Showing posts with label Doepfer. Show all posts
Showing posts with label Doepfer. Show all posts

Wednesday, 14 August 2019

MITLR 8 - Modular In the Lounge VIII

MITLR - 8 --------------- Modular In The Lounge Room Eight.
Sat, 10th August, 2019

Thanks to Terry for the great visuals

eDIROL P10 - video sampler
Edirol V4 - video mixer
Erogenous Tones - Structure













A post shared by jono (@dj_jondent) on
Modular In the Lounge Room. 8


 Ralph - our mascot
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Mitch aka Vitals






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Paul AKA Allinaire




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Adam





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TERRY - Post Global Disorder







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Gareth - aka RHISM




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Thanks to Mitch for hosting this.




The morning after


Past Modular on the Lounge gigs: 
+ Modular in the Lounge VII
+ Modular in the Lounge VI
+ Modular in the Lounge V
+ Modular in the lounge IV
+ Modular in the lounge III
+ Modular in the lounge II
+ Modular in the lounge I
+ Modular in the Car Park

Thursday, 16 May 2019

Twenty Years of Loten

A really hard to find book.
If you can find a copy, buy it.
It's a great summary of the history of Eurorack.

Don't buy Crap :-)
Loten is German for Soldering

The edition was printed for NAMM 2015

Quite a bit on the early modules from Doepfer on Munich and Analogue Systems of Cornwall in England

It's a small but beautiful book.

There is a bit of info re Vermona who had to re design their instruments post German Unification.
Vermona hailed from the East and were not accustomed to the business practices of the West.

Its very interesting to read how things develop.
Eurorack started in Germany, but almost at the same time a similar system was being developed by Bob Williams of Analogue Systems in Cornwall, England.


 Around 1995 , on both sides of the English Channel the idea of condensing 5U modules into a 3U space was taking root.... Both companies, unaware of one anothers designs adopted 3.5mm jacks instead of 1/4 inch.
Both companies also chose a 3U module height. However, their modules were not easy to swap into each others systems. They each had different power configurations and there was no standardization as to where the red stripe went.

Jomox

Jomox - X base 09





Since the early days the Eurorack scene has grown exponentially.


Saturday, 27 April 2019

Trautonium - The birds -Peter Pichler

Thanks Peter for a wonderful performance.
https://www.peterpichler-trautonium.com/english/



This is the first time a Trautonium has left Europe.
Peter took these instruments to Perth, Canberra and Melbourne.
Sadly not Sydney. So I made a special trip to Canberra to see this.










Friday, 12 April 2019

Peter Pichler - Trautonium - Canberra gig - 2019

Can't wait to see this.


Tour details are here
https://www.peterpichler-trautonium.com/english/australia-tour/

Sadly Peter isn't coming to Sydney.
The tour only covered Perth, Melbourne & Canberra.
(Thanks to Andrew of NLC for telling me about the gig in Perth.)

Peter Pichler's Mixturtrautonium. Foto courtesy by Edward Beierle
 Peter Pichler's Mixtur-trautonium. Foto courtesy by Edward Beierle
Edward Beierle [CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0)]

Anyway, I'm going to the Canberra gig to see the Alfred Hitchcock classic "The Birds"  to a score using the Trautonium. This is a live performance performed by Peter Pichler....................... quite fitting as a Mixtur- Trautonium was used to make bird noises in this classic film of Hitchcock

The Trautonium is one of the earliest electronic instruments.

Telefunken Volkstrautonium, 1933

It was invented in Berlin, Germany by Friedrich Trautwein in the 1930s. This early version was a commercial failure, though I understand modern ones are still being produced in various forms today.
(Doepfer & Trautoniks).

There is no keyboard. Instead Trautoniums use a resistor wire over a metal plate. The above Trautonium is one of the earliest. Probably less than 200 were made. Enhancements made by Oskar Sala in the fifties. He added a second string/metal plate interface, noise and envelope generators, bandpass filters, and subharmonic oscillators.This led to the well known Mixtur-Trautonium.

"The sounds were at first produced by neon-tube relaxation oscillators  (later, thyratrons, then transistors), which produced sawtooth-like waveforms. The pitch was determined by the amount of resistive wire chosen by the performer (allowing vibrato, quarter-tones, and portamento). The oscillator output was fed into two parallel resonant filter circuits. A foot-pedal controlled the volume ratio of the output of the two filters, which was sent to an amplifier.

Doepfer produce a few Eurorack modules which provide Trautonium possibilities.

The Doepfer A-113 

The 113 module represents the sound generation core of the Mixtur-Trautonium introduced by Oskar Sala . The master frequency is divided by an integer 1...24 to obtain so called sub-harmonics. (German: Subharmonische).

The subharmonic in this module is a sawtooth wave (German: Kippschwinger) and not a sine.

The master frequency comes from an external oscillator. The external VCO is patched into the frequency input of the A-113. Rectangle or square waveforms are commonly used. Rectangle outputs are converted to sawtooth waveforms. Sawtooth waveforms are rich in harmonics.

The frequency dividers of the 4 sub-harmonics are adjusted with up/down buttons as displayed with 2 character LED displays.

The sub-harmonics are available as single outputs and as mix output with adjustable levels for the sub-harmonics. The four sub-harmonics generated by the A-113 contain strong harmonic spectra with even and odd harmonics. They represent ideal basic sound sources to be modified with separate sound processing modules

The output of the A-113 is fed into 4 parallel resonant filter circuits..... Formant filters.
Formant Filters create sounds similar to human vocal sounds.
The 104 is a replica of the lowpass/bandpass arrangement of the Mixtur Trautonium
There is no voltage control so you'll have to do lots of manual knob twiddling.
You could possibly substitute the 104 with four separate 12 dB multimode filters and a 4 input mixer. 

The filters must be BandPass at the very least.
Probably a good combo would be low pass & band pass & off. 
Each filter picks up and amplifies a set of small frequency bands.
The signal is fed into each filter in parallel and then into the mixer. 

Here is a link to an excellent video by Ghost Monkey of a Eurorack version of the Trautonium
Formant filter https://youtu.be/_8krvAdIcIQ





Links
+ Doepfer
+Wikipedia
+ Birds Live score

+ Trautoniks

Thursday, 19 July 2018

Audio Equalizers

Equalization is a fundamental processes in music production. 
Every music producer should have various types of EQ in their arsenal.
These may be studio based or can be used in live performance rigs.
 
Equalizers are basically filters. They influence the volume of audio at specified frequencies.
Note that the audible frequency spectrum range lies between 20Hz and 20KHz.
There are many types of EQ. The most common are:
parametric, dynamic, graphic, and shelving.
 

Parametric Equalizers



Parametric EQs are the most common and I think the most flexible.
They take many shapes and forms. They can be a digital software plugin, can be part of a mixing console, or be a hardware device.

Parametric EQs all have common controls.
Frequency, Resonance or bandwidth (Q) , Gain, Filter type, Filter Slope.
 
 
(the left pic is of Abelton's EQ8)



Dynamic

These combine an equalizer with a compressor.
They can cut or boost frequencies depending on the amplitude of the signal at its input.
A traditional EQ is static. Dynamic EQ combines equalization with selective compression/expansion and sidechain triggers. It kicks in only when the signal you’re EQing goes above certain threshold which you pick. 
 

Graphic Equalizers

These boost or attenuate a range of fixed frequencies using a bank of evenly spaced slider controls.
You can have up to 31 of these. The more sliders, the more accurate they are.
However, the frequencies are fixed and you have no control over the filter shape or bandwidth.

Shelving Equalizers.

These are very basic EQs which  boost or attenuate frequencies above or below a specified cutoff point.
Most shelving equalizers have high and low shelving filters like in the Shelves module below.
 

Filter types & Slope:

The most common types are Bell, Bandpass, notch, High Shelf & Low Shelf.
We can also add High Cut & Low Cut to this list.
Abelton's EQ 8 is a great equalizer and a great way to explore these filter types.
 
EQ 8 has 8 parametric filters. Each filter can be one of 8 types.
 
This is a low cut or high pass filter
It passes all high frequencies above the cutoff point.
It's x4 meaning it is 4 pole
 
 
 
 
 
 
 
 
 
This is another low cut / HP filter
It has a gentiler slope than the previous one.
 
Use a low cut filter to remove low frequencies or automate the frequency to create sweeping effects.
 







This is a high cut filter. Also known as a Low Pass.
it passes all low frequencies below the cutoff point.
It's fun to automate the frequency to create sweeping effects.

 







This is another LP filter (or high cut)

The 4X indicates a Steeper slope than the previous filter.









This is a Notch filter. Also sometimes referred to as a Band Stop.

It attenuates and removes a range of frequencies around a specified
center frequency point. It will pass all the other frequencies unaltered.
Modulating notch filters creates interesting shaping effects.
It's the opposite of a bandpass filter.







This is a bandpass filter.
This has been made using a LP & HP filter. 
Low and high frequencies outside the range are attenuated or cut..
Multiband equalizers often use multiple band pass filters to divide the audio spectrum into sections.



Here we have two bell filters. They are also known as peak filters. Use them to boost or reduce a range of frequencies with precision. 
The bandwidth/resonance (Q) sets the width of the bell curve.
 
 
 

These are two shelf filters 
On the left is a left shelf.
On the right we have a right shelf filter.
These are useful for boosting or reducing certain frequencies without totally cutting them out as you would have if you used a LP/HP filter combo.
 
 
You can make the filter slope less steep by dragging down the Q knob, or do the opposite by reducing gain.
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Enough theory.

Here are some of my favorite Equalizers
 
The Cwejman VCEQ-3
 This is in Eurorack format.
The vceq-3 consists of 3 individual parametric equalizers.
 
 the frequency, bandwidth and amplitude can be controlled by dedicated knobs and/or by external signals, individually for each band.
 

















Serge Resonant Equalizer CGS
Serge Resonant EQ/Filter - Euro format (CGS 202)
 
 It's a a comb filter based module. There is no CV control, but it has 10 bands of frequency to mix. The frequencies are fixed. It's closer to a Graphic Equalizer in design.

There is no control over the filter shape and bandwidth of each band. 


Below is a pic of a vintage Serge Res equaliser.
 
It's the 3rd module from the left. It's very compact in comparison to the Euro version and doesn't have
the extra outs from the 10 filter bands. And pot's are used instead for sliders.
 
 

 

Roland 100m 174 module
 
It's a really simple but beautiful module. 
The 4 channel EQ  has  independent level, bandwidth and frequency controls that span a wide frequency spectrum from 20 Hz all the way up to 20 kHz. 
 
Using the two outputs of this section, you can then patch signals to two different modules for some extra modulation and waveform sculpting possibilities and even switch between EQ’d and Bypass modes for a quick comparison.
 
 
 
 
 
 
 
 
 
 
 
 
 

Mutable Instruments Shelves
4 Channels.
It's a mix of  low-shelf, high-shelf, and parametric sections.
All share the same control ranges and scales
 
All channels have frequency & gain controls.
The middle two channels have resonance (q) controls.
These are the parametric sections. 

The first band is a low-pass shelving filter & the fourth band a high-pass shelving filter
 
 





The good old Doepfer 128 filter bank.
 
(Fixed Filter Bank) is a filter bank, made up of 15 parallel band pass filters, all with fixed middle frequencies and bandwidth (50 Hz / 75Hz / 110Hz / 150Hz / 220Hz / 350Hz / 500Hz / 750Hz / 1.1kHz / 1.6kHz / 2.2kHz / 3.6kHz / 5.2kHz / 7.5kHz / 11 kHz).
Each band pass filter has its own amplitude control knob
 
If you want to add a single audio output for each filter we have instructions for this modification available
 

Doepfer 128 - Fixed filter bank modifications

 

 

 

L1 Quad VC Resonant EQ
4 channels of Parametric EQ 

Also first band is switchable to LP mode and fourth band to HP to make low and high shelves. Also each band is switchable to boost or cut modes. Every parameter has voltage control, also master CV ins for all bands
 


 

 





Doepfer A 104
Trautonium Formant Filter
 
This was used in the Mixtur Trautonium by Oskar Sala. It is made of four parallel resonance filters, each filter can be switched to low pass or band pass or off.  

There is no VC.
Frequency, Q & Vol are all manually controlled.









Its a graphic EQ
Music Thing Modular
A compact, clean seven band Eurorack graphic equaliser inspired 
by the classic Boss GE-7 pedal.