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One of the 1st few sessions exploring the MakeNoise Wogglebug and Tiptop Audio Z4000 Envenlope Generator (amazing). Here... a single Braids is the sound source.
the Stepped Out of the wogglebug into 1/v of Braids, whilst sending the Random Gate Burst to Rene, and Renes CV out to FM of same Braids in Meta Mode..,
with the Random Gate Burst also multed to tiptop z4000 gate in, which is the final cv to Linix.
heres a lil viddy of the result.
this lil patch has definitely opened my "control" of the woggle a bit more:
This is the system I hope to build over the next year or two, in a Goike 104HP x 15U curved ergo case.
(I have the Expert Sleepers and Pittsburgh modules already.)
this is part of my current trogotronic modular set-up. in addition to these mods, I have the prototype Valkyrie cv. I have been running each synth into separate amplifiers to create far-panned, distopian walls of screaming ear-torture, or microscopic, stuttering, alien conversations between the units. i use the make noise function as my clock, subdivide with the rcd, and warp the pulse with the 333. this system is simple as fuck but articulate and mind-melting. all hail trogotronic!
Contacted PGHmod and heard back almost immediately that they have a quick fix.... no specifics though. I happen to be headed to PGH for a few days in a couple weeks for a gig so just going to stop by the shop then.
To start, don't patch into the Phonogene just yet. First, take a minute to get the Math's Channel 1 and 4 cycling in a way that opens the VCA's on the Optomix channel 1 and 2 in an interesting way. This is a lot easier to hear with just the DPO sequence and effects.
Now, load the sample of choice into the Phonogene and set to loop. Chop the sample into several smaller pieces using the splice button. Patching from the Rene's Qcv to the Organize input will choose a new splice for each stage of the Rene. While the Phonogene's volume is low (between the panning), increase the Gene Size. As the Phonogene output starts to gain amplitude, slowly scroll through the sample with the Slide knob to find an interesting transient and leave the knob put. Finally, switch the Qcv to the Varispeed input and attenuate in order to sequence the pitch of the sample.
For interesting changes in timbre, switch between splices with the Organize knob. This will likely require you to find a new transient with the Slide knob. Note, the Phonogene's Live/Loop knob back will act as volume control.
To start, don't patch into the Phonogene just yet. First, take a minute to get the Math's Channel 1 and 4 cycling in a way that opens the VCA's on the Optomix channel 1 and 2 in an interesting way. This is a lot easier to hear with just the DPO sequence and effects.
Now, load the sample of choice into the Phonogene and set to loop. Chop the sample into several smaller pieces using the splice button. Patching from the Rene's Qcv to the Organize input will choose a new splice for each stage of the Rene. While the Phonogene's volume is low (between the panning), increase the Gene Size. As the Phonogene output starts to gain amplitude, slowly scroll through the sample with the Slide knob to find an interesting transient and leave the knob put. Finally, switch the Qcv to the Varispeed input and attenuate in order to sequence the pitch of the sample.
For interesting changes in timbre, switch between splices with the Organize knob. This will likely require you to find a new transient with the Slide knob. Note, the Phonogene's Live/Loop knob back will act as volume control.
Haven't had any issues with either of my two 104 cases. The only minor complaint I would have is not really a big deal... but the coating has a bit of tack to it and the lid wants to stick when trying to take it off sometimes. I played at an outdoor festival recently and the little bit of extra heat made it stick pretty bad... had to gently use a screwdriver to get the lid unstuck.
Still having issues with the 208 case. Weekend blown just testing different configurations. Going to contact PGH tomorrow and likely put everything back into the two 104 cases until it gets sorted out.
Thanks. Hopefully I can get it all playing well together. Still working through documenting a battery of tests.
I have 2x MOVE 104s as well... and just moved most of my modules over to this new MOVE 208. I plan on using one of the 104s for a modulation rack of sorts with a Vectr, Teleplexer and other odds and ends in it to sort of break out a tactile control / modulation / performance kit into its own case. Maybe even throw a guitar strap on it.
Then I have an Octatrack running into the Yarns to sequence and master clock everything. With everything running into a Presonus 16.0.02 mixer for mixer workouts and midi controls of mixer scenes. + Virus Ti2 desk for digi poly, Analog4 for analog/acid lines, Minitaur for a touch of Moog bass/filter, and Lemur for some custom/extended control of the Octatrack.
Octatrack also sending MIDI to a macbook running visuals via COGE. So everything is all synced up and triggered tight.
Thanks exper. Going to do some tweaking today so I can say I did my due diligence before reaching out to the PGH folks. Did a manual add up of the power specs in a spreadsheet as well rather than just going by the specs here on MG.
3 of the modules on the bottom rail have jumpers to offset some of the power to the +5 so going to try that since I wasn't currently using any +5 on the bottom... and double check all my connections while I am at it. Then see what happens. Thanks again.
Yes I would take it with PGH. I know there have been other power issues with their cell cases as well. Technically I'm running much higher mA levels with only 1.4A per 6u without any power outages with MN powered busboards. You should be fine if it was working properly.
I just picked up a new Pittsburgh Modular Move 208 case and arranged these modules into it. I seem to be having some power issues however despite the fact that everything adds up well within spec... even when dividing case spec between the two rails.
Am I missing something here?
MOVE 208 // +12v @ 2A, -12v @ 2A, and +5v @600mA // 12VAC 5.0A AC Power Adapter
FULL // 996 mA +12V | 455 mA -12V | 301 mA 5V
TOP RAIL // 400 mA +12V | 137 mA -12V | 170 mA 5V
BOTTOM RAIL // 596 mA +12V | 318 mA -12V | 131 mA 5V
It seemed to start first with the Shapeshifter... it would power down, followed by the rest of the top rail, then a few seconds later the bottom rail would go out. So then I read there have been some issues with Shapeshifters that require a new fuse and some soldering I will contact them about. So I disconnected the Shapeshifter and took it completely out of the equation.
Now after about 10-15 minutes of operation the whole bottom rail shuts down out of nowhere.
Does this seem like an issue I should bring up with Pittsburgh Modular regarding the case?
I just added in the QCD Expander and the 3 drum modules to my setup... all in the bottom... so the case and those 4 modules are my new variables in the setup.
Any advice would be greatly appreciated.
TROUBLESHOOTING TESTS:
FAILED // I noticed I wasn't using any +5 on the bottom... so I switched the jumpers on the QCD, QPLFO, & Basimulus to offset some of the power to the +5.
This piece was inspired by the "phasing" early tape compositions of Steve Reich, the nighttime sounds of late summer, and most importantly the amplified sound of my unborn son's heartbeat.
Having heard baby's heartbeat amplified at a prenatal visit, I was immediately struck by the energy, rhythm and cuteness, and also immediately thought of recreating it with my synthesizer. I created the sound with the DPO, Pressure Points, MATHS and modDemix, then recorded and spliced it with the Phonogene and used the EOS as master clock for the piece.
The melodic portion of the patch is based on a 4-step René sequence with several different rhythms bringing the timbres in and out. The modDemix, DPO Ext Src, and Pressure Points were the main nodes of expression. The Pressure Points in particular intensifies the echos, reverb and synced VCOA, and the tuned voltages change the overall rhythm for each section via the Erbe-Verb predelay control. This made it easy to intensify the patch periodically before brining it into a new section.
Toward the end I also played the René pads manually for higher notes before the coda. Ultimately this may have been unnecessary to the piece but this recording was my favorite take otherwise.
I made four versions of this patch before I found one that recorded to my satisfaction. Earlier versions used multiplied master clock via Echophon for unusual rhythmic juxtapositions (5 on 4 etc.), and/or feedback networks based on the CV output of the Erbe-Verb fed by the "heartbeat". These versions were interesting, but in both cases the upbeat rhythm of the "heartbeat" was compromised, or at least no longer seemed like the centerpiece of the patch, so I kept searching.
Yes, it's a killer module. Unique aspect is to do frequency dependent envelope following.
As far as i know only other module doing this is the Buchla 296 spectral processor.
But it's a power bitch!
A Eurocrack Pusher: "The first time is for free" ;)
A screenless alternative to hardwired and software samplers. With a turntable or other sound source in the Phonogene's input, the Varispeed knob controls the quality and length of the sample recorded. Setting the Varispeed to around 2 oclock will typically allow for several bars to be captured via the record button while in Live mode. Note: the ideal position can take some trial and error to find, depending on the tempo of the record and length of the phrase you are sampling.
Using the record button to start and stop the record like a traditional cassette recorder, it is possible to grab a loop that is the same tempo as the turntable and in the same time signature. Therefore, once the sample has been recorded to memory, switching from live to loop on a downbeat of the audio source will start the loop playback in time with the original phrase. (Note: if the Varispeed knob was set to 12:00 when the loop was recorded, switching from live to loop will not initiate playback of the loop until you manually move the Varispeed control.)
Using the splice button, you can easily cut the sample into smaller pieces in time with the original sample. If you mess up the splices, just hold the splice button down until the record light flashes and try again. By setting the splice knob full CCW it is possible to select which splice is played back by patching from a row of tuned voltages on the Pressure Points (row 2 on this patch sheet) to the Organize CV INput. In this way, each pad can have an independent control over which splice is played.
Patching from the Pressure Points Channel 4 Gate output to the play input on the Phonogene will send a gate that will initiate playback when a pad is pressed on the Pressure Points. Doing this also allows for the monophonic retriggering of splices (in MPC terms, all splices act as if in the same Mute Group with Poly set to 1).
Because the ideal Varispeed setting can be tricky to find, it is best to use an offset into the Varispeed input to control the playback speed and direction once the loop has been captured. This way you can change the Varispeed setting without altering the position of the Varispeed panel control, and getting back to the "ideal" setting can be done quickly and consistently. Using a row of tuned voltages on the Pressure Points allows each pad independent control of playback speed; however, this means each pad/splice will be in a different timing. For the example in the video, I put each tuned voltage at full clockwise and attenuated on the Phonogene so that regardless of the pad selected, the splices would always be in tempo with one another. As an added bonus, the next loop recorded from the same source material was in time with the original loop/splices!
Lastly, I run everything through the Erbe-Verb because everything sounds better through the Erbe-Verb ;-)
Enjoy!
Lee Coleman
I made a mistake - this is the more accurate version - please keep it public.
Mark this as private instead: http://www.modulargrid.net/u/buchla-259 (picture fails to fit the grid)
I think you already found it out: You can still comment directly on the module detail pages (scroll to the bottom), but every comment is also accessible in the forum.
Before we could add comments to a module - seems like we need to make a new post in the forum instead, or am I completely daft?
The main reason I liked this feature was to be able to add things like "Duplicate"...
This is a tweak of the Woggle It (Just a little bit) patch. The optomix is now driven by the slower right hand side of the maths so that the non-strike elements are smoother. I unplug the strike inputs occasionally to allow the longer notes to play on their own. Pressure points is used to alter the pitch of the conga like sound coming from the DPO. I occasionally use the freeze function to create a bit more madness.
I love folk music, and studied the music of zombies when I was in college. This set is based on that old zombie folk hymn, 'I ain't gonna gnaw on Momma's brain no more', one of my favorites.
This is mostly violin through cocoquantus into the pro 2 audio in. Eurorack plays a supporting role....
Track list (in current order):
The end of silence
I ain't gonna gnaw on Momma's brain no more
Can you sing, Father Time?
He sat idly by, disinterested, as the universe was created
Spleen saver
Scream clever, scream dark
Oh, please, shiny horned one,
Hear my submission to your eternal agony.
This set was constructed pretty much entirely with the prophet 2.
Stray toilets, baboons, and string instruments are processed through it at various times in history.
Tracklist:
Revenge of the naked dead
I can smell you scream
Universal torment interpreter
Analysis of the pygmy baboon mating ritual
Your death is very important to us
Shlock and awe
I am the creator of zombie love
The naked dead explain their horrible smell
I can smell you think
Draining the mind of the disease
