grabbed the image in preview mode on my phone, but it looks correct. Hope this helps! :slight_smile:

1 Like
#300

Does jumpering the left and center pin have any effect, or is that position essentially intended as jumper storage?

#301

@ioflow was so kind to point me to this earlier post in this thread, according to which the left and center pins are jumper parking spaces.

The secret life of jumpers

I like the idea that the insides of my modular is alive, so that after a long session the jumpers are fed up with their attenuation duty, and take a good nap on their parking pins…

5 Likes
#302

It surely does, thanks much!

#303

Is everyone happy with nearness especially for just friends or drums?
Doesnt the spacing effect get boring kind of? Or is it really subtle?

#304

It is as subtle as any other pan setting you might have dialed in on your mixer and then leave unchanged. It really depends on the music you want to make. For me, nearness is more like a string quartett or an acoustic drum set: The players take their position and don’t walk around during a performance; you set up your drum kit pieces and then leave their position alone.

An alternative approach for using nearness: Take one output and route it thru a reverb effect, mix the reverb out with the other (dry) nearness output. Input jack choice now determines dry/wet ratio.

6 Likes
#305

Yes that interests me as i do like mono and keep things simple connected.
But this would need a second mixer right? Or are you talking about a feedback into nearness?
The jack position decides how much a single channel gets effect?
I wonder if that works with a spring tank without any amp stage into it?

#306

Yes, that would require a second mixer, although even half a unity gain mixer (e.g. this one) will do.

And yes, the jack position decides the amount of effect per channel.

Regarding the spring tank: I have never tried to use a spring tank on its own, i.e. without its associated driver circuit, so I can’t comment on your last question.

#307

Panning might be the intended use, but there’s other good uses for it. E.g. connect it as “wet / dry” instead of “left / right” to determine the effects send level for 9 voices. I also use mine to patch bass and kick into the center channel after all my stereo processing and compression.

3 Likes
#309

Does anyone have experience with the Pusherman Nearness from Teleos Modular as found on reverb?

#310

A question about this wonderful creation: if you pan multiple voices with Nearness/Txn and then run the outputs into a stereo effects pedal, is the panning and stereo image you’ve created still maintained? Or does nearness need to be last in the signal chain?

#311

That depends completely on how the stereo effects pedal you use works.

Even if an effect pedal has stereo inputs and outputs, this does not necessarily mean that the actual effect processes the signal in true stereo, on the contrary it might just mean

  • that the dry signal from the left input is passed thru to the left output, and
  • that the dry signal from the right input is passed thru to the right output, but
  • that both left and right dry inputs are mixed together (= they collapse to mono), and
  • that this mono signal is processed by the effect (e.g. echo), and
  • that the echo creates a stereo signal (e.g. ping pong echo),
  • which is then mixed with the dry signals according to the wet/dry control.

Sorry for the long sentence.

2 Likes
#312

Don’t have to apologise, I appreciate it, I did think it probably wasn’t going to be a simple answer.

I was curious because I’ve been watching some videos on YouTube and the person is using nearness but also a Strymon Timeline. Got me wondering if the Strymon processes the stereo input and essentially undoes what happened before it.

I have a Strymon Volante and it has various output modes, link here the signal chain always involves stereo processing though.

I don’t think I’ll get my head around it :sweat_smile:. Maybe I’ll reach out to Strymon and ask.

#313

The Strymon manual shows this signal flow diagram:

image
image2534×1474 335 KB

Thin lines indicate mono signals, think lines stereo signals. You can see that the whole delay circuit (starting with the record head) is being fed with a mono signal, that is created by summing (the “+” sign) the left and right input signal.

The individual outputs of each of the four tape playback heads are also mono each, and it is within the box labeled “stereo process” that the monaural signal of each playback heads can be individually panned. But each of this playback head signals is still a mono sum of the L & R input signals.

The “dry” path around the whole “tape head delay” is stereo, but I am unable to tell from the diagram whether or not the left and right input signals will be summed before being processed by sound on sound, reverb and spring.

2 Likes
#314

Thanks for walking me through that, very helpful. I’ve sent the question over to Strymon so I’ll update on here once I’ve heard back.

#315

I liked Volante a lot but I was disappointed to find out that it does indeed sum to mono.

For effects based on vintage analog (usually mono) processes like tape or drum echoes (Volante, El Cap) or bucket brigade delays (Brigadier), we choose to sum the stereo inputs to mono in order to focus the maximum amount of processing power required to capture the many sonic complexities, using our dTape and dBucket algorithms. We then create stereo images based on the summed input as an enhancement to the effect, and in the case of Volante this includes full panning capabilities. For digital delays we employ fully independent stereo dry and wet paths, and this includes DIG and all Timeline delay engines, except for dBucket and dTape.

1 Like
#316

I am pretty sure as with most of the strymon stuff that I’ve tried, they sum to mono for the effected signal and then allow you to mix the unaltered stereo signal/dry back in. This sometimes causes some phasing issues. The diagram seems to show summing to mono to the ‘tape heads’.

Sound on sound also shows a smaller, mono line into the reverb.

1 Like