#46

Would you share any highlights from the 20 minutes of Metropolis tips before that? :). Thanks!

#47

@jasonw22 @ParanormalPatroler @Aaron_Taylor-Waldman

Following up on the macro control talk, got my hands on both a VC Transitions and a Catalyst to try, and I might have to keep both! Overall I prefer the Transitions because it’s no-fuss, knob-per-function, and switching the directions of the channels is neat, but I’ve also discovered that the multiple scenes of the catalyst are great to have because you can hit them at any time to momentarily interrupt your CV with an entirely different set of voltages. I don’t see myself using the “physics” aspect of it often but it might be cool occasionally.

Definitely a game changer for me compared to patching similar setups with VCAs and offsets and mults. They both serve as great “interesting spot finders” for any patch.

Also since it’s just about setting a low and high value for each parameter you’re controlling, I find it much less opaque than using Cold Mac for similar purposes. Though of course there are so many other things that Cold Mac does.

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#48

I was actually impressed when people compared the ADDAC306 to Cold Mac the first time I mentioned it here. Apart from the obvious central macro control, I didn’t see much commonality between the two. Cold Mac had a very different use-case in my mind, especially since the main inspiration for the Transitions design came years ago, was put on ice, and was re-kindled back when Frames came out, which made me realize that what I really really wanted was a version of Frames that would be dead simple to use and fuss-free (with a slider instead :laughing:).

Glad you’re enjoying the ADDAC306! I have a small companion module in mind which might some day see the light of day.

#49

Aha yes Frames is a much closer comparison! In any case, great work on Transitions, I’ll look out for that companion module :smiley:

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#50

So lately I have been using my QPAS as a voice by pinging the input at high resonance. It tracks quite well and sounds lovely and it’s usually on in the background with a semi-random sequence running into it while I do something else. Now I’ve never really used the VCA at the input save for the usual attenuating and such but today I figured I’d try amplitude modulaton of the exciter signal (which was a short Quadra envelope). It made a huge difference and almost goes into physical modeling territory! I decided to record a short clip, which you can find below. I used my Brenso to AM the exciter and multed the sequence into it.

There’s plenty of reverb and delay on there at first, but after trying different waveforms at the 1:00 mark, I take off all effects and you can hear what I mean. I’m sure there’s a lot more in this patch and I’ll see what I can come up with.

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#51

Whoa really nice glassy but distorted bells, and from a “filter”. Nice.

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#52

Very cool, thanks for the tip!

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#53

Today my small discovery was that when you do the first live recording with the new eight-more-channels setup you shouldn’t start from the old template in your DAW :crazy_face:

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#54

My recent discovery has also been that if you only want to record a simple Octatrack jam maybe you should not open the main template with 16 tracks all preloaded with console plugins plus buses and effects sends and all that jazz 8)

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#55

I hear you! I always record all tracks to be absolutely sure everything gets tracked. Then I later delete empty tracks.

#56

Interesting - are the voices in your case quite preconfigured then? Or is it more so you can freely plug things into whatever channel and not have to worry about it?

#57

Idk if this is a discovery as much as a distillation of a recurring thought but: most genres have analogous sub genres to each other.

Hip hop has gangsta rap, country has outlaw country, metal has grindcore.

Rock has noise rock, jazz has free jazz, electronic music has harsh noise.

Etc, etc.

This isn’t surprising given that genre is just categorization and music is music, but where many people hinge their identity on staking claim to one realm of music it feels profound in a “so obvious it’s interesting” kind of way.

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#58

Not sure if your speaking to me :smirk: I’m gonna answer anyways :crazy_face:

So I have an nw2s::o16 that brings 16 channels for the modular to channel 1-16 on my audio interface (via a patchbay in normal configuration). Channels 17-24 are also from a 8 normaled channels on the same patchbay, default input is a few reverbs, an iPad over soundcard and a synth. Another patchbay allows reconfiguration, like splitting various of the euro channels into reverbs.

So nothing’s really set I’m stone, but while patching i just send things more or less arbitrary into a free input on the o16 and possibly reconfigure the patchbays to send to the reverbs. But when I press record in the saw, i want to record all 24 channels, which will be everything…

And nothing is preconfigured in my case, except the addac manual latches that I interpret as mutes in the teletype + 301…

If question was not directed to me, feel free to disregard entirely :+1:

#59

Today my small discovery was: a lot of modules require you to save state or lose it on power cycle - for me, Tempi, Rene, o_C - and when I inevitably power down a patch without saving state, and then power back up the next day, I often like the happy accidents that arise from reverting to the previous state more than where I had ended on the previous day.

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#60

An interesting thought for sure! Made me think that across genres, in these subcategories, we see many of the same creative values represented, eg. purity, rebelliousness, virtuosity, tradition, innovation… Wouldn’t surprise me if many people identified more with those things than the sounds themselves.

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#61

That’s cool to know! Makes me consider how I could refine my multitracking approach, which is right now just an ES-9 into Ableton. The number of tracks is just the tiniest bit limiting sometimes. I haven’t set up more than a basic template because I don’t always have the same number of stereo vs mono parts and if I’m recording anything in stereo I’d rather it be folded into one Ableton track. Now dreaming of what it would be like to have enough free inputs that I could reserve 8 or 12 of them for stereo stuff!

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#62

With just intonation, minor scale changes can have a profound effect.

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#63

Today my small discovery was that sending a modulator through an attenuator and mute switch before the carrier’s exp fm allows me to instantly switch between two different “voices” (pre & post fm). Fun performance patch!

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#64

Today I rather joyously constructed a gestural resonator patch in op-1 which feels favourably like my favourite Rings/Dunst/Mikrophonie/PressurePoints patch in modular.

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#65

That sounds awesome! Mind sharing how you did it?

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