It turns into an audio down sampler, not a bit crusher. Bit crusher works in the amplitude domain number of available vertical bits (looking at a waveform on the screen). Downsampling is like the sample rate of a DAW or CD it's time based and that's what happens here. Over time you're telling it to pull samples (CD was 44.1kHz etc) and running at lower audio rates we hear the tone and affect of the lower sample rate ... you asked so I rambled.
It is not exactly down sampler. For the downsampling to work without aliasing, you need to have low pass filters on input and output, and they need have cutoff below the Nyquist limit. Otherwise, you get various aliasing artifices, which can be interesting sonically of course on its own. Actually if you put reasonably high sampling frequency, and appropriate low pass filters, you will reconstruct original input signal ;D
@@movax20h sample rate reducer might be better way to say, as it says what its doing right in the name, changing the rate at which we are sampling the source, via the trig on of the s&h module
In fucking awe at the amount of information and overall musical quality in this video. Someone who doesn't understand synthesis or what modular systems are can still enjoy this video.
Yeah, understanding sample and hold goes hand in hand with understand Analog to Digital Conversion. Because a computer has finite memory, it must encode waveforms into a series of finite steps to store, and it uses sample and hold to do it. The trigger clock denotes your sample rate, be it 44.1 kHz or up to 192 kHz. Its frequency resolution. Your S&H is running below 44.1 kHz and so you get sample crushing effects.
@@gamertag301208 So glad to hear! This all ties in to understanding the Nyquist frequency, aliasing, oversampling, and a host of other handy things to know.
caught me off guard haha. from one moment to another I feel a swirling sensation in my head und start bobbing around haha. mylar is the king of jamming
So glad you’re using techno style repetition in your demos! So many people just do ambient when demo’ing and it’s 1: hard to find the structure and 2: not what I’m interested in Big ups
I completely agree....the reason kids are not going modular is because 99.9% of the "jams" you hear are either 'plinky-plonk-plunky-plink' or dark ambient drone...because they place constraints on themselves. I am no musician but never thought purposely restraining yourself was an art-form. Me, I don't use a DAW, but I am also not completely modular either. I'm semi/modular+, meaning everything play is live, but the majority of sounds are presets I've created (or borrowed) that I'll assign to a workstation such as my Roland JD-Xi or Yamaha MODX...but I never know how all the sounds will perform together until I play (and that is what you get). Nonetheless, if you check it out I play Trap, Techno, Trance, Dub, House, Hip-Hop, DubStep, DnB, Electro, Funk, and any mixing I do is on my phone (iMovie). Ha ha So I might use my DeepMind12 for bass, my JD-XA for lead, DFAM for drums, etc. Send it all to my workstation, assign it to a section/key and get busy. Long-winded way of saying you can still go DAW-less, organically create your music, and get your sh*t to knock.
Drone is for sound junkies literally and its also a form of art, you hear Drone in triple a movies, so you can see and hear that its also a good way to start making ambience for movies or games, in combp with some form of haromny it reaches perfection and takes its life form
I just wanna say mr mylar that your channel is my favourite eurorack centred youtube right now, you've inspired a bunch of new ideas for my music and helped me try and get my head around some really cool eurorack modules as I'm finally getting into it after many years of interest. My wallet isn't going to be happy but my soul will be. thanks for making videos and your podcasts are great too.
My poor poor Disting Mk4 - “Awe mister, I don’t *wanna* be just a sample and hold module anymore!” “Quiet you, sometimes I use you as a *track* and hold as well!”
Noice! That changeover at 21:32 and then adding the bass at 21:43... Man. Such a lovely jam. Then the last section of the video after that was so great. I'm a Drum & Bass producer at heart, and have been producing for 17+ years, but just got into analog Synths in 2019. Bought myself the Behringer Model D & Arturia Keystep for Christmas. Loving Modular as well. Experimenting with VCV Rack. But I love all music (except country and death metal) and you've made some fantastic vibes in this video!!! Great patching ideas. Already subbed to your channel with all notifications, but I'll be watching many more videos after this one. Well done! Cheers, -H.B.
That bass patch @13:50 had that punchy Dx100 phatness to it. Really digged this video very intreatingly narrated and the sounds... .phwaoooor, love that oldskool detroit esque vibe !!!!!
I think this is more of a sample rate reduction effect than a bit crusher, it's basically because you're reducing the sample rate, it's like you have your analog vector curve and the sample rate is the resolution of the pixelated image you get out of it. By lowering the sample rate of the sample & hold, your sound is getting more and more "pixelated". If someone could explain how a bit crusher works and what's the difference, that would be very interesting!
a bit crusher reduces the resolution of the amplitude of the wave. Like 8bit audio only has 256 values to play with. The change happens at any time when the audio passes the threshold between values. This is the difference S&H reduces at different time intervals and a Bit Crusher reduces at different voltage levels. So if you are looking at a waveform one reduces on the X Axis and the other on the Y. Now i'm gonna go bitcrush some S&H for full XY control
@@dysbomb oooh right! That is very clear! It's width of the step and height of the step! Thank you for the explaination, i'll know what I'm doing with my ssr and bitcrusher ont the field kit FX!
@@aeu05172 yeah in it's most basic form. They're also loads of weird and wonderful ways of distributing the values that coders have come up with over the years.
@@aeu05172 if we're talking about applying it to a pure waveform it will introduce amplitude steps, your sine wave is going to look like little steps going up and down. The more you bit crush, the less steps there are vertically ( a midi signal has values going from 0 to 127 for exemple ). The sample rate will affect the width of your steps horizontally, it's the time your value is held. If you're not modulating it, your steps will be even.
Recently listened to the whole run of 'Why We Bleep' , and then realized I've been watching your videos for quite a while now... you have inspired many of my Eurorack choices over the past couple of years. :) .. Thank you and keep on Wigglin' ;)
06:45 At this point the output of the sample&hold changed from the FM input of the Dixie to the volts/octave input. This little detailed confused me for quite some time while I was trying to understand the signal flow of both patches so, if anyone has the same problem, I hope this helps.
Wow, thanks for the new perspective on S&H. I don't know why I haven't thought of using a module like this for grabbing and sustaining textures with pitch-cv derived from a common source. Excellent.
11:03 When you use a square wave as a modulation source it can do FM or RM which is where that bitcrusher effect is coming from. Look at it on an oscilloscope.
haha that hypnotic "red stripe down .... red stripe down!" at 18:10 is so fitting to the music it could be packaged and sold as our new anthem as it is xD
Hahaha Danny would be proud sir! Synthesizer all the way. This would perfectly fit at an obscure The Hague underground squat party. Make sure to send him the demo. Brings instant smile and joy. happy holidays and synthesize :)
A variation on this patch I love involves chaining multiple S&Hs into a shift register before one of the voices. Using the master sequencer's output and clock as the sample input and trigger source, you get a canonic variation of the master sequence (shifted some steps behind, similar to a round) on the output of the shift register. Adding one more S&H in that chain, clocked instead by an individual gate sequence for the "canon" voice, results in new patterns that are based off the same data set as the master sequence, but keeps the voices from following exactly the same patterns.
YMMV getting the S&Hs to chain properly: successful implementation may depend on the charge and dispersion times of the capacitors in your analog S&Hs and some under-the-hood sampling times in your digital S&Hs. A quantizer on the back end may help combat droop from analog components. If it doesn't work quite right, there's always O_C.
Im gonna try this with my quad quantizer! A quantizer with a trigger input is basically a sample and hold all by itself, except the output is always quantized. Also they're digital so they can't handle triggers at audio rates (I tried).
As you twiddle your pan pot I remember that I wish there was a pan CV jack on the Hexmix. There is no *perfect* Eurorack mixer (for me)! Awesome video for Boxing Day!
And you do that with two VCAs! Take whatever cv you put into the left vca, copy it, invert it, and put it in the right one, and you made a voltage controlled panner!
On O_c hemisphere the dual quantizer doesn’t need a trigger source and will sample values based on the changes from the input. It’s a similar effect and is even more interesting when selecting different scales that restrict the number of available values
17:55 I'm relatively new to Eurorack and with all the modules I've bought it has been impossible to put the red stripe the wrong way round. Is that a recent thing?
I was wishing the other day "If only I had a module that could take a voltage and just hold it until I fed it another one... I bet one already exists." And of course it was a simple thing. It's amazing how far you can get with simple building blocks, once you take some time and learn a bit. Thanks for the video.
You need one more module, the Befaco Inamp, to import audio from a external source and gating it via a VCA and what not. that's also pretty fun. manipulating external audio.
Alex. You say your A148 was faulty. What was the fault? I’m on my 2nd one after returning the first after the 2nd output started giving a dirty signal. Now the second module is doing same......aaaargh the pain!!
WOW！really like the vocal at the end, but how you do that, first, it's "synthesis" looping with delay but when the kick if off it, it becomes "synthesis radiation........". it's not looping it keeps going. so I want to know how you change the loop mod with what modual.
@@mylarmelodies thank you so much! I love that you often use very affordable modules in your videos to such great effect. Usually when I hear a tone I love and ask someone what it is it’s some crazy expensive but incredible piece of gear. It’s really refreshing to get a response that is two modules I could totally snag! Thanks again.
Red stripe down except for Cwejman 😎 Your random skin voltage had some periodicity to it. I wonder if you were picking up fluctuations in skin conductance with blood flow.
Thank you for the most used friendly hands on demo of S&H, very cool music too which is always inspiring :) I was about to dump my A 148 for space but not anymore
Been thinking about doing this with my Octratrack and a Midi to CV converter. Sending different gates and pitch into a S&H module. Combine that with probability etc, could get wild.
On the bit crusher thing, I think it's not really a bit crusher but sample rate reduction, which bit crusher typically also does. You're limiting the sample rate of the input signal to the frequency of the square wave. Is there such a thing as the opposite of a slew rate limiter? A slew rate aliaser? That would be similar to a bit crusher I guess.
Thanks for the detailed tutorial, I got some new ideas to experiment with.... Would you mind using different coloured cables when patching so the connections are more clear? I sometimes got lost in the cable jungle ;)
So will the audio rate/ sample reduction thing work with the Disting Mk4, not behaving as I would expect? or is this only with an analogue S&H circuit?
How come prebuilt modular systems like the Erica Synths Black System and Make Noise Shared System that cost $$$ don't have many utility modules like these?
It turns into an audio down sampler, not a bit crusher. Bit crusher works in the amplitude domain number of available vertical bits (looking at a waveform on the screen). Downsampling is like the sample rate of a DAW or CD it's time based and that's what happens here. Over time you're telling it to pull samples (CD was 44.1kHz etc) and running at lower audio rates we hear the tone and affect of the lower sample rate ... you asked so I rambled.
It is not exactly down sampler. For the downsampling to work without aliasing, you need to have low pass filters on input and output, and they need have cutoff below the Nyquist limit. Otherwise, you get various aliasing artifices, which can be interesting sonically of course on its own. Actually if you put reasonably high sampling frequency, and appropriate low pass filters, you will reconstruct original input signal ;D
@@movax20h sample rate reducer might be better way to say, as it says what its doing right in the name, changing the rate at which we are sampling the source, via the trig on of the s&h module
Whatever we call it! This video finally helped me understand it! Thanks Mylar!
That legowelt bit near the end was killer.
I was just gunna comment on the legowelt vocals... lol
InstaBlaster.
its like having headspace but also educates me at the same time. ur calming and genuine excitement is so peaceful and inspiring
🙌
In fucking awe at the amount of information and overall musical quality in this video. Someone who doesn't understand synthesis or what modular systems are can still enjoy this video.
Yeah, understanding sample and hold goes hand in hand with understand Analog to Digital Conversion. Because a computer has finite memory, it must encode waveforms into a series of finite steps to store, and it uses sample and hold to do it. The trigger clock denotes your sample rate, be it 44.1 kHz or up to 192 kHz. Its frequency resolution.
Your S&H is running below 44.1 kHz and so you get sample crushing effects.
Cory Bosse excellent comment! This makes so much sense to me now
@@gamertag301208 So glad to hear! This all ties in to understanding the Nyquist frequency, aliasing, oversampling, and a host of other handy things to know.
The jam starting at 21:45 is super good. I love how psychedelic it gets!
Rosetta Stoned It reminds me of Escape From NY
caught me off guard haha. from one moment to another I feel a swirling sensation in my head und start bobbing around haha. mylar is the king of jamming
So glad you’re using techno style repetition in your demos! So many people just do ambient when demo’ing and it’s
1: hard to find the structure and
2: not what I’m interested in
Big ups
agreed
I completely agree....the reason kids are not going modular is because 99.9% of the "jams" you hear are either 'plinky-plonk-plunky-plink' or dark ambient drone...because they place constraints on themselves. I am no musician but never thought purposely restraining yourself was an art-form. Me, I don't use a DAW, but I am also not completely modular either. I'm semi/modular+, meaning everything play is live, but the majority of sounds are presets I've created (or borrowed) that I'll assign to a workstation such as my Roland JD-Xi or Yamaha MODX...but I never know how all the sounds will perform together until I play (and that is what you get). Nonetheless, if you check it out I play Trap, Techno, Trance, Dub, House, Hip-Hop, DubStep, DnB, Electro, Funk, and any mixing I do is on my phone (iMovie). Ha ha So I might use my DeepMind12 for bass, my JD-XA for lead, DFAM for drums, etc. Send it all to my workstation, assign it to a section/key and get busy.
Long-winded way of saying you can still go DAW-less, organically create your music, and get your sh*t to knock.
Drone is for sound junkies literally and its also a form of art, you hear Drone in triple a movies, so you can see and hear that its also a good way to start making ambience for movies or games, in combp with some form of haromny it reaches perfection and takes its life form
I just wanna say mr mylar that your channel is my favourite eurorack centred youtube right now, you've inspired a bunch of new ideas for my music and helped me try and get my head around some really cool eurorack modules as I'm finally getting into it after many years of interest. My wallet isn't going to be happy but my soul will be.
thanks for making videos and your podcasts are great too.
My poor poor Disting Mk4 - “Awe mister, I don’t *wanna* be just a sample and hold module anymore!” “Quiet you, sometimes I use you as a *track* and hold as well!”
“You’ll track and hold, mister, and you’ll *like* it!”
buy another to keep it company (I'm considering a 3rd) such a useful little module
@@MmostlyRandom yes, distings are herd animals, hate to be alone.
Noice! That changeover at 21:32 and then adding the bass at 21:43... Man. Such a lovely jam. Then the last section of the video after that was so great.
I'm a Drum & Bass producer at heart, and have been producing for 17+ years, but just got into analog Synths in 2019. Bought myself the Behringer Model D & Arturia Keystep for Christmas. Loving Modular as well. Experimenting with VCV Rack. But I love all music (except country and death metal) and you've made some fantastic vibes in this video!!! Great patching ideas.
Already subbed to your channel with all notifications, but I'll be watching many more videos after this one.
Well done!
Cheers,
-H.B.
That bass patch @13:50 had that punchy Dx100 phatness to it. Really digged this video very intreatingly narrated and the sounds... .phwaoooor, love that oldskool detroit esque vibe !!!!!
I think this is more of a sample rate reduction effect than a bit crusher, it's basically because you're reducing the sample rate, it's like you have your analog vector curve and the sample rate is the resolution of the pixelated image you get out of it. By lowering the sample rate of the sample & hold, your sound is getting more and more "pixelated".
If someone could explain how a bit crusher works and what's the difference, that would be very interesting!
a bit crusher reduces the resolution of the amplitude of the wave. Like 8bit audio only has 256 values to play with. The change happens at any time when the audio passes the threshold between values. This is the difference S&H reduces at different time intervals and a Bit Crusher reduces at different voltage levels. So if you are looking at a waveform one reduces on the X Axis and the other on the Y. Now i'm gonna go bitcrush some S&H for full XY control
@@dysbomb oooh right! That is very clear! It's width of the step and height of the step! Thank you for the explaination, i'll know what I'm doing with my ssr and bitcrusher ont the field kit FX!
So theoretically an analogue bitcrusher would just be an audio rate quantizer with evenly spaced steps?
@@aeu05172 yeah in it's most basic form. They're also loads of weird and wonderful ways of distributing the values that coders have come up with over the years.
@@aeu05172 if we're talking about applying it to a pure waveform it will introduce amplitude steps, your sine wave is going to look like little steps going up and down. The more you bit crush, the less steps there are vertically ( a midi signal has values going from 0 to 127 for exemple ). The sample rate will affect the width of your steps horizontally, it's the time your value is held.
If you're not modulating it, your steps will be even.
Recently listened to the whole run of 'Why We Bleep' , and then realized I've been watching your videos for quite a while now... you have inspired many of my Eurorack choices over the past couple of years. :) .. Thank you and keep on Wigglin' ;)
I’m looking forward to your gardening videos too. Man, those hedges are tight!!
06:45 At this point the output of the sample&hold changed from the FM input of the Dixie to the volts/octave input. This little detailed confused me for quite some time while I was trying to understand the signal flow of both patches so, if anyone has the same problem, I hope this helps.
Wow, thanks for the new perspective on S&H. I don't know why I haven't thought of using a module like this for grabbing and sustaining textures with pitch-cv derived from a common source. Excellent.
11:30 it's reducing the samplerate of the incoming signal (determined by the clock).
5:05 You make a good noise source lol. Also somebody needs a Disting! Makes you say "I don't have _______" a lot less. Great video!
22 minutes in just took it to another level.
Just...yeah ;)
I could listen to you talk about modular and jam all day.
'Red Stripe Down' sounds like a fine track name, I reckon.
I'm from the future here to tell you that I agree.
11:03 When you use a square wave as a modulation source it can do FM or RM which is where that bitcrusher effect is coming from. Look at it on an oscilloscope.
just ordered some s&h modules based on this vid. live rig is looking good. happy new year m8! ;)
His cable management quite accurately reflects the efficacy of my life plans.
man that end jam is ace! those chords are soooo mad! now i want a S&H
haha that hypnotic "red stripe down .... red stripe down!" at 18:10 is so fitting to the music it could be packaged and sold as our new anthem as it is xD
thanks for the audiorate modulation tip, it sounds amazing!
Seriously cool grooves in this video! Loving the new setup :D
Also the Legowelt jam? Please. Release. This. As. A. Full. Track.
Great video! I’m personally more interested in types of functions and why the work instead of module specific videos, and this was right up my alley.
That jam from 18mins onward had me throwing all the best shapes in front of my computer. So good!
Thanks for this. I’ve got a S&H section on my PM Lifeforms and never used it- but now I will, especially as it lies right to a white noise generator!
Hahaha Danny would be proud sir! Synthesizer all the way. This would perfectly fit at an obscure The Hague underground squat party. Make sure to send him the demo. Brings instant smile and joy. happy holidays and synthesize :)
0:38! Wow, How Did you achieve this ”style”. Do you have longer vid of this jam somewhere?
A variation on this patch I love involves chaining multiple S&Hs into a shift register before one of the voices. Using the master sequencer's output and clock as the sample input and trigger source, you get a canonic variation of the master sequence (shifted some steps behind, similar to a round) on the output of the shift register. Adding one more S&H in that chain, clocked instead by an individual gate sequence for the "canon" voice, results in new patterns that are based off the same data set as the master sequence, but keeps the voices from following exactly the same patterns.
YMMV getting the S&Hs to chain properly: successful implementation may depend on the charge and dispersion times of the capacitors in your analog S&Hs and some under-the-hood sampling times in your digital S&Hs. A quantizer on the back end may help combat droop from analog components. If it doesn't work quite right, there's always O_C.
Im gonna try this with my quad quantizer! A quantizer with a trigger input is basically a sample and hold all by itself, except the output is always quantized. Also they're digital so they can't handle triggers at audio rates (I tried).
wow, great opening performance, thats an amazing sound from that rig!
As you twiddle your pan pot I remember that I wish there was a pan CV jack on the Hexmix.
There is no *perfect* Eurorack mixer (for me)!
Awesome video for Boxing Day!
Just design and build one that is perfect for YOU.
And you do that with two VCAs! Take whatever cv you put into the left vca, copy it, invert it, and put it in the right one, and you made a voltage controlled panner!
On O_c hemisphere the dual quantizer doesn’t need a trigger source and will sample values based on the changes from the input. It’s a similar effect and is even more interesting when selecting different scales that restrict the number of available values
Wheres that nice "synthesizer" sample coming from? Did you sample that on the go or is it prerecoreded?
I know very little about sampling on modular
Wow. What do use for those pads on 21:45? Filter sounds amazing.
Plaits plus Jove filter
@@mylarmelodies thanks
Where is the bassline Coming from? At 14:30?
At 11:30 ish he gets the 'ai ai" sound by adding a resonant filter, where does that get added to?
11:35 Die-Die-Die jam
Love, love, love this channel! Always something new to learn.
Super useful video, especially using slower clocks to get longer pads / notes from sequencers. Cheers!
This video is madness, excellent explanations AND performances. Well done!
17:55 I'm relatively new to Eurorack and with all the modules I've bought it has been impossible to put the red stripe the wrong way round. Is that a recent thing?
Moreso yes - manufacturers are starting to make this problem go away through design, but not all modules have boxed headers.
Great video! How did you make the kick drums?
What's producing that funky bass line at 1:21?
Logical, practical, musical. Great tutorial and creation. I feel so late to the party considering how old this video is 😅
Hang on! Did I feel my Rob Hubbard pun-sense tingle right there at 3:03? Niiiice!
What is the module you’re using for the bass voice?
holy shit that jam in the end was unreal! where's that vocal sample from?
That's excerpts from Legowelt's interview.
Lukas M- Ya! Via the Radio Music
I was wishing the other day "If only I had a module that could take a voltage and just hold it until I fed it another one... I bet one already exists." And of course it was a simple thing. It's amazing how far you can get with simple building blocks, once you take some time and learn a bit. Thanks for the video.
It's just amazing what can be done with a modular system! 😍
Thank you for such a clear description of S&H module. Now it appears as though I need one :)
You are a constant source of inspiration, sir!
You need one more module, the Befaco Inamp, to import audio from a external source and gating it via a VCA and what not. that's also pretty fun. manipulating external audio.
I know this is an old video but what is the reverb module being used during the first S&H example at 5:16?
Make Noise Erbe Verb!
mylarmelodies oh my it was incredible!
What are you using to lengthen the gate time?
As always, really fun, good explanations and good sound!
I just yelled "OOOH SH*T !!!" when your modular started talking
Nice! Really enjoyed it. 👍
Alex. You say your A148 was faulty. What was the fault? I’m on my 2nd one after returning the first after the 2nd output started giving a dirty signal. Now the second module is doing same......aaaargh the pain!!
Another great video! What module was used to record and process the vocal live? That was cool
WOW！really like the vocal at the end, but how you do that, first, it's "synthesis" looping with delay but when the kick if off it, it becomes "synthesis radiation........". it's not looping it keeps going. so I want to know how you change the loop mod with what modual.
Just what I was craving! Thanks for the video duder!
Could anyone tell me what module is being used for the bass line for the second half of the video? It’s the perfect bass tone that I’ve been seeking.
Intellijel Dixie and Tiptop Audio Z2040!
@@mylarmelodies thank you so much! I love that you often use very affordable modules in your videos to such great effect. Usually when I hear a tone I love and ask someone what it is it’s some crazy expensive but incredible piece of gear. It’s really refreshing to get a response that is two modules I could totally snag! Thanks again.
Red stripe down except for Cwejman 😎 Your random skin voltage had some periodicity to it. I wonder if you were picking up fluctuations in skin conductance with blood flow.
How did you create the pads with S&H?
What was the source of those cool FM sounds in the intro?
Great, thanks. Really good content!
Just seeing this one- ace job, mate! 😎👍
Love me some sample & hold! 👌
What module is creating the Kick at 14:11 ? i like it!
That’s a sample in the Tip-top One!
@@mylarmelodies then I'll get me "one"
Wow I love the last jam. It sounds so berlin minimal electro a 'la Sascha Funke.
Thank you for the most used friendly hands on demo of S&H, very cool music too which is always inspiring :) I was about to dump my A 148 for space but not anymore
Thanks m8, yeah defo don't! Here's another one on S&H's I just did actually, you can use this trick too: ruclips.net/video/ApXa30Bc6Bw/видео.html
Love the Legowelt reference at the end ;-)
Been thinking about doing this with my Octratrack and a Midi to CV converter. Sending different gates and pitch into a S&H module. Combine that with probability etc, could get wild.
On the bit crusher thing, I think it's not really a bit crusher but sample rate reduction, which bit crusher typically also does. You're limiting the sample rate of the input signal to the frequency of the square wave. Is there such a thing as the opposite of a slew rate limiter? A slew rate aliaser? That would be similar to a bit crusher I guess.
What produced those chords that came in at 12:14 ? Thanks
That’s Plaits by Mutable Instruments, I guess.
Okay but what is the kick in this video?! It sounds just like Pretty Hate Machine and I want it.
time to dig in my Doepfer A-100 tool shed from the 90's thanks ! great jams too :)
Love these tricks to use in patches. Very nice, thx!
is there any way you could take the amplitude of the wave form at specific times and use those as clicks for triggering things?
Yup with a Doepfer A119 or similar
Thank you, I learnt so much. Again.
Thanks for the detailed tutorial, I got some new ideas to experiment with.... Would you mind using different coloured cables when patching so the connections are more clear? I sometimes got lost in the cable jungle ;)
I’ve had a few “Red Stripe down” moments myself but in an entirely different manner to the power cable issue!
So what does the label say on your MCO?
Giving me some anxiety with those lens uncovered but besides that, as always, great video!
Watched the whole thing i have a roland 555 that works wonders love my sample and hold
12:13 now we get going!
Is the kick a linndrum sample? Also whats the snare? You got any patch notes on this little system sounds great!
Not sure originally but it has that vibe, love it. System is this! www.modulargrid.net/e/racks/view/709932
So will the audio rate/ sample reduction thing work with the Disting Mk4, not behaving as I would expect? or is this only with an analogue S&H circuit?
It might only be possible in an analogue one as it’s an audio rate effect, yeah
How come prebuilt modular systems like the Erica Synths Black System and Make Noise Shared System that cost $$$ don't have many utility modules like these?
Is that RNC on master with sidechain? Sounds cool
Not sidechained but on the master bus yes. There are two extra software compressors too added after, mind! But the RNLA does a great job by itself too
Anyone know what he’s using for the kick? Shit sounds dank
It's a sample running off the Tiptop One - my current fave kick :)
@@mylarmelodies very nice m'lord, thanks kindly
19:50 had me dancing!
Yusss
Really good video this one. I always my S&H for the usual stepped random volts, so this has inspired me, thanks
Once again nice work. Thanks. Btw. What’s the verb/delay thing your using on this stuff? Is it 1 module or a pair of toys?
wkd vid - last jam is killer. Can you not use stages for the same type of sample and hold? thanks