Showing posts with label Eurorack. Show all posts
Showing posts with label Eurorack. Show all posts

Monday, 23 July 2018

Expert Sleepers - FH-1 - Midi Note On/off

Such a deep module.
It's so much more than a USB host
It can be a sequencer, a MIDI clock, it can be a bank of 8 LFOs, it can be an arpeggiator.
The FH-1 actually has two independent 4 lane sequencers

The manual is tricky to comprehend.
So maybe it's better to not mess with the scripts ... unless you know what you are doing.

Out of the box, the FH-1 should be able to handle most instruments with the initial A1 encoder setting.
 
The preferred approach is to configure your MIDI controller to send the right MIDI CCs to get the response from the FH-1 that you require.
 
On the Expert sleepers website there are two important MIDI charts:
1. MIDI Note On/Off (MIDI/CV conversion)
 
 

MIDI NOTE on/off

 
I'm using my Arturia Keystep (The Teenage Engineering OP-1, korg nano key and squarp pyramid also work well).
 

 
This is how you get Monophonic CV/gate pairs. 
MIDI channels 1-4 output CV/gate pairs on outputs 1/2, 3/4, 5/6 & 7/8 respectively
 

If the Keystep is set to  Midi Channel 1 
Pitch CV output is 1, and gate output is 2

If the Keystep is set to  Midi Channel 2
Pitch CV output is 3, and gate output is 4
 
If the Keystep is set to  Midi Channel 3
Pitch CV output is 5, and gate output is 6

If the Keystep is set to  Midi Channel 4
Pitch CV output is 7, and gate output is 8
 
 





 So a polyphonic MIDI keyboard such as the Arturia Key Step Pro should be able to handle
The CV/Gate for 4 independent voices if you set each sequencer to a different midi channel.
 
If you are just using the FH-1 (no expander)
you can get two channels of CV/gate/Velocity and one channel of CV/gate
by setting up your controller to midi channels 5, 6 & 7
 

 
 If the Keystep is set to  Midi Channel 5
Pitch CV output is 1, and gate output is 2, vel is 3

If the Keystep is set to  Midi Channel 6
Pitch CV output is 4, and gate output is5. vel is 6
 
If the Keystep is set to  Midi Channel 7
Pitch CV output is 7, and gate output is 8
 

Midi Channels 9 & 10 give CV, Gate, Velocity and aftertouch.
at outputs 1-4 and 5-8
 
 

 Midi channel 15 gives 2 channels of Poly CV & gate, paraphonic gate with poly velocity and after touch.

Midi channel 16 gives four CV/gate poly voices
 
 


Midi Channels 12, 13 & 14 cover triggers & gates
Midi channel 12 produces Trigger/accent pairs on keyboard  MIDI notes 64 - 95  
Triggers are generated on outputs 1, 3, 5, 7
Accents are generated on outputs 2, 4, 6, 8

• Triggers (no velocity). MIDI channel 13, notes 0-63. 
• Gates (no velocity). MIDI channel 13, notes 64-12
 
 • Triggers (with velocity). MIDI channel 14, notes 0-63. 
• Gates (with velocity). MIDI channel 14, notes 64-127.

Saturday, 21 July 2018

Modular on the Lounge 4

Thanks Terry and Stella for hosting.

Lots of fun.





------------------------------------
aNDREW AKA Virusinstaller



--------------------------------------
Paul aka Allinaire


------------------------------------
gARETH


Modular in the Kitchen.


------------------------------------------
AJ


Wow... a ER 301 Sound Computer

-------------------------------------------
Ben



-------------------------------------------
rORY

 Folktek Mescaline

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.
------------------------------------------------------
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.

 

Mutable Instruments Links

Some pics of a new build ... a DIY version of the Mutable links module.
 There is no microcontroller in this module so I though its would be a good one to start experimenting on. Before soldering the jacks I pondered which side of the PCB do they go on. ???
A friend assured me this was the correct side, however once the jacks are on, any trouble shooting would be extremely difficult as the components are on the same side.
 Anyway, I pressed ahead.
All the SMDs are 0603

 There, really is no reason why you can't solder the jacks on the other side....except the panel would be reversed.

+ Mutable instruments - flashing firmware

-----------------------------------------------------------------------------------------------
For more Euro DIY builds click here:
http://djjondent.blogspot.com.au/2017/12/diy-index.html
-------------------------------------------------------------------------------------------------

Monday, 9 July 2018

L-1 Compressor

Some pics of my build of a L-1 Compressor Eurorack module.
I thought I'd give building this a go. Pretty straight forward.

Check out the official site and build notes here:
http://l-1.su/Microcompressor_stereo.html
 tHE kit I purchased came with the SMD components already soldered.
All I needed to do was order the through hole parts from mouser



 THAT4301 dynamics processor

Apart from the THAT processor, the parts are cheap and easy to find.




-----------------------------------------------------------------------------------------------
For more Euro DIY builds click here:
http://djjondent.blogspot.com.au/2017/12/diy-index.html
-------------------------------------------------------------------------------------------------