A landmark album.
This was part of my growing up
I can't believe its 25 years.
The group comprised sampling guru Geoff Barrow, guitarist Adrian Utley, and vocalist Beth Gibbons.
The album is all about atmosphere and texture.
Some of the tracks used material that was first recorded to tape, then pressed to vinyl which was stomped on and kicked around to give that crackling sound.
It seems they recorded a lot to tape which imparts compression & frequency distortion.
No. Title Length
1. "Mysterons" 5:02
2. "Sour Times" 4:14
3. "Strangers" 3:55
4. "It Could Be Sweet" 4:16
5. "Wandering Star" 4:51
6. "It's a Fire" (not on vinyl LP or original UK & Europe versions of album) 3:48
7. "Numb" 3:54
8. "Roads" 5:02
9. "Pedestal" 3:39
10. "Biscuit" 5:01
11. "Glory Box" 5:06
Some of the synths used on the album were the :
Roland 808 drum.("It Could be Sweet")
Akai S 1000 sampler
Roland SH 101 ( "Mysterons") ???
Fender Rhodes (Roads, "Biscuit", "It Could be Sweet" )
Vox Continental Organ ("Numb," "It's a Fire," and the end of "Wandering Star." )
Hammond Organ ("Numb," "It's a Fire," and the end of "Wandering Star." )
Roland Space Echo - RE 201 ( "Mysterons", "Pedestal", "Numb")
This is by no means a complete list...
(I haven't of course mentioned any of Adrian Utley's Guitars)
Monday, 26 August 2019
Saturday, 24 August 2019
NLC Mixer & Headphone amp
This is a 3 input mixer with a minijack and 1/4" output as well.
Its in Eurorack format.
The headphone amp has its own input and volume control. This way you can monitor a single patch and set it up whilst other patches are fed to the PA.
This is a really easy build. Ideal for someone who is new to DIY eurorack.
If nothing is inserted into the headphone input, then the mixer output is routed to the headphones.
All the pots and minijacks are mounted on the PCB.
BOM & Build notes
---------------------------------------------------------------------------------------------------
Click here to return to the NLC Build Index:
http://djjondent.blogspot.com.au/2015/03/non-linear-circuits-ncl-index.html
Its in Eurorack format.
The headphone amp has its own input and volume control. This way you can monitor a single patch and set it up whilst other patches are fed to the PA.
This is a really easy build. Ideal for someone who is new to DIY eurorack.
If nothing is inserted into the headphone input, then the mixer output is routed to the headphones.
All the pots and minijacks are mounted on the PCB.
BOM & Build notes
---------------------------------------------------------------------------------------------------
Click here to return to the NLC Build Index:
http://djjondent.blogspot.com.au/2015/03/non-linear-circuits-ncl-index.html
Friday, 23 August 2019
Buchla 261e - notes
Revisiting the Buchla 200e.
I'm slowly working my way through the 200e manuals and re-writing my notes.
I'll update this as I go along.
This post is mostly about the 261e, however I can't help to notice its similarities with the old 259
Of course the 261e is just 1U ...Don has packed a lot into a small package.
Both have modulation & principal Oscillators.
In the 261e, the oscillator core is now a digital sine wave.
I understand that the 259 had a triangle core (analog of course).
For more about oscillator cores read here
In "Low" or sub audio mode it oscillates between 0.25 Hz and 64 Hz.
In "Hi" or audio mode it covers a frequency range between 27 Hz and 7040 Hz.
In "Track", it follows the pitch of the main oscillator and can be shifted relative to it regarding pitch.
The offset will be zero when the modulation frequency is set to 440 Hz. (indicated by extinguishing the bicolor LED).
An F.M. input for the Modulation Oscillator provides for frequency modulation.
The waveshape of the MO is voltage controllable. This ranges from sine through square and pulse;.
There is also a multiplying input (the centre banana in the above picture). This varies the degree and direction of waveshaping.
The output of the modulation osc is internally connected to the the principal oscillator
The Amplitude (AM), Timbre & Pitch (linear FM or frequency modulation) of the Principal Oscillator are the main targets.
You can apply this modulation either singly or in combination.
Under Amplitude, there is a point where it acts like a ring modulator.
The Timbre section has 3 parameters: Timbre, Symmetry (direction) & High Order (magnitude).
Symmetry and high order have variable offset and are voltage controllable.
If all the pots are set to zero, the output wave shape will be a sine.
1. The Timbre (Top left knob) knob adds harmonics as you increase the value.
It's the wavefolder
2. Symmetry controls how different one half of the waveform is from the other.
As you turn it from zero, it will change the sine wave to a square wave.
3. High Order acts a little like a high pass filter.
As you turn it from zero, it will change the sine wave to a spike wave.
Note that pitch modulation responds only to sinewaves.
Sync Facility of MO
This permits synchronization of the Modulation Osc to MIDI note-on messages, or to subdivisions of the principal oscillator.
Hard sync truncates the waveform; soft sync uses a phase locked loop to achieve synchronization.
The frequency ranges from 27 to 7040 Hz,
There are attenuators and jacks for both the pitch CV (banana) and the audio-FM input.
----------------------------
Internal Buss settings for the 261e & a 225e preset manager.
Bus I.D. for the module is set with two board mounted switches IN THE LOWER left corner
The module ID can be displayed on the 225e preset manager by holding the remote enable switch on the 261e for about two seconds.
You should see something like this:
Here, the 261e is on Buss C.
The normal settings start at A and go for as many modules as you have (up to D, or four).
The 261e responds to pitch & fine tune messages via the 225e.
MIDI Fine tuning
To respond to MIDI fine tuning messages, the “Ft” field in the 225e’s display must contain something other than a default value of “An” for the bus of interest (buses A – D).
The fine tune data is in cents (a cent is 1% of a semi-tone), and can range from –49 cents to +49 cents. It can be set for each bus, and therefore for each of four oscillators.
Note that if fine tuning is enabled for a particular VCO that oscillator’s pitch knob will be incapacitated, as will its F.M. input and control voltage input. Pitch will be completely determined by MIDI signals.
So if you want to use the VCO knobs as normal, keep the setting on "An".
"An" I believe stands for analog
To be continued.................
I'm slowly working my way through the 200e manuals and re-writing my notes.
I'll update this as I go along.
This post is mostly about the 261e, however I can't help to notice its similarities with the old 259
Of course the 261e is just 1U ...Don has packed a lot into a small package.
Both have modulation & principal Oscillators.
In the 261e, the oscillator core is now a digital sine wave.
I understand that the 259 had a triangle core (analog of course).
For more about oscillator cores read here
Modulation Oscillator:
The modulation oscillator on the 261e can be switched between 3 settings: Low, Hi & trackIn "Low" or sub audio mode it oscillates between 0.25 Hz and 64 Hz.
In "Hi" or audio mode it covers a frequency range between 27 Hz and 7040 Hz.
In "Track", it follows the pitch of the main oscillator and can be shifted relative to it regarding pitch.
The offset will be zero when the modulation frequency is set to 440 Hz. (indicated by extinguishing the bicolor LED).
An F.M. input for the Modulation Oscillator provides for frequency modulation.
The waveshape of the MO is voltage controllable. This ranges from sine through square and pulse;.
There is also a multiplying input (the centre banana in the above picture). This varies the degree and direction of waveshaping.
The output of the modulation osc is internally connected to the the principal oscillator
The Amplitude (AM), Timbre & Pitch (linear FM or frequency modulation) of the Principal Oscillator are the main targets.
You can apply this modulation either singly or in combination.
Under Amplitude, there is a point where it acts like a ring modulator.
The Timbre section has 3 parameters: Timbre, Symmetry (direction) & High Order (magnitude).
Symmetry and high order have variable offset and are voltage controllable.
If all the pots are set to zero, the output wave shape will be a sine.
1. The Timbre (Top left knob) knob adds harmonics as you increase the value.
It's the wavefolder
2. Symmetry controls how different one half of the waveform is from the other.
As you turn it from zero, it will change the sine wave to a square wave.
3. High Order acts a little like a high pass filter.
As you turn it from zero, it will change the sine wave to a spike wave.
Note that pitch modulation responds only to sinewaves.
Sync Facility of MO
This permits synchronization of the Modulation Osc to MIDI note-on messages, or to subdivisions of the principal oscillator.
Hard sync truncates the waveform; soft sync uses a phase locked loop to achieve synchronization.
Principle Oscillator
The core is a digital sine wave.The frequency ranges from 27 to 7040 Hz,
There are attenuators and jacks for both the pitch CV (banana) and the audio-FM input.
----------------------------
Internal Buss settings for the 261e & a 225e preset manager.
Bus I.D. for the module is set with two board mounted switches IN THE LOWER left corner
The module ID can be displayed on the 225e preset manager by holding the remote enable switch on the 261e for about two seconds.
You should see something like this:
Here, the 261e is on Buss C.
The normal settings start at A and go for as many modules as you have (up to D, or four).
The 261e responds to pitch & fine tune messages via the 225e.
MIDI Fine tuning
To respond to MIDI fine tuning messages, the “Ft” field in the 225e’s display must contain something other than a default value of “An” for the bus of interest (buses A – D).
The fine tune data is in cents (a cent is 1% of a semi-tone), and can range from –49 cents to +49 cents. It can be set for each bus, and therefore for each of four oscillators.
Note that if fine tuning is enabled for a particular VCO that oscillator’s pitch knob will be incapacitated, as will its F.M. input and control voltage input. Pitch will be completely determined by MIDI signals.
So if you want to use the VCO knobs as normal, keep the setting on "An".
"An" I believe stands for analog
To be continued.................
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
Ralph - our mascot
===============================================
Mitch aka Vitals
=============================================
Paul AKA Allinaire
================================================
Adam
=====================================
TERRY - Post Global Disorder
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Gareth - aka RHISM
-----------------------------------------------------------------------------------------
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
Sat, 10th August, 2019
Thanks to Terry for the great visuals
eDIROL P10 - video sampler
Edirol V4 - video mixer
Erogenous Tones - Structure
Modular In the Lounge Room. 8
Ralph - our mascot
===============================================
Mitch aka Vitals
=============================================
Paul AKA Allinaire
================================================
Adam
=====================================
TERRY - Post Global Disorder
'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Gareth - aka RHISM
-----------------------------------------------------------------------------------------
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
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