Today my small discovery was...

[coldstorage]

Taking my i-o47 through its paces as the center of attention, my small discovery was how powerful the breakout is for the 4ms RCD. I bought it automatically but had hardly touched it. Worth the price of admission alone for the gate/trigger switch, the real power is in the max div switches. I might as well weld it to the RCD because I cant imagine using it without the breakout ever.

Now if they unveil a budget friendly version with both modules under one roof (like the new SCM+) Ill grump up a bit… haha.

[Katherine Alicia]

I just made a choir patch on my Hydrasynth in a matter of minutes and it`s as good anything I`v heard from Roland even with it`s PCM "cheating". Normally on a subtractive synth a decent choir patch is challenging at best and impossible on some, but it was so easy on the HS!

[Lagrange]

Don't assume that every module with similar features will work the same way, and just how important a sharp, steep, strong clock signal is to some clockables.

I just picked up an Alan (turing) and expander and couldn't make it work. I spent about an hour troubleshooting and was just about to email the manufacturer, when I (finally) decided to patch the clock input straight from Pam's, at which point it worked fine.

I've Pam's permanently patched through and to a few buffered mults around my cases, and I got so used to the configuration working that I took it for granted, so the first thing I should've checked ended up being the last. Lesson learned.

[Morim]

Doing some CV-swing with MI Branches and A-162 trigg delay

Take a steady clock into Branches. One output direct to a mixer/OR gate. The other output is going thru A-162 trigger delay (slightly delayed) and then mixed/OR'ed with the first.

Depending on probabillity on Branches (which could be CV'ed) you can get steady or swunged* clock

Quick Example:
Listen to Swunged by P°ka YΠke on #SoundCloud
https://on.soundcloud.com/Aqgdo

* Don't know if that is the correct term.
Humanized?

[informationsource]

Take a steady clock into Branches. One output direct to a mixer/OR gate. The other output is going thru A-162 trigger delay (slightly delayed) and then mixed/OR'ed with the first.

If I understand Branches, this should be completely safe* to "mix" with a stackcable or passive mult, since either one output or the other is high at any given time.

*I'm aware that combining two outputs generally won't blow anything up

[spilthyfred]

Dry/Wet on Filters!!

Having or creating a dry/wet control for effects like delay and reverb is commonplace - but being a filter junky I tend to have a whole lot of lowpass/bandpass/highpass filtering going on in my system. I have found that some voices that I patch end up being filtered too many times/too much before getting to the end of my signal chain, and therefor they end up getting lost in the mix so to say.

So after some tinkering, I am now using a slew of stereo and mono crossfaders to patch up simple dry/wet controls for all of my filters, and it has seriously opened up the capabilities of my system. The clouds have parted!

Its kind of like gain staging, except its "filter staging" lol. Instead of carefully adding harmonics throughout the signal chain, its about subtly subtracting them in series. If the stereo filters at the end of my chain start losing frequencies to chew on, I just add in some dry signal from whatever may have been too filtered out from the earlier stages of the signal chain. It brings back some instant clarity if that makes sense.

I find it to be a lot like parallel compression too! I don't know, its been a fun discovery.

This made me think for a sec though... I have never seen a filter module, or pedal for that matter with a dry/wet control... so it can't be a very commonly used technique. Does anybody else do this??

[starthief]

I have never seen a filter module, or pedal for that matter with a dry/wet control... so it can't be a very commonly used technique. Does anybody else do this??

Lacrima Versio has a wet/dry control. Part of what Absorb does on Strega is a wet/dry control for the filter in the feedback path, or at least it acts that way.

It's a bit less rare in software, though not typical. I can think of one synth and two effects offhand that have it built in. I find it especially useful for comb filters or for high resonance on a bandpass.

[spilthyfred]

Good point on comb filters and the whole high resonance thing. I do have the SSF Triptych, which has dry/wet for the comb section, but not for the initial filtering.

All in all though this really opened up filters for me. I see them in a new light now - as weird hybrid parallel-eq's/dry-wet-effect destinations.

[kabelsalat22]

Dry/Wet on Filters!!

Having or creating a dry/wet control for effects like delay and reverb is commonplace - but being a filter junky I tend to have a whole lot of lowpass/bandpass/highpass filtering going on in my system. I have found that some voices that I patch end up being filtered too many times/too much before getting to the end of my signal chain, and therefor they end up getting lost in the mix so to say.

So after some tinkering, I am now using a slew of stereo and mono crossfaders to patch up simple dry/wet controls for all of my filters, and it has seriously opened up the capabilities of my system. The clouds have parted!

Its kind of like gain staging, except its "filter staging" lol. Instead of carefully adding harmonics throughout the signal chain, its about subtly subtracting them in series. If the stereo filters at the end of my chain start losing frequencies to chew on, I just add in some dry signal from whatever may have been too filtered out from the earlier stages of the signal chain. It brings back some instant clarity if that makes sense.

I find it to be a lot like parallel compression too! I don't know, its been a fun discovery.

This made me think for a sec though... I have never seen a filter module, or pedal for that matter with a dry/wet control... so it can't be a very commonly used technique. Does anybody else do this??

My Elta Music PF-3 stereo polivoks filter has a dry/wet control for each channel. It is a bit less common though, you’re right. I guess folks assume that there Filter being fully open counts as a “dry” Signal.

[Jee]

Dry/Wet on Filters!!

Yes it’s a good one ! I did notice their under-presence on hardware filters, a bit more common in VST indeed.

On my side I also use them to take advantage of extreme setting (for ex extreme resonance peaks) to emphasis on a specific frequency area then dial it back quite a lot.
It then becomes some sort of additive synthesis (not the traditional one but you get the idea).
This works well with parallel processing of multiple filters (bandpass but also notch, allpass, comb etc that gives some nice phasing effects too).

[spilthyfred]

My Elta Music PF-3 stereo polivoks filter has a dry/wet control for each channel. It is a bit less common though, you’re right. I guess folks assume that there Filter being fully open counts as a “dry” Signal.

Whoa that PF-3 is super cool, think I may need one lol

[kabelsalat22]

My Elta Music PF-3 stereo polivoks filter has a dry/wet control for each channel. It is a bit less common though, you’re right. I guess folks assume that there Filter being fully open counts as a “dry” Signal.

Whoa that PF-3 is super cool, think I may need one lol

It’s a tank and I think it sounds gorgeous. But definitely not a clean filter at all, and a little temperamental. Stereo unsynced notch pass filtering on big washey ambient things is my favourite way to use it. Having two unsynced bandpass filters running in stereo is also amazing. It’s a great sound design tool. Sorrynotsorry for the GAS.

[fosferus]

riffing further on dry/wet filter settings, crossposting this from elsewhere. its so obvious now, but i've never tried it - add voltage controlled resonance to a filter with no CV over resonance:

The answer then is to patch a VCA between the filter output and its input. Some filter types need an inversion in this feedback and some don't. That's one reason to be sure you always have at least one VCA with differential inputs like the B902 or the TTSH-2600's 4019. You can also use an attenuator or inverting channel of a mixer or utility.

VC Q is the control input of the added VCA.

[ATW]

riffing further on dry/wet filter settings, crossposting this from elsewhere. its so obvious now, but i've never tried it - add voltage controlled resonance to a filter with no CV over resonance:

The answer then is to patch a VCA between the filter output and its input. Some filter types need an inversion in this feedback and some don't. That's one reason to be sure you always have at least one VCA with differential inputs like the B902 or the TTSH-2600's 4019. You can also use an attenuator or inverting channel of a mixer or utility.

VC Q is the control input of the added VCA.

Good shout! And well worth a try with filters that don’t self-oscillate like the Doepfer Wasp.

[pmboos]

Dry/Wet on Filters!!

Having or creating a dry/wet control for effects like delay and reverb is commonplace - but being a filter junky I tend to have a whole lot of lowpass/bandpass/highpass filtering going on in my system. I have found that some voices that I patch end up being filtered too many times/too much before getting to the end of my signal chain, and therefor they end up getting lost in the mix so to say.

So after some tinkering, I am now using a slew of stereo and mono crossfaders to patch up simple dry/wet controls for all of my filters, and it has seriously opened up the capabilities of my system. The clouds have parted!

Its kind of like gain staging, except its "filter staging" lol. Instead of carefully adding harmonics throughout the signal chain, its about subtly subtracting them in series. If the stereo filters at the end of my chain start losing frequencies to chew on, I just add in some dry signal from whatever may have been too filtered out from the earlier stages of the signal chain. It brings back some instant clarity if that makes sense.

I find it to be a lot like parallel compression too! I don't know, its been a fun discovery.

This made me think for a sec though... I have never seen a filter module, or pedal for that matter with a dry/wet control... so it can't be a very commonly used technique. Does anybody else do this??

I've been thinking of acquiring a Mr Hyde as it appears to be the filter from the Fusebox, which I love. It doesn't have this wet dry either, so I think my solution using your approach would be to take the audio signal and pass it through a BoredBrain Splix. One side of the signal would come from Mr Hyde (or any other filter I guess that is missing this wet/dry) and would be the wet side and the other side would be just the 'dry' audio signal. This is a mono solution, but splitting the audio of each into two Splix units would allow a left and right that could be independently set.

Anyway, thanks for creating this thought exercise... Makes me more excited for trying to acquire a Mr Hyde.

Side note: The Plankton Electronics Spice has a wet dry mix capability in case people are interested.

[ee_]

Certainly not a major revelation, but it occurred to me last night that I can use the Arbhar microphone to record into my other samplers as well (Lubadh, STS) just by patching it through to those modules with Dry CCW and Onset and Wet up. For some reason I'd never thought to do that before.

[ekkomouse]

Certainly not a major revelation, but it occurred to me last night that I can use the Arbhar microphone to record into my other samplers as well (Lubadh, STS) just by patching it through to those modules with Dry CCW and Onset and Wet up. For some reason I'd never thought to do that before.

I had thought about that, but hadn’t messed with it yet. How’s the quality? How close do you need to be to the microphone? like if you were playing an acoustic guitar? What have you recorded through yours?

[ee_]

Certainly not a major revelation, but it occurred to me last night that I can use the Arbhar microphone to record into my other samplers as well (Lubadh, STS) just by patching it through to those modules with Dry CCW and Onset and Wet up. For some reason I'd never thought to do that before.

I had thought about that, but hadn’t messed with it yet. How’s the quality? How close do you need to be to the microphone? like if you were playing an acoustic guitar? What have you recorded through yours?

I just messed around recording some spoken word voice samples, and then mangling the shit out of them. Quality was fine -- same quality as the Arbhar would be onboard anyway. That mic tends to really pick up everything, for better and/or worse, so I had some clacking of me messing with buttons or something in the recording along with the voice. You don't have to be particularly close to the Arbhar mic, it's very sensitive -- the bigger challenge is having a quiet enough environment not to get too much extra room ambience in the mix, but I usually don't mind that for my purposes. Acoustic guitar should be absolutely no problem, you'll probably only need a very small amount of input gain if you were anywhere remotely near the module.

Of course I needed to mute the speaker output to prevent a feedback loop, so I had to kind of guess about my levels since I didn't have headphones on hand. I'll probably mess around with it some more in this week's patching.

[Arrandan]

Pamela's New Workout has handy wave shapes that include a triangle, but not a sawtooth. If you set the width to 50%, you get a perfect triangle wave. But if you set the width to 100%, you get a rising sawtooth wave.

[Jasonic]

The doepfer theremin controller into a quantizer is a blast.

[Jeffmhopkins]

The doepfer theremin controller into a quantizer is a blast.

You should try the OpenTheremin v4, after having a couple of the doepfer, this thing blows it out of the water for range/linearity. Super fun.

[wolfganggold]

...that I can take the CV out from my Behringer System 100 182 Sequencer and patch it into the CV in of my Erica Synths Black LP VCF and sequence the opening/closing of the filter! Maybe a "duh" moment for some but it was like an epiphany for me because I'm still wrapping my head around all this CV mumbo jumbo

[ProggyBoog]

...that I can take the CV out from my Behringer System 100 182 Sequencer and patch it into the CV in of my Erica Synths Black LP VCF and sequence the opening/closing of the filter! Maybe a "duh" moment for some but it was like an epiphany for me because I'm still wrapping my head around all this CV mumbo jumbo

Welcome to the forum!

[wolfganggold]

...that I can take the CV out from my Behringer System 100 182 Sequencer and patch it into the CV in of my Erica Synths Black LP VCF and sequence the opening/closing of the filter! Maybe a "duh" moment for some but it was like an epiphany for me because I'm still wrapping my head around all this CV mumbo jumbo

Welcome to the forum!

Thanks! I'm already having a blast catching up on all the posts I've missed hahah

[EatPunchBeef]

…that while racking X-Pan and Sarajewo next to each other doesn’t look great aesthetically, the multi tap outs of Sarajewo are very well suited to being treated in X-Pan. Those two are neighbors now.