Another New Oakley Module: Diode Superladder
Here's a different demo, with 5-pole, steep and low filter slope.
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kindredlost
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As is the usual routine, I started to make a demo of the DSL filter but ended up with an 8 minute ditty. Patch details are below the video.
[video][/video]
The Oakley Diode Super Ladder filter is the sequenced sound. There are three separate things happening here. The long sustained sounds are not the Oakley Diode Super Ladder. The stepped sequenced sound is the DSL filter.
The sequenced voice comprises one Q106 oscillator through an Oakley Discontinuity-Wavefolder and another pair of Q106's mixed in at different octaves. PWM on the first oscillator is handled by the STG VMS.
These oscillators are mixed and sent into the Diode Super Ladder filter then to the Oakley VC-ADSR/VCA. The sustain and release are modified with square wave LFO's. The pulse width of the sustain modifier is ~25%.
The resonance of the DSL is LFO sinewave modified. The filter is set: frequency midway, resonance at "4" and the switch set for "FIVE. The mode is "STEEP". Resonance CV is +5. The center frequency is modified with a blend of an LFO and the ADSR. The mix was from the Oakley Multi-Mix module.
The complete filtered voice is then separated into three with a Q147 Distributor that routes one "as-is", another through the SSL1310 Digital Delay to an Oakley Equinoxe phaser, and the last one is inverted then goes to another Oakley Deep Equinoxe.
All three are sent through VCA's. The VCA's are envelope controlled and get their gate triggers from the Yusynth Random Gates module. The gates are sent through a Q961 Interface first to lengthen them prior to going to the envelopes.
The timing of the Oakley ADSR is fun. The envelope is gated from the STG Trigger Mini Store. The trills (ratchetting) is internal to the envelope. With the gated loop set, the voltage controlled sustain will occasionally rise or fall causing the looping to happen (or not). Ingenious design on that module. Thanks Tony!
The quantized (Q171) pitch data is derived from the Q960 sequential controller. The Q960 is reset to step one by the stage one output from the Shift Manager module sent into a Q128 Switch module which interrupts the standard clock when stage one is fired. Also the stepping of the Q960 sequencer is started and stopped by sending the gate from the TMS through a VCA which is gated on and off by a square wave from an LFO.
The sequenced pitch data is transposed with quantized voltages coming from the Q119 sequential controller. It is stepped by a gate from the Random Gates module. The Q119 is in 3x8 mode and all three rows are sequentially selected by gates from the Yusynth Random Gates module. There was a chance no repetition would ever come about that way.
That transpose pitch data is added into the first single oscillator only. This causes the odd harmony sound to the main sequenced voice.
The other two sounds are actually this same transposed pitch data to another pair of Q106's and an Oakley VCO. The pair of osc's are sent through a Q107 SVF which makes the warbly, resonant filtered sound. The second single Oakley oscillator is pitch lagged through a Q105 Slew Limiter which makes the siren sounding voice. It is filtered by a Yusynth Minimoog filter and then shaped by the Grove Audio PM Resonator.
The envelope controlling these two sounds is gated with the Random Gates through an Interface to give it a long gate length. The envelope is then split and one half is inverted using a Q142 Pedal Interface (-5/+5) and a Signal Processor. The inverted envelope is the siren sound. These work in tandem like a fade module so only one or the other voices are sounding at a time.
The final mix is manual by me then sent through a FFB and Panner before the effects from a Strymon Blue Sky reverb (spring), TC Electronics D-Two delay and Lexicon MX200 large plate and pitch shift. Recorded into Cubase on a single take.
I did cheat on this video so it cannot be technically called a "live" performance. There are two times when I mixed in the Blue Sky sound in reverse back on top of dead spots in the performance. With all these envelopes and LFO's going randomly there were times when the entire thing was silent for a few seconds. Artistic License.
[video][/video]
The Oakley Diode Super Ladder filter is the sequenced sound. There are three separate things happening here. The long sustained sounds are not the Oakley Diode Super Ladder. The stepped sequenced sound is the DSL filter.
The sequenced voice comprises one Q106 oscillator through an Oakley Discontinuity-Wavefolder and another pair of Q106's mixed in at different octaves. PWM on the first oscillator is handled by the STG VMS.
These oscillators are mixed and sent into the Diode Super Ladder filter then to the Oakley VC-ADSR/VCA. The sustain and release are modified with square wave LFO's. The pulse width of the sustain modifier is ~25%.
The resonance of the DSL is LFO sinewave modified. The filter is set: frequency midway, resonance at "4" and the switch set for "FIVE. The mode is "STEEP". Resonance CV is +5. The center frequency is modified with a blend of an LFO and the ADSR. The mix was from the Oakley Multi-Mix module.
The complete filtered voice is then separated into three with a Q147 Distributor that routes one "as-is", another through the SSL1310 Digital Delay to an Oakley Equinoxe phaser, and the last one is inverted then goes to another Oakley Deep Equinoxe.
All three are sent through VCA's. The VCA's are envelope controlled and get their gate triggers from the Yusynth Random Gates module. The gates are sent through a Q961 Interface first to lengthen them prior to going to the envelopes.
The timing of the Oakley ADSR is fun. The envelope is gated from the STG Trigger Mini Store. The trills (ratchetting) is internal to the envelope. With the gated loop set, the voltage controlled sustain will occasionally rise or fall causing the looping to happen (or not). Ingenious design on that module. Thanks Tony!
The quantized (Q171) pitch data is derived from the Q960 sequential controller. The Q960 is reset to step one by the stage one output from the Shift Manager module sent into a Q128 Switch module which interrupts the standard clock when stage one is fired. Also the stepping of the Q960 sequencer is started and stopped by sending the gate from the TMS through a VCA which is gated on and off by a square wave from an LFO.
The sequenced pitch data is transposed with quantized voltages coming from the Q119 sequential controller. It is stepped by a gate from the Random Gates module. The Q119 is in 3x8 mode and all three rows are sequentially selected by gates from the Yusynth Random Gates module. There was a chance no repetition would ever come about that way.
That transpose pitch data is added into the first single oscillator only. This causes the odd harmony sound to the main sequenced voice.
The other two sounds are actually this same transposed pitch data to another pair of Q106's and an Oakley VCO. The pair of osc's are sent through a Q107 SVF which makes the warbly, resonant filtered sound. The second single Oakley oscillator is pitch lagged through a Q105 Slew Limiter which makes the siren sounding voice. It is filtered by a Yusynth Minimoog filter and then shaped by the Grove Audio PM Resonator.
The envelope controlling these two sounds is gated with the Random Gates through an Interface to give it a long gate length. The envelope is then split and one half is inverted using a Q142 Pedal Interface (-5/+5) and a Signal Processor. The inverted envelope is the siren sound. These work in tandem like a fade module so only one or the other voices are sounding at a time.
The final mix is manual by me then sent through a FFB and Panner before the effects from a Strymon Blue Sky reverb (spring), TC Electronics D-Two delay and Lexicon MX200 large plate and pitch shift. Recorded into Cubase on a single take.
I did cheat on this video so it cannot be technically called a "live" performance. There are two times when I mixed in the Blue Sky sound in reverse back on top of dead spots in the performance. With all these envelopes and LFO's going randomly there were times when the entire thing was silent for a few seconds. Artistic License.