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| − | [[Mutable_Instruments|Mutable Instruments]] Rings
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| − | =cordes sympathiques=
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| | http://www.synthe-modulaire.com/t3363-mi-rings-cordes-sympathiques | | http://www.synthe-modulaire.com/t3363-mi-rings-cordes-sympathiques |
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| | Pour avoir une table d'accords plus "occidentaux", laisser le doigt appuyé longtemps sur le bouton de droite (il clignotte lorsque la deuxième table d'accords est active). On a alors le "power chord" au milieu, les accords majeurs à droite, mineurs à gauche. | | Pour avoir une table d'accords plus "occidentaux", laisser le doigt appuyé longtemps sur le bouton de droite (il clignotte lorsque la deuxième table d'accords est active). On a alors le "power chord" au milieu, les accords majeurs à droite, mineurs à gauche. |
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| − | How are sympathetic string combinations organized? Can we imagine a 'teleharmonic' mode on Rings?
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| − |
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| − | These are different combinations of perfect fifths and octaves (so frequency ratios 1.5, 2, 3, 4, 6 ...), with a portamento between to have dissonant results.
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| − | To have a more "western" chord table, keep your finger pressed for a long time on the right button (it flashes when the second chord table is active). We then have the "power chord" in the middle, major chords on the right, minor chords on the left.
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| − |
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| − | =Alternate modes=
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| − |
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| − | '''Threesome'''
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| − | Hold the polyphony button for a few seconds. This enables a 3 voice polyphonic mode in which the notes bounce between the ODD / EVEN outputs according to an 8-step rhythmic pattern (O E E O E E O E).
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| − | '''2-op FM aka "It's still Bessel functions!"'''
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| − | Long press on the model selection button while modal synthesis is active (green).
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| − |
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| − | STRUCTURE = frequency ratio.
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| − | BRIGHTNESS = FM index.
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| − | DAMPING = FM index and amplitude decay.
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| − | POSITION = Feedback path (no feedback at 12 o'clock).
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| − | IN goes into an envelope follower changing FM index and output amplitude.
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| − |
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| − | '''"Western chords"'''
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| − | Long press on the model selection button when sympathetic strings model is active (orange).
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| − | The sympathetic strings are no longer tuned to perfect fifths or octaves, but instead, to chords.
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| − | STRUCTURE = chord.
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| − |
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| − | '''"Karplusverb"'''
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| − | Long press on the model selection button when non-linear string model is active (red).
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| − | Adds a reverb, the absorption and decay of which follow those of the string.
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| − |
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| − | source : https://www.muffwiggler.com/forum/viewtopic.php?p=2162610#2162610
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| − |
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| − | =Easter Egg=
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| − |
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| − | '''"Disastrous peace"'''
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| − |
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| − | The actual Easter egg. Adjust the knobs:
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| − | [[Fichier:Rings-1.jpg|none|400px|thumb|Rings Easter egg]]
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| − |
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| − | First, set the knobs as follows:<br />
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| − | Frequency: fully ccw<br />
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| − | Structure: fully cw<br />
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| − | Brightness: fully ccw<br />
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| − | Damping: centre<br />
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| − | Position: fully cw<br />
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| − |
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| − | Attenuator knobs as per the image:<br />
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| − | Brightness: fully ccw<br />
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| − | Frequency: fully cw<br />
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| − | Damping: fully ccw<br />
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| − | Structure: fully cw<br />
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| − | Position: fully ccw<br />
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| − | Once knobs are positioned, a long press on the polyphony button (the mode button seemingly works as well?) initiates an orange/red flashing pattern on both the polyphony and mode leds.
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| − |
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| − | This is an Organ/String machine synth, loosely based on the Roland RS-09. Up to 12 notes and 6 oscillators per note tuned one octave apart ("organ" = filtered square or "string" = sawtooth).
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| − |
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| − | Polyphony button = chord size. From 10-note fat chords which cannot overlap because they eat all the polyphony voices... to 3-note chords which can overlap with the previous ones when they are retriggered. In other words, that's the maximum number of successive chords which can overlap - 1, 2 or 4.
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| − |
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| − | Model selection button = FX. Long press to get a variation on the FX. Green = formant filter (less abrasive variant). Yellow = Rolandish chorus (Solinaish ensemble). Red = Caveman reverb (shinier variant).
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| − |
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| − | FREQUENCY = root note. <br />
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| − | STRUCTURE = chord type. <br />
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| − | BRIGHTNESS = scans through various registrations (combinations of gains for the 6 oscillators) sorted by brightness. <br />
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| − | DAMPING = decay time, then attack time. Drones continuously when turned fully clockwise. <br />
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| − | POSITION = FX amount. <br />
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| − |
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| − | The STRUM input triggers the envelope and allocates a new group of voices for the chord - and the previously played chord can still be heard if the "polyphony" setting is set to 2 or 4.
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| − |
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| − | The V/OCT input controls the root note. If nothing is patched in the STRUM input, sudden changes on this input will also trigger the envelope / voice allocation.
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| − |
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| − | IN : It goes into the FX (formant filter, chorus or reverb) - the amount of which is controlled by POSITION.
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| − |
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| − | =Emilie's notes =
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| − |
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| − | Also, it seems to me that because the modules can be used on their own (you can plug something in Clouds and get a signal on the out without any other module, and you can plug a trigger or V/O signal into Rings and get something on the outs), people tend to treat them as black boxes and don't experiment much with them.
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| − |
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| − | Here's 10 things you can do with Rings that no video has shown so far:
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| − |
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| − | * Create your own excitation signals with "long" signal chains like sample player -> VCA -> filter ; or envelope -> VCF -> delay.
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| − | * Feed back Rings' output into its FM input.
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| − | * Use simple noise as the excitation signal, and then shape the sound with an ADSR and VCA after Rings' output.
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| − | * Stack the sound of Rings on top of a more classic FM or subtractive tone.
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| − | * Use Rings' output to FM an analog sine or triangle VCO, then apply an envelope on this VCO coming from an envelope follower receiving Rings' output.
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| − | * Post-process Rings' output with a wavefolder.
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| − | * Use a crossfader to crossfade an external excitation signal (noise for example) with Rings' own output (feedback patch).
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| − | * Use a random source on all of its CV inputs to get drastic changes of timbre at each note.
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| − | * In non-linear string mode, send a negative CV to the V/O input and set frequency to the minimum to get a very low fundamental frequency - you get rhythmic-rate delay, and can use the module as a weird low-fi delay/reverb.
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| − | * Send a sawtooth or narrow pulse VCO into Rings' input, and use the same V/O sequence for both Rings and the VCO.
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| − |
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| − | =unsorted=
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| − |
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| − | polyphony :
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| − |
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| − | 1 = fat chord (8 notes), but when a new chord starts (trigger on STRUM or a change on V/Oct), it cuts the previous chord.
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| − |
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| − | 2 = slimmer chord (6 notes), but when a new chord starts, the old chord can still be heard.
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| − |
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| − | 4 = even slimmer chord (3 notes), allowing several consecutive chords to overlap (very obvious with DAMPING near 3 o’clock).
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| − |
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| − | Brightness scans through various arrangement of the drawbars, sorted by brightness. The available registers are 8’ “dark square”, 4’ “bright square”, 2’ “bright square”, 8’ saw, 4’ saw, 2’ saw. “dark square” and “bright square” are the round (low-passed square) and reedy (high-passed square) waveforms found in divider organs. Big big influence was the Roland RS-09. And disasterpeace. So yes, that’s 72 oscillators smile
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| − |
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| − | =videos=
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| − | https://www.youtube.com/watch?v=tdzcxgmOk3Q&list=PL54NASqAHmsTmsNZswDrWZKZ3GbDv7iOu
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| − |
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| − | = Tago Mago Notes =
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| − |
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| − | -- a sound source that delivers
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| − | harmonically rich signals and/or
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| − | noise is optional but VERY HIGHLY
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| − | recommended. Braids is probably a
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| − | great choice. A DIY uBraids is half
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| − | the HP and the same functionality
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| − | so that’s worth a look.
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| − | -- modulation. Brightness sometimes
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| − | wants an envelope, slow
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| − | modulation, a per-note velocity or
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| − | random value. Frequency wants a
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| − | subtle LFO sometimes or all-out FM
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| − | once in a while. Damping can be
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| − | gated for mute/sustain purposes and
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| − | doesn’t really need an envelope as
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| − | such. Structure can be sequenced, or
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| − | modulated for crazy stuff. Position
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| − | is lovely to modulate with an LFO or
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| − | envelope.
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| − | -- a feedback partner. A resonant
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| − | filter, delay or reverb should all work
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| − | well here. (For me, this is Three
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| − | Sisters, but Clouds is probably great
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| − | at it.) Feed Rings output to this, and
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| − | feed its output back to Rings input.
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| − | -- VCA is optional; you can just let
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| − | the resonator ring out fully according
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| − | to the algorithm and damping.
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| − | But putting a VCA after Rings gives
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| − | you a different sound (especially
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| − | with polyphony modes) than gating
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| − | damping, and you may want a VCA
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| − | for input (especially feedback).
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| − | -- if you’re into it, an external (contact)
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| − | mic and mci pre -- something
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| − | like Mikrophonie/Ears perhaps -- is
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| − | recommended by a lot of people. I
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| − | once made a very convincing, dynamic
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| − | snare drum by feeding Rings’
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| − | V/OCT input with a quickly moving
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| − | VCA, and its input with a piezo contact
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| − | mic in a wooden box through a
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| − | cheap Behringer mixer preamp.
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| − | ---------------
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| − | So I found out a few days ago that
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| − | if you run the sympathetic strings
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| − | through a band pass filter, and then
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| − | sweep the filter frequency with a
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| − | synced AR envelope (a synced LFO
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| − | would work too), you can drastically
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| − | alter the character of this mode of
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| − | rings.
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| − | This does two things: one, it highlights
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| − | select frequency bands, and
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| − | softens the others, which helps wrangle
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| − | in some of the unruly overtones
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| − | in synpathetic strings mode; and
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| − | two, depending on what the filter
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| − | frequency is, it will create dynamics
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| − | in note attacks beyond that that can
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| − | be attained with the brightness knob
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| − | (I think, there was a lot going on in
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| − | this patch, I think that notes that
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| − | were struck within the frequency of
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| − | the filter sounded more clear and
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| − | sharp, while those struck outside the
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| − | frequency range were more subtle
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| − | and muted, but this could have been
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| − | more a result of the cv of the brightness
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| − | knob, but I don’t think so.)
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| − | After recording, I realized I had
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| − | Maths channel 4 cycling instead of
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| − | 58/73 being triggered by my note gate, so
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| − | the filter sweeping is working more
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| − | like a phaser/wah pedal and it’s not
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| − | perfectly in time. Still sounds nice,
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| − | but it’s not “perfect” which makes me
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| − | a little sad.
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| − | It doesn’t work as well with modal
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| − | mode or inharmonic string mode. I
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| − | think this is because this effect really
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| − | needs a wide range of complimentary
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| − | overtones in the sound to have a nice
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| − | range to sweep through; I didn’t find
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| − | dissonant tones from the inharmonic
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| − | strings to be that pleasing, nor did
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| − | the modal mode have enough sonic
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| − | spread to really be effective.
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| − | ----------------
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| − | Rings has a huge range on its own,
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| − | just feeding it varying CV into its v/
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| − | oct input. But by using an envelope
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| − | generator into it’s input, you can get
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| − | interesting results too. It pairs very
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| − | well with Tides, in that regard, which
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| − | has a very wide range of envelope
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| − | shapes. By carefully tweaking the
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| − | shape of the envelope going in Rings
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| − | input, I was able to get some kind of
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| − | “muffled drum mallet hitting toms”
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| − | sounds. Also, VCA’d or filtered noise
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| − | into Rings input is great. Shaping the
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| − | noise with a LPG or VCA/Filter, you
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| − | can get some fluty sounds (a bit of
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| − | work setting this right).
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| − | ----------
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| − | I’ve been sending a CV out of either
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| − | the SQ 1 or Brains/PP ino Rings 1v/
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| − | oct and another CV out into Telharmonic
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| − | then into the input of Rings.
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| − | Tune em up for lots of nice resonant
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| − | feedback. Modulate the Tel timbre
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| − | section to draw out diffent “rings”.
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| − | Modulate Structure to drag the resonance
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| − | across a few scale degrees.
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| − | Another thing I am working on is
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| − | send Brains/PP tuned voltage out
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| − | into the 1v/oct on Rings with a /8
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| − | clock and a Rene sequence Q Out
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| − | to a VCO and into Rings in witha /4
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| − | clock. Pluk Rings with a /2 clock.
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| − | ----------
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| − | Q
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| − | Would it, for example, work well with
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| − | a pinged filter as a source and if so is
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| − | the signal level critical, and how does
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| − | it respond to different pitches?
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| − | R
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| − | 8-10Vpp is ideal, you can go up to
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| − | 16Vpp. The higher the signal, the
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| − | higher the output. There’s a built-in
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| − | brickwall limiter to prevent very nasty
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| − | clipping.
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| − | It works better with unpitched
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| − | sounds (noise, bursts, clicks...)
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| − | I would recommend:
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| − | * Clicks from short AD envelopes.
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| − | Modifying the A and D time is akin
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| − | to softening/sharpening the strike.
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| − | * Noise through a VCF through a
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| − | VCA, with envelopes.
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| − | * Digital noise (Zorlon Cannon, Noisering)
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| − | - maybe through a LPG to
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| − | make it clicky.
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| − | * Anything percussive processed by
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| − | Clouds.
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| − | * Music Thing Mikrophonie
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| − | * Sample players!!
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| − | --------------------
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| − | Regarding polyphony, set the module
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| − | in 4-voice mode, turn damping fully
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| − | CW to get super long releases, and
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| − | just play your notes on the V/OCT
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| − | input - they will overlap without cutting
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| − | each other, that’s the point of the
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| − | polyphony mode. New trigger or new
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| − | CV will cut the least recently played
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| − | note and will start a new note - like
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| − | voice-stealing on polys.
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| − | Rings does bells, tubes, plates, membranes
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| − | etc - just don’t use the “string”
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| − | model, use the standard modal resonator
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| − | model (like Elements). BTW
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| − | Chromaphone uses modal synthesis
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| − | too, so you will get the same kind of
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| − | results with Rings - but with CV control
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| − | and “morphing” on the structure,
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| − | rather than selecting them from
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| − | a list.
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| − | Sympathetic string mode uses stacks
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| − | of octaves and fifths, within -1 to +2
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| − | octaves of the root, but there’s interpolation
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| − | between notes so you get
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| − | dissonant results inbetween.
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| − | ------------------
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| − | Q
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| − | The manual says that new strings will
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| − | be strummed with changes to V/Oct
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| − | or sharp transients to the IN parameter
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| − | ONLY if there is nothing patched
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| − | to the STRUM input. Does this
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| − | mean, with a dummy cable patched
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| − | to strum, this won’t take place? Honestly,
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| − | this doesn’t really matter to me
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| − | either way, I’m just curious about
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| − | how the module works overall.
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| − | R
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| − | Yes, if you put a dummy cable in this
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| − | input, the module will be stuck on
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| − | the same string. The module won’t
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| − | be able to know if it’s a dummy cable
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| − | or if you’re just using a slowwwww
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| − | clock.
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| − | The general design philosophy for
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| − | this module is that whenever you
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| − | don’t patch an input, the module
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| − | tries to infer it from the other inputs.
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| − | For example, the STRUM trigger input
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| − | indicates string changes. If you
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| − | don’t provide it, the module will look
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| − | at sudden changes in the V/OCT
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| − | input to decide that a new string is
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| − | touched. If there’s nothing in V/OCT,
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| − | it’ll detect transients on the IN input.
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| − | Similarly, if nothing is provided in
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| − | the IN audio input, the module will
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| − | makes its own excitation signal by
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| − | waiting for triggers in the STRUM
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| − | input, or, if there’s nothing in this input,
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| − | by detecting sudden changes in
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| − | the V/OCT input.
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| − | ----------------
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| − | Jtalton wrote:
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| − | what exactly happens when putting a
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| − | audio signal into the in?
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| − | No it doesn’t provide dynamics. The
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| − | audio input provides the excitation
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| − | signal for the resonator. This is what
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| − | you’ll hear “processed” by the resonator.
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| − | ---------------
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| − | Q
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| − | With a long press on the right button
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| − | (orange led blinking), I’m hearing
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| − | some chordal stuff controlled by
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| − | structure... interesting sounds with
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| − | each of the different voice modes.
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| − | RL
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| − | ong press on the right button when
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| − | using the sympathetic string model
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| − | = STRUCTURE will select different
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| − | combinations of intervals between
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| − | the strings, this time recreating various
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| − | chord structures (the usual suspects:
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| − | major, minor, major7 etc...).
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| − | That’s actually what I have used for
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| − | the Elements firmware update!
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| − | 59/73
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| − | me
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| − | about
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| − | this
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| − | won’t
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| − | slowwwww
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| − | for
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| − | you
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| − | look
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| − | input.
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| − | in
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| − | will
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| − | by
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| − | in
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| − | a
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| − | excitation
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| − | resonator.
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| − | button
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| − | hearing
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| − | by
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| − | with
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| − | when
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| − | model
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| − | various
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| − | for
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| − | ---------------
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| − | Elements’ bow and blow exciters
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| − | are nothing more than enveloped,
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| − | filtered feedback or noise sent to the
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| − | resonator. So if you want to make
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| − | a blowing sound with a slow attack
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| − | with Rings, you feed enveloped, filtered
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| − | noise into the IN signal input,
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| − | and you get exactly the same results.
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| − | You have to stop consider Rings as
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| − | a voice or oscillator which needs to
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| − | be enveloped or post-processor. All
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| − | the work regarding time dynamics,
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| − | expressivity and gestures has
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| − | to be done on the excitation signal.
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| − | To make a flute sound softer and a
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| − | slower attack... you blow inside with
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| − | a slower attack.
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| − | Rings has a built-in exciter (with no
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| − | knob/CV) that generates bursts of
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| − | noise/filtered clicks, and which is activated
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| − | when you’re too lazy to send
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| − | something interesting in the IN audio
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| − | input. That’s what 90% of the videos/
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| − | audio clips of the module are using
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| − | because it’s convenient - it makes
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| − | Rings behave like a single voice. But
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| − | relying on that is missing the point of
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| − | the module - you really have to learn
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| − | how to synthesize excitation signals
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| − | with the rest of your system to create
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| − | sounds with Rings. The sounds you
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| − | get with the internal excitation tone
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| − | are of course very immediate and rewarding,
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| − | but you’d be really missing
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| − | the point of the module just to use
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| − | that (and I fear that people will get
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| − | tired of the module just because they
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| − | haven’t understood this point). All
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| − | the patching, learning and experimentation
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| − | is upstream of the module...
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| − | In case I haven’t been clear, let’s take
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| − | a silly subtractive synthesis metaphor...
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| − | Let’s say I have released last
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| − | year a VCO + VCF synth voice. Then
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| − | I release a VCF, but to make it useful
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| − | in small systems, I put a sawtooth oscillator
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| − | inside it, that is active whenever
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| − | nothing is patched into the VCF
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| − | input - so you can always get sound
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| − | sounds out of it. Would you conclude
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| − | that the VCF is more geared towards
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| − | “sawtoothey” sounds because of that?
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| − | Or maybe another image... Rings is a
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| − | gong with a little mallet attached to
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| − | it. The fact that the mallet is attached
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| − | to it and comes for free does not prevent
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| − | you from scratching it, bowing
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| − | it, rubbing it with all kind of tools or
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| − | throwing gravel at it...
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| − | ----------------
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| − | I‘m repeating myself, but I had really
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| − | good results with little bursts of
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| − | either noise or rich waves, repeated
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| − | at sub- or audio-rate (going from one
| |
| − | to the other continuously is really interesting).
| |
| − | It’s a common technique
| |
| − | popularized by C. Roads (Pulsar synthesis).
| |
| − | You can achieve this with e.g.
| |
| − | Clouds, by freezing a buffer with rich
| |
| − | harmonic contents and having Density
| |
| − | around 11:00. You can also do it
| |
| − | manually with a short triangular envelope,
| |
| − | triggered by a square VCO
| |
| − | and VCA’ing another VCO or some
| |
| − | filtered noise. I also implemented
| |
| − | this in the standard VCO mode of
| |
| − | Tides Parasite, when you have Slope
| |
| − | anywhere before 12:00.
| |
| − | -----------------
| |
| − | EASTER EGG
| |
| − | - Miniature “Ominous voice” (Elements’
| |
| − | 2x2 operator FM Easter egg,
| |
| − | but here just 2-operator FM) – accessed
| |
| − | by a long-press on the Resonator
| |
| − | Type button while in the “Modal
| |
| − | resonator” mode. I’ll embarrass myself
| |
| − | by trying to guess out loud what
| |
| − | exactly the knobs do from my rushed
| |
| − | session, but Frequency and Structure
| |
| − | appear to control the carrier
| |
| − | and modulator frequencies, Brightness
| |
| − | behaves like an FM modulation
| |
| − | index, Damping still controls decay,
| |
| − | and Position maybe does some kind
| |
| − | of phase feedback like on Elements.
| |
| − | - Chord mode – accessed by a longpress
| |
| − | on the Resonator Type button
| |
| − | while in the “Sympathetic strings”
| |
| − | mode. Explained in the MW thread
| |
| − | @BennelongBicyclist just linked.
| |
| − | - Simple reverb – accessed by a longpress
| |
| − | on the Resonator Type button
| |
| − | while in the “Modulated/inharmonic
| |
| − | string” mode. As far as I can tell, the
| |
| − | only knob that behaved differently
| |
| − | was Damping, which now controls
| |
| − | not only the resonator’s decay but
| |
| − | also reverb time. The other knobs behave
| |
| − | as they do in standard “Modulated/
| |
| − | inharmonic string” mode.
| |
| − | Finally, a long-press on the Polyphony
| |
| − | setting button causes its LED to
| |
| − | flash rapidly between yellow orange
| |
| − | and red, and seems to make different
| |
| − | notes alternate between the Odd and
| |
| − | Even outs (for, eg, stereo panning effects),
| |
| − | which in this setting sounded
| |
| − | the same to me in terms of partials
| |
| − | etc. I didn’t count the total polyphony
| |
| − | possible in this setting but it’s definitely
| |
| − | >1. This is “meta” in the sense
| |
| − | that the polyphony modes are — it
| |
| − | applies to all of the Resonator Type
| |
| − | states (including the 3 Easter egg
| |
| − | modes). Dunno if this is the actual
| |
| − | “meta” egg, though.
| |
| − | I didn’t check whether the CV inputs
| |
| − | take on different roles in these extra
| |
| − | modes, and I didn’t explore how the
| |
| − | additional modes interact otherwise
| |
| − | with the Odd and Even outputs or
| |
| − | with the audio input. All the extra
| |
| − | modes sound great, and the best part
| |
| − | to me is that the different polyphony
| |
| − | modes still work.
| |
| − | ------------------------
| |
| − | Emilie posted these notes about the 3
| |
| − | modes for the draw-bar organ Rings
| |
| − | Easter egg on MW:
| |
| − | 1 = fat chord (8 notes), but when a
| |
| − | new chord starts (trigger on STRUM
| |
| − | or a change on V/Oct), it cuts the
| |
| − | previous chord.
| |
| − | 2 = slimmer chord (6 notes), but
| |
| − | when a new chord starts, the old
| |
| − | chord can still be heard.
| |
| − | 4 = even slimmer chord (3 notes), allowing
| |
| − | several consecutive chords to
| |
| − | overlap (very obvious with DAMPING
| |
| − | near 3 o’clock).
| |
| − | Brightness scans through various arrangement
| |
| − | of the drawbars, sorted by
| |
| − | brightness. The available registers are
| |
| − | 8’ “dark square”, 4’ “bright square”, 2’
| |
| − | “bright square”, 8’ saw, 4’ saw, 2’ saw.
| |
| − | “dark square” and “bright square” are
| |
| − | the round (low-passed square) and
| |
| − | reedy (high-passed square) waveforms
| |
| − | found in divider organs. Big
| |
| − | big influence was the Roland RS-09.
| |
| − | And disasterpeace. So yes, that’s 72
| |
| − | oscillators
| |
| − | --------------
| |
| − | 60/73 Q
| |
| − | anyone know what exactly the position
| |
| − | knob is doing in the dual osc fm
| |
| − | mode?
| |
| − | R
| |
| − | FREQUENCY = carrier frequency
| |
| − | STRUCTURE = modulator frequency
| |
| − | ratio
| |
| − | BRIGHTNESS = FM amount
| |
| − | DAMPING = decay time for output
| |
| − | amplitude and FM amount
| |
| − | POSITION = You get classic 2-op FM
| |
| − | at 12 o’clock (FM on Braids). Turn
| |
| − | clockwise to add phase feedback
| |
| − | from carrier to modulator (FBFM
| |
| − | on Braids). Turn counter-clockwise
| |
| − | to add frequency feedback from carrier
| |
| − | to modulator (WTFM on Braids
| |
| − | - this one is chaotic!).
| |
| − | -----------
| |
| − | Polyphony :
| |
| − | = fat chord (8 notes), but when a new
| |
| − | chord starts (trigger on STRUM or a
| |
| − | change on V/Oct), it cuts the previous
| |
| − | chord.
| |
| − | 2 = slimmer chord (6 notes), but
| |
| − | when a new chord starts, the old
| |
| − | chord can still be heard.
| |
| − | 4 = even slimmer chord (3 notes), allowing
| |
| − | several consecutive chords to
| |
| − | overlap (very obvious with DAMPING
| |
| − | near 3 o’clock).
| |
| − | Brightness scans through various arrangement
| |
| − | of the drawbars, sorted by
| |
| − | brightness. The available registers are
| |
| − | 8’ “dark square”, 4’ “bright square”, 2’
| |
| − | “bright square”, 8’ saw, 4’ saw, 2’ saw.
| |
| − | “dark square” and “bright square” are
| |
| − | the round (low-passed square) and
| |
| − | reedy (high-passed square) waveforms
| |
| − | found in divider organs. Big
| |
| − | big influence was the Roland RS-09.
| |
| − | And disasterpeace. So yes, that’s 72
| |
| − | oscillators
| |
| − | -----------------
| |
| − | QD
| |
| − | oes the IN affect anything or just
| |
| − | get mixed with the signal and routed
| |
| − | to whatever the position knob is doing?
| |
| − | Either way putting noise into it
| |
| − | is pretty nice.
| |
| − | R It goes into the FX (
| |
| − | formant filter,
| |
| − | chorus or reverb) - the amount of
| |
| − | which is controlled by POSITION.
| |
| − | ----------------
| |
| − | ALTERNATE MODES
| |
| − | Threesome
| |
| − | Hold the polyphony button for a
| |
| − | few seconds. This enables a 3 voice
| |
| − | polyphonic mode in which the notes
| |
| − | bounce between the ODD / EVEN
| |
| − | outputs according to an 8-step rhythmic
| |
| − | pattern (O E E O E E O E).
| |
| − | 2-op FM aka “It’s still Bessel functions!”
| |
| − | Long press on the model selection
| |
| − | button when modal synthesis is active
| |
| − | (green).
| |
| − | STRUCTURE = frequency ratio.
| |
| − | BRIGHTNESS = FM index.
| |
| − | DAMPING = FM index and amplitude
| |
| − | decay.
| |
| − | POSITION = Feedback path (no
| |
| − | feedback at 12 o’clock).
| |
| − | IN goes into an envelope follower
| |
| − | changing FM index and output amplitude.
| |
| − | “Western chords”
| |
| − | Long press on the model selection
| |
| − | button when sympathetic strings
| |
| − | model is active (orange).
| |
| − | The sympathetic strings are no longer
| |
| − | tuned to perfect fifths or octaves,
| |
| − | but instead, to chords.
| |
| − | STRUCTURE = chord.
| |
| − | “Karplusverb”
| |
| − | Long press on the model selection
| |
| − | button when non-linear string model
| |
| − | is active (red).
| |
| − | Adds a reverb, the absorption and
| |
| − | decay of which follow those of the
| |
| − | string.
| |
| − | In the “karplusverb” mode, the reverb
| |
| − | is tied to the parameters of the
| |
| − | Karplus strong model and cannot
| |
| − | be controlled independently (if the
| |
| − | string has a long decay and a lot of
| |
| − | absorption, the reverb will also have
| |
| − | a long tail and lots of high frequency
| |
| − | damping... you get the idea).
| |
| − | In the easter egg, the reverb is applied
| |
| − | to the string/organ synth.
| |
| − | So you cannot get the modal resonator
| |
| − | + reverb combo of Elements.
| |
| − | -----------------
| |
| − | EASTER EGG
| |
| − | “Disastrous peace”
| |
| − | Adjust the knobs:
| |
| − | First, set the knobs as follows:
| |
| − | Frequency: fully ccw
| |
| − | Structure: fully cw
| |
| − | Brightness: fully ccw
| |
| − | Damping: centre
| |
| − | Position: fully cw
| |
| − | Attenuator knobs as per the image:
| |
| − | Brightness: fully ccw
| |
| − | Frequency: fully cw
| |
| − | Damping: fully ccw
| |
| − | Structure: fully cw
| |
| − | Position: fully ccw
| |
| − | Once knobs are positioned, a long
| |
| − | press on the polyphony button (the
| |
| − | mode button seemingly works as
| |
| − | well?) initiates an orange/red flashing
| |
| − | pattern on both the polyphony
| |
| − | and mode leds.
| |
| − | This is an Organ/String machine
| |
| − | synth, loosely based on the Roland
| |
| − | RS-09. Up to 12 notes and 6 oscillators
| |
| − | per note tuned one octave apart
| |
| − | (“organ” = filtered square or “string”
| |
| − | = sawtooth).
| |
| − | Polyphony button = chord size.
| |
| − | From 10-note fat chords which cannot
| |
| − | overlap because they eat all the
| |
| − | polyphony voices... to 3-note chords
| |
| − | which can overlap with the previous
| |
| − | ones when they are retriggered.
| |
| − | In other words, that’s the maximum
| |
| − | number of successive chords which
| |
| − | can overlap - 1, 2 or 4.
| |
| − | Model selection button = FX. Long
| |
| − | press to get a variation on the FX.
| |
| − | Green = formant filter (less abrasive
| |
| − | variant). Yellow = Rolandish chorus
| |
| − | (Solinaish ensemble). Red = Caveman
| |
| − | reverb (shinier variant).
| |
| − | FREQUENCY = root note.
| |
| − | STRUCTURE = chord type.
| |
| − | BRIGHTNESS = scans through various
| |
| − | registrations (combinations of
| |
| − | gains for the 6 oscillators) sorted by
| |
| − | brightness.
| |
| − | DAMPING = decay time, then attack
| |
| − | time. Drones continuously when
| |
| − | 61/73
| |
| − | flashing
| |
| − | polyphony
| |
| − | oscillators
| |
| − | string”
| |
| − | cannot
| |
| − | which
| |
| − | abrasive
| |
| − | chorus
| |
| − | Caveman
| |
| − | various
| |
| − | of
| |
| − | turned fully clockwise.
| |
| − | POSITION = FX amount.
| |
| − | The STRUM input triggers the envelope
| |
| − | and allocates a new group of
| |
| − | voices for the chord - and the previously
| |
| − | played chord can still be heard
| |
| − | if the “polyphony” setting is set to 2
| |
| − | or 4.
| |
| − | The V/OCT input controls the root
| |
| − | note. If nothing is patched in the
| |
| − | STRUM input, sudden changes on
| |
| − | this input will also trigger the envelope
| |
| − | / voice allocation.
| |
| − | IN is simply routed to the FX processor.
| |
| − | -------------------
| |
| − | Cordes sympathiques
| |
| − | Pour avoir une table d’accords plus
| |
| − | “occidentaux”, laisser le doigt appuyé
| |
| − | longtemps sur le bouton de droite (il
| |
| − | clignotte lorsque la deuxième table
| |
| − | d’accords est active). On a alors le
| |
| − | “power chord” au milieu, les accords
| |
| − | majeurs à droite, mineurs à gauche.
| |
| − | -------------------
| |
| − | * Create your own excitation signals
| |
| − | with “long” signal chains like sample
| |
| − | player -> VCA -> filter ; or envelope
| |
| − | -> VCF -> delay.
| |
| − | * Feed back Rings’ output into its
| |
| − | FM input.
| |
| − | * Use simple noise as the excitation
| |
| − | signal, and then shape the sound
| |
| − | with an ADSR and VCA after Rings’
| |
| − | output.
| |
| − | * Stack the sound of Rings on top of a
| |
| − | more classic FM or subtractive tone.
| |
| − | * Use Rings’ output to FM an analog
| |
| − | sine or triangle VCO, then apply an
| |
| − | envelope on this VCO coming from
| |
| − | an envelope follower receiving Rings’
| |
| − | output.
| |
| − | * Post-process Rings’ output with a
| |
| − | wavefolder.
| |
| − | * Use a crossfader to crossfade an external
| |
| − | excitation signal (noise for example)
| |
| − | with Rings’ own output (feedback
| |
| − | patch).
| |
| − | * Use a random source on all of its
| |
| − | CV inputs to get drastic changes of
| |
| − | timbre at each note.
| |
| − | * In non-linear string mode, send a
| |
| − | negative CV to the V/O input and set
| |
| − | frequency to the minimum to get a
| |
| − | very low fundamental frequency -
| |
| − | you get rhythmic-rate delay, and can
| |
| − | use the module as a weird low-fi delay/
| |
| − | reverb.
| |
| − | * Send a sawtooth or narrow pulse
| |
| − | VCO into Rings’ input, and use the
| |
| − | same V/O sequence for both Rings
| |
| − | and the VCO.
| |
| − | ----------------------
| |
| − | ) Braids output is into Rings input
| |
| − | 2) Braids is set to “Bells” algorithm
| |
| − | 3) Rings L and R outputs goes into 2
| |
| − | mixer channels
| |
| − | 4) Ring’s is set to both Led’s yellow
| |
| − | (String algorithm) with the 2nd led
| |
| − | flashing (which when you hold it
| |
| − | down for a few seconds puts it into a
| |
| − | chord mode)
| |
| − | 5) Turing Machine MK2 (smaller
| |
| − | version) is set to 3 bits, big knob set
| |
| − | to about 12:00 O Clock, while the 5
| |
| − | knobs to the left are set slightly randomly
| |
| − | 6) Turing Machine’s main seq out is
| |
| − | double stacked with 2 cables going
| |
| − | out into 1) Braids trigger input and
| |
| − | 2) Braids Timbre input with the Timbre
| |
| − | knob set to about 9:00 and the
| |
| − | Timbre Modulation knob set all the
| |
| − | way to the right for maximum CV.
| |
| − | 7) Turing Machine’s V Output goes
| |
| − | into V Oct input to Braids.
| |
| − | 8) Turing Machine’s #6 Pulse out
| |
| − | goes to Rings “brightness” input with
| |
| − | the CV knob at about all the way to
| |
| − | the right.
| |
| − | 9) Peaks is my clock and is set to dual
| |
| − | LFO settings. LFO goes into Turing
| |
| − | Machine’s clock input, while LFO 2
| |
| − | goes into “Strum” input of Braids.
| |
| − | ------------
| |
| − | Q I know the Damping affects decay
| |
| − | but is there anything in the module
| |
| − | that’ll sort out the attack, seems a
| |
| − | shame to run it through an envelope
| |
| − | and vca...?
| |
| − | R just excite it with something slower
| |
| − | than the internal trigger, maybe some
| |
| − | nice filtered noise or a jupiter storm
| |
| − | processed with a slow envelope, no
| |
| − | need for post-resonator vca unless
| |
| − | you want tremolo or gating thumbs
| |
| − | up
| |
| − | -------------------
| |
| − | Even the simplest group of modules
| |
| − | can create an exciter, spiked LFOs
| |
| − | and envelopes, filtered noise, glitchy
| |
| − | Oscs, resonant filters are all great
| |
| − | fodder for these modules
| |
| − | -------------
| |
| − | Q Position really shouldn’t affect pitch
| |
| − | in any of the settings, but Structure
| |
| − | definitely will. Consider it the same
| |
| − | as the Geometry setting on Elements,
| |
| − | they both function the same way
| |
| − | R Position: when modulated, this parameter
| |
| − | creates the same kind of
| |
| − | dancing notches in the spectrum as a
| |
| − | flanger/phaser, so it can give a feeling
| |
| − | of wobbly pitch or chorus. There’s not
| |
| − | much I can do here. You can’t make
| |
| − | something move rapidly in space
| |
| − | without getting these kinds of doppler
| |
| − | effects.
| |
| − | Structure: just like with Elements...
| |
| − | The module does not necessarily
| |
| − | generate harmonic timbres in which
| |
| − | the partials are regularly spaced (harmonics
| |
| − | at f0, 2 x f0, 3 x f0, 4 x f0).
| |
| − | Instead, we get bell-like or cymballike
| |
| − | timbres which are just clusters of
| |
| − | unrelated harmonics, for which there
| |
| − | is no clear-cut answer to the question
| |
| − | “which note is it?”.
| |
| − | When STRUCTURE (on Rings) or
| |
| − | GEOMETRY (on Elements) are set
| |
| − | to the position marked in orange in
| |
| − | the following picture, the partials are
| |
| − | regularly spaced (f0, 2xf0, 3xf0, 4xf0)
| |
| − | and the pitch is unambiguous. below
| |
| − | this point, the partial cluster together,
| |
| − | above this point they start spreading
| |
| − | (for example the second harmonic is
| |
| − | at 2.5 times the fundamental).
| |
| − | ------------------
| |
| − | I’ve been having a lot of fun feeding
| |
| − | Rings’ input with noise from Dinky’s
| |
| − | Taiko. Voltage control over spectrum
| |
| − | and release gives a lot of control over
| |
| − | the sound. No control over attack
| |
| − | though, you’d need another envelope
| |
| − | for bowed sounds. But strikes
| |
| − | sound awesome. Hitting the Taiko
| |
| − | trigger and the strum with the same
| |
| − | trigger or different triggers are both
| |
| − | nice. And of course you can add the
| |
| − | digital oscillator section too, which
| |
| − | is cool, but I’ve had better luck with
| |
| − | pure noise.
| |
| − | 62/73 I really love the way Rings can respond
| |
| − | just like a real stringed instrument.
| |
| − | Using a trigger that doesn’t hit
| |
| − | as often as your v/oct changes makes
| |
| − | fantastic hammer-on/ pull-off guitar
| |
| − | type sounds. And modulating position
| |
| − | is just like playing guitar at the
| |
| − | neck or the bridge. I was a guitarist
| |
| − | before I ever touched a synthesizer,
| |
| − | this feels like getting that acoustic instrument
| |
| − | back but with superhuman
| |
| − | control options
| |
| − | ------------------
| |
| − | I find a VCA is essential with rings
| |
| − | for enveloping the audio into rings to
| |
| − | really get the most out of the unique
| |
| − | tone shaping abilities of rings. Maybe
| |
| − | its just me, i get very bored with the
| |
| − | internally triggered sound of rings...
| |
| − | if i want sounds that resemble “notes”
| |
| − | i send many things to a VCA Matrix,
| |
| − | and trigger envelope to the outputs
| |
| − | to rings using the same trigger signal
| |
| − | thats strumming rings... Works really
| |
| − | nice with a Radio Music module as
| |
| − | you can re-trigger the audio with that
| |
| − | same signal and get infinite flavors of
| |
| − | notes based on the audio in your radio
| |
| − | music module. Mult the envelope
| |
| − | to a filter for the audio too, so much
| |
| − | tone shaping ability.
| |
| − | So if you have a seuqncer like Rene..
| |
| − | QCV to Rings V/Oct. Mult the X
| |
| − | Gate to maths ch1 and Radio Music
| |
| − | reset, and Rings strum. Mult the
| |
| − | positive output of Maths ch1 to the
| |
| − | control input of the VCA, as well as
| |
| − | the fm of your filter, and the brightness
| |
| − | control on Rings. Send the Radio
| |
| − | Music audio output through the
| |
| − | filter and into the audio in of Rings.
| |
| − | Position the start point of radio music,
| |
| − | attenuverters of brightness and
| |
| − | filter fm, and obviously the envelope
| |
| − | A/D and VCA attenuation to shape
| |
| − | your note sound.
| |
| − | -----------
| |
| − | Some things to try with Rings:
| |
| − | - Instead of just letting it decay naturally,
| |
| − | pretend it’s a normal VCO and
| |
| − | send its output through a VCA controlled
| |
| − | by an envelope. It can lead to
| |
| − | interesting overlaps in polyphonic
| |
| − | modes, and slow attacks or abrupt
| |
| − | decays aren’t something we’re used to
| |
| − | hearing out of Rings. And of course
| |
| − | this also gives more control in FM or
| |
| − | Disastrous Peace modes.
| |
| − | - Set Damping low, and modulate it
| |
| − | with a gate or envelope. It’s a bit different
| |
| − | than using a VCA.
| |
| − | - With a continuous input from a
| |
| − | noise generator or VCO, set Damping
| |
| − | fairly low, Brightness to minimum,
| |
| − | and modulate Brightness with
| |
| − | an envelope.
| |
| − | -----------------
| |
| − | -- you can use the VCO to produce
| |
| − | signals for Rings input. Either use a
| |
| − | wave with a lot of harmonic content
| |
| − | (like a square), or sweep the frequency
| |
| − | of the incoming VCO, or both.
| |
| − | -- you can connect it to Rings’ V/
| |
| − | OCT input for some weirder stuff,
| |
| − | generally very noisy at high rates.
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| − | -- you can use it to FM Rings. Or for
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| − | a weirder variation, use it with Structure.
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| − | -- you can use it with a VCA to AM
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| − | Rings, or in a ring modulator, or a
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| − | comparator / analog logic to do similar
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| − | things.
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| − | -- you can use a square/pulse wave
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| − | into Rings’ strum input, but I believe
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| − | there’s a maximum rate.
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| − | -- you can use Rings to FM the VCO,
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| − | then feed that FM’d signal back into
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| − | Rings input.
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| − | -- you can slow the VCO down and
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| − | use it as an LFO, and then use it to
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| − | modulate position, frequency, structure
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| − | etc., or if it’s kind of steppy (like a
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| − | saw, square, or just fast enough) feed
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| − | it into V/OCT. I find Tides is pretty
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| − | great at that since there’s so much
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| − | control over its shape.
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| − | -- you can use Rings to sort of “support”
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| − | the VCO as an effect: have
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| − | it track the same frequency as the
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| − | VCO, mult the VCO output to Rings
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| − | input and a mixer, and Rings output
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| − | into the mixer but turned down so it’s
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| − | fairly subtle.
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| − | ----------------
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| − | You can get many interesting excitation
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| − | sources by sampling a “hit” or a
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| − | “hit and scratch” (from Ears or Mikrophonie)
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| − | into Clouds buffer, then
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| − | pitching it up down, repeating it at
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| − | different rates with DENSITY, dissolving
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| − | it with TEXTURE..
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| − | -----------
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| − | I really really like putting a sequenced
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| − | oscillator into the in and another sequence
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| − | into the 1v/oct, and tuning
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| − | them up all nice. After reading this
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| − | thread I got the idea of running the
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| − | Oscillator into a VCA/clocked EG
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| − | and a delay or maybe phaser then
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| − | into the IN. THANKS fellow posters.
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| − | I have all my bases covered in my
| |
| − | system and wanted something fun so
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| − | I got Clouds. So much can be done
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| − | with it it’s no wonder it’s so popular.
| |
| − | I had some success turning the position
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| − | CW so it skips a few steps on a
| |
| − | sequence, creates some nice variety
| |
| − | and space. Add to that a little of that
| |
| − | lfo thingy for some percussion and
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| − | freeze it every 12-16 beats..
| |
| − | ----------
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| − | One of my favorite new things to do
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| − | with rings/clouds recently is to send
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| − | them both into Warps. Use Rings to
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| − | process white noise/or a nice shifting
| |
| − | buzzy oscillator, put some sounds
| |
| − | into clouds buffer, vocals are a nice
| |
| − | example and hey presto. Some incredible
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| − | timbres when you use the
| |
| − | crossfolder and ring modulators.
| |
| − | Send lfo’s/pulsating envelopes to the
| |
| − | VCA’s to create some rhythmic variation
| |
| − | too. I’ve only had warps since
| |
| − | Christmas, but its changed the way
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| − | I think about patching immensely,
| |
| − | forced me to eek out every kink and
| |
| − | jagged edge in my waves looking for
| |
| − | interesting cross modulations, even
| |
| − | when not using warps itself. The little
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| − | clicks from clouds when the grains
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| − | have a harder edge is a cool thing to
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| − | run into rings as an exciter.
| |
| − | Warps opens up how I think about
| |
| − | sound sources and has forced me
| |
| − | into a refreshing place when I am
| |
| − | now thinking about seemingly “complete
| |
| − | voice” modules as just a piece
| |
| − | of a bigger puzzle; Rings and Clouds
| |
| − | being obvious and relevant examples
| |
| − | here.
| |
| − | **************************
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