still loving this versatile panel. here's another try at generating pseudo random natural rhythms by using the crosspatched feedback of the two 258 through the added tws. bird sounds with the lowest vcm in feedbackloop and hiss/noise by feedback patching the middle section of the vcm. slight delay by c0 and occasional octave shifts by the g0.

258 rustling

a test with live input and a ramp wave into depth cv so audio gets played back in reverse even though it "wants" to be played forward. a test with spoken word and a simple tone sequence. grainsize is important here, only with very small grains the backwards effect is audible, all grains are still played back forward. as soon as the g0 gets a gate on its reset input the audio gets played back in reverse, if it's free running then the playback gets heavily slowed down due to the ramp wave in the depth cv.

g0 live reverse

ncom in a feedbackloop through vcfq in lo mode pings a res4 which transposes with the ncom steps out. c0 delay and fsh1 + manual playing.

ascending resonances

d0 and mmf6 create the feedbackloop, inside is the toppobrillo twf. careful adjustments of pressure cv and filter settings created this rather brassy tone.

d0 brass

hoh9

a short test with the ecr+ convolution module. loaded a long drone sound which fits the scale so the "reverb" is something in between a resonant freeze effect and a reverby tail....i played with an fft copy of the melodic track itb and mixed that in. oscillator is mungo w0 phase modulated. crackle sounds vcfq.

all drone tones come from the ecr+ as resonator, big stereo hits and foley sounds from the convolution module as well.

ecr+ several situations

a drone with the lw singtome panel (6 waves). crackles also from this panel and some dx7 pads

lw dronez

ultra simple experiment, main oscillator gets a 13 note sequence, the second oscillator gets the same sequence minus one note, so twelve notes. the second oscillator modulates the first in an fm/waveshape combination and so the shifting of the sequences is heard only in asymetric fm tones. i feed in the second oscillator as generator as well so the two sequences are more clear/clean.

lw fmshift

some sort of tonal metaldrum made by pinging the haible tau phaser and sending it through a) a dual bp filter b) a frequencyshifter and c) a convolution unit.

pm_metaldrum

from the joranalogue manual about undertones/subharmonics:
"To create this classic patch using Contour1, process the signal source through a normally closed gated switch, the output of which is sent to the trigger input. The rise gate output drives the switch, disabling triggering during the rise stage."

i tried this with a doepfer a151 (2step) and as described with a joranalogue select2 switch. both create undertones yet i don't understand, how the doepfer switch works here...

contour1_undertones

a few sketches with the mungo c1 convolution/bbd module. 
- live convolution of modulated filter pings and a static synth chord
- bbd demo with a borrowe melody from martial canterel :)
- another bbd with sequenced delaytimes

c1 some

a demonstration of the wonderful twin peak filter from klangbau köln based on the filter by rob hordijk. i think it shines when used as oscillator, you can ping it with a trigger and sequence the cv inputs independently. the tracking gives them bite and a nice attack. sequenced from the er-101/102 with clouds for pitched delay and d0 for main delay (too much i know). a rather stupid shaker added in logic, sorry for that... 

http://www.klangbauköln.de/synthesizer/3d-vcf-oszillator-klangbau-koeln-synth-module-twin-peak-filter-nach-rob-hordijk-fuer-3he/

twin peak filter - rhythm1

received a second twin peak filter from klangbau köln. such an awesome instrument! sequence and modulation from an octocontroller to both twin peak's. some tube distortion from the m277 and a looped bit from clouds for the shaker-ish thing. compressed through an rnla and some reverb and eq itb.

http://www.klangbauköln.de/synthesizer/3d-vcf-oszillator-klangbau-koeln-synth-module-twin-peak-filter-nach-rob-hordijk-fuer-3he/

twin peak filter - quadpeak

yet another short twinpeak sequence with various modulations going into every cv input. through a dual spring reverb and with d0 for rhythmic delay. some radiomusic conet project samples through g0.

http://www.klangbauköln.de/synthesizer/3d-vcf-oszillator-klangbau-koeln-synth-module-twin-peak-filter-nach-rob-hordijk-fuer-3he/

twin peak filter - rhythm2

klangbau twin peak into d0. stereo spring reverb at the end. 

d0 loops

this is serious fun! i made it wrong last time, the IR creation with matched eq is way easier, just use an pure impulse!
this now is from a female opera voice, again an anechoic wave file. first you hear the dry white noise signal, then the choir sound. i added some reverb for that ligeti feeling :)

c0 - choir

a sort of imitation of colin stetson saxophone playing, actually just another try to sequence a res-4 feedback patch going into mmf-6. sequenced from er-101 with cv going into the er-102 for volume, filter symmetry and resonance. pressure points and planar helped to get a lively feeling although it is quite a simple repetative sequence.

peroni

channel a of the d0 delay is in selfoscillation, the feedback goes through a cwejman mmf6. the channel a output goes through a fsh-1 and through channel b from d0 for regular delay. doepfer ribbon controlls pitch and pressure. mmf-6 is great for these flutey overblown sounds.

d0 flutes

core is a feedback loop of the fsh-1 frequency shifter, inside the loop is c0 and mmf-1. modulated by r*s dsg. rhythm and pads itb.

something like a patch diagram: https://imgur.com/6oNm0yH

one output of the fsh-1 goes into the c0 delay (the delay is crucial in this patch, most of the sound gets produced here), the output of the delay goes into a limiter and then back in one input of the fsh-1.
another ouput of the fsh-1 goes into the mmf-1 filter in dual bandpass mode, from there the signal goes again into a limiter and into the second input of the fsh-1.
this is now the basic closed feedback loop, i listen to the mix output of the fsh-1.
by playing around with all the settings i get different tones, again, the delay is crucial here, how much feedback is determined by the limiter and general volume controls or frequency controls of all three modules... now to get a rhythmic patterns going i plugged this "bouncing ball" envelope into the second input of the filter, that is enough to only get feedback at the high portions of the envelope eg i get a rhythmic feedback pattern. variations in tone by manual control of the bandpass settings and the delay time plus occasional tweaks at the limiter section for louder or more distorted feedback. the patch is delicate, i tried to replicate it and i wasnt able to come close to these tones, but other great ones:) enjoy modular synthesis!

fsh1

excerptztz

2x lw 258 oscillator through vcfq. er101 triggers dtg which opens the vcfq

lw 258 test

noise and crackles selfplaying

a d0 flute/reed sound. patched around the d0 in self oszillation with filter and vca. played with a haken continuum.

d0 physical modelling

bubble bath

a short test with the fantastic LW 258VCO (coupled with serge waveshaper). this connection and the joint feedback path makes these two osc extremely versatile. lots of harmonic overtones and even undertones possible depending on what mixture of wave is going through the tws.
also a test how to use the addac stochastic function generator in a tamed setting, every envelope is slightly different, the sequence gets "humanized".

stochreich

both sides of dunst ping the mmf-1 in dual bandpass mode. dunst "clocks" stepped side of r*s ssg for pitch cv and delay modulation. 
dunst modulates itself. d0 delay with feedback path through doepfer spring reverb.

dunst pings

a first play with the fancy synthesis rungdivisions module, a great pairing of a clock divider and a rungler circuit. it's really great to have this rungler circuit opened up and available for any kind of input/clocking. here it's inside a dusg/ssg feedback patch, it receives clock from a dusg eoc and data from a noise source. voices are pinged twinpeak and mmf-1 filter, delay from d0.

gnurvid

another wind instrument from delay and filter feedback.
d0 - mmf1 - d0 - res4

blaes

the mighty g0 modulates its own pitch with the now sadly defunct tracking output, a simple drumloop loaded inside the g0, position modulated with dusg envelope, reset from second dusg envelope and grain size adjusted to have it sound "in sync"
d0 as delay.

g0 selfmod

somehow the g0 does a weird glitchy stutter thing when it's own output goes into the reset input via a comparator to set the threshold of the pulse wave.

uzala

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