#288

Yeah after using it attenuated I can see the reasoning behind that. An attenuated version might just be in my future.

#289

Jumpers:
https://www.mouser.com/ProductDetail/151-8010-E

or something similar!

1 Like
#290

A resistor ladder DAC is kiind of similar… i built my own Nearness-inspired passive module based on this: https://www.olegtron.com/olegtron-r2r-1

It does mix signals with their volume relating to distance from one end, but it’s not quite the same

5 Likes
#291

An r2r ladder was my inspiration, but basically hanging one off of each node of Nearness so each pan position has a weighted mixer.

1 Like
#293

hi, i thought i just share about my recent build of TXn, just in case anyone wants to build it in the future. after i finished the build, i only have one output, the bottom one, the top output doesn’t produce any sound.

i tried to debug it, and i found there’s an error in the TXn build guide pdf, the position of resistor R22 and R24 is different from the eagle file. i was following the build guide. then i decided to switch the resistor position based on the eagle file and walah, it worked!
also want to say thank you so much @billyhologram and @bpcmusic for making this awesome project!

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8 Likes
#294

Hi,

I am currently getting into DIY and trying to understand what the output stage in Nearness does, exactly.

Screenshot 2020-03-06 at 09.08.28
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The way I understand it is an active low pass filter with gain -101/100=-1,01, and
the cutoff starting at 1/(2 pi * 22pF *101kOhm) or roughly 71.6kHz.
So, why do you need a low pass at that frequency? Wouldn’t a plain inverting OpAmp do? And also, why is the gain chosen to be slightly above 1 in magnitude?

Thank you!

2 Likes
#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:

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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?