Hmm, er waren volgens mij oordoppen beschikbaar? Als ik me niet vergis kwam een meting uit op n gemiddelde van 85 dB. En zeker bij mijn installatie was t niet zo hard. Maar t was natuurlijk wel veel geluid in die galmende hal. Overigens hebben we vrij veel kinderen ( met gehoorbescherming) over de vloer gehad.
Museum van Geluid (3 juni, Werkspoorkathedraal, Utrecht)
- Thread starter Ptr
- Start date
vinnieq
Lidl
- Lid sinds
- 11 juli 2004
- Berichten
- 9.342
Ha, zie ik mezelf daar op een van de foto's! Herrieniveau viel wel mee, ook voor mijn zoontje van 8 (die toch nooit luistert) maar door de galm en een doordreunende monotone drone uit een of meer installaties was het lastig om de opstellingen in detail te beluisteren. Die Buchla was inderdaad wel heel erg fijn.
EdwinSL
Stamgast
Dat vond ik ook, er hing veel modder in de lucht zegmaar.
Ik geloof dat ze bij superbooth dat probeerden op te lossen met een gezamelijke klok, maar ik begrijp goed dat dat met zo'n eclictisch zooitje lastig kan zijn
dob
Helemaal in m'n (k)nopjes
- Lid sinds
- 28 mei 2002
- Berichten
- 2.371
Waren die beschikbaar? Die beveiligers hadden het er wel over, maar niet dat ze beschikbaar waren.
Ik had het misschien wel aangedurfd met m'n zoon van 6, maar niet met m'n peutertje...
Maar goed, geweldig dat jullie dit gedaan hebben, dat dit gewoon kan anno 2018. Zo'n mooie locatie, goeie namen, en voor heul niks geld.
Uhhh volgend jaar weer?!
Ik kon er helaas zelf niet bij zijn, hopelijk is het voor herhaling vatbaar!
Ik vond dit nog op het Muffwiggler Forum, Daniël Cramer die zijn patch in (veel) detail uitlegt. Interessant om te lezen en als inspiratie om zelf (delen van) te gaan patchen
:
These next four posts describe, in detail, the final patch I took to the Netherlands for Colin Benders’ Museum.
Each description speaks to its own layer of cables as documented in the Modulargrid pic.
The fifth post contains an absolute rarity, the Gearsluts interview in which I speak about the patch (he finally speaks!) with the second half of the video featuring a performance of the patch.
The Exodus, Melody Engine:
The idea for this patch comes from my previous work in which I started with my variation of Barton’s Krell, and then added voices to it to create a polyphonic Krell patch. Many modular users I talk to are aware of the Krell, but don’t really know where it comes from, or how exactly to patch it.
The Melody engine (my name for a sub-patch) is the central, driving part of the patch as it controls the timing and pitches of all the parts.
It’s quite simple:
Two unsynced LFOs modulate a simple Attack/Decay function generator which is self cycling.
I’m using a Flame CV recorder and Math’s channel 4, channel 4 gives me the EOC trigger which becomes the master clock for the whole patch.
This envelope created by Maths is used to control the timbre and amplitude of the melody. The oscillator in this voice gets its pitches from a simple Sample and Hold (sampling noise) which is triggered by Maths channel 4 each time it cycles.
This is the basic Krell patch.
Starting with this, I then add in my own variations;
I Offset and scale quantize the noise to produce musical scale tones (I designed my own scales for this patch)
I use the Maths envelope in various ways to create highly correlated timbres for the melody voice.
I used a Disting triangle wave as the oscillator and patched it into a VCA, then into a Doepfer LPG (in LPF mode) and the into an Intellijel Wavefolder and finally into a final VCA. This is completely backwards compared to a normal synth voice! But here’s why, the first VCA is modulated by the Maths envelope (but inverted) so that as the Maths envelope gets the higher, the VCA closes (but only a tiny amount!) this means that I’m modulating the gain going into the Doepfer filter. I’m also slightly modulating the filter’s frequency with the envelope and pitches of the melody. The filters resonance is high and will tend squeak thru as the first vca closes a little (it’s always biased open and never closes all the way)
Then the signal goes into the Wavefolder (again backwards to what is considered normal) which amplifies and folds the original triangle wave as well as the added resonance from the filter, which changes in pitch and amplitude slightly, with the Maths envelope and Melody’s pitches. Finally I patch the wavefolder’s output to a final VCA to control the output of the voice, creating the articulation.
I’m also using the third output of the Flame knob recorder as a faster, vibrato LFO. It’s signal is patched into a third VCA and from there in the Disting oscillators FM input, to create vibrato. Because I want the vibrato to fade in and out, I use the Maths channel 4 envelope (inverted) to control the third VCA. This way, the vibrato starts at the beginning of each note but fades out as the note gets louder. I’m using Maths channel one as a slew to create portemento on the melody voice. I’m modulating the portemento with the same sequence CV (Mutamix) that calls up the different scale types on the uScale quantizer.
(In Utrecht, really pushed this part of the patch and came up with some great sounding note runs of dive-bombs!)
I’ve also got all 4 channels of the SISM patched to give me control of the Melody patches note range and offset, overall brightness (by opening the LPG and the Wavefolder of the melody and all the other filters in the patch) this brightness control on the SISM also had a CV feed from the sequencer that controlled the scale type so that when the scales change the whole patch got brighter or darker. (I was letting the children who came to the event play around with these controls) channels 3 & 4 of the SISM control the range and offset of the two LFOs that modulate Maths channel four.
It’s important to get the speed of the two modulating LFOs just right in relation to Maths channel 4 envelope so that the Maths envelope is always changing its curve shape throughout its cycle, generating different envelope articulations.
And finally, the other important aspect to the patch is that each and every modulation needs to be extremely subtle, especially with the Wavefolder as it’s easy to over modulate it, or have too high an audio level going into the Wavefolder. By keeping the modulation ranges in the ‘sweet spot’ I’m able to get a much more organic, expressive sounding voice.
Having those extra days in Utrecht was great as I was able to ‘tune’ the whole patch to the environment, making it edgier, adding more bass, and giving it a little wider range. By the time Sunday came I was busy ‘playing’ the patch as it ran, pushing it in different directions.
Here’s a description of the second voice of my patch. It’s a single voice that loosely follows the melody to create a harmony line:
I used a second Disting as the oscillator for this voice and patched its triangle wave into an old Doepfer A-120. I used a Pittsburgh Envelope (similar to a Doepfer A-172-2) to control the volume and timbre of this voice.
The Pittsburgh Envelope gets its trigger from the EOD on the first channel of Maths. Remember that in the melody patch, the first side of Maths is used to create portamento for the melody voice. Maths still produces a trigger out, even when used as a slew generator. This trigger out only happens when Maths reaches a certain point which creates a random trigger that always lines up with the melody but happens less often. This same trigger is used to trigger a sample and hold which gets its sample CV from the output of the uScale, just like the melody. When the envelope is triggered, both the melody and harmony play the same note (the harmony is down an octave) but then the melody continues playing other notes over top of the harmony which holds its note. In order to get the sound I’m after, I also patch another cable from the harmony’s oscillator (pulse wave) into a VCA controlled by the Pittsburgh Envelope. The VCA is then patched to one of the CV inputs on the A-120 filter. This creates a little audio-rate FM modulation which gives the filter a much fatter, wider tone. The same vibrato LFO is used so that when the melody voice gets vibrato, so does the harmony voice. The Pittsburgh Envelope has a unique behaviour in that unlike Maths, it doesn’t just rise to the top and stay there until decaying. Instead it may only go up part way and fall or go up and fall down, hanging mid way. It makes for an extremely organic articulation. The A-120 filter also partially receives the harmony part’s note voltage. From there it goes to the mixer and gets a lot of reverb. The harmony voice filter also get a CV signal from SISM channel two to control brightness.
This voice was very effective as it can go quite low and produced tons of low end, great fun given the giant bass bins we were each provided with...
Here’s a quick look at the ‘Chordal Engine’ from my Utrecht patch. It’s pretty straight forward compared to the Melody and Harmony:
The chord sounds come from a Make Noise Telharmonic, running in ‘shift register’ mode. This mode will grab and hold a note every time a trigger is received. Because it’s a three voice module, it will hold up to three notes, producing a chord. When the fourth trigger is received, it steals one of the notes. For my piece I wanted the Telharmonic to grab three of the melody notes in succession and hold them while the melody played another 10-20 notes. This works out really cool as I simply mult the output of the uScale into the Telharmonic and it just follows along, creating interesting chords, no matter what custom scale I call up.
The only trouble was getting no more than 3 triggers into the Telharmonic in a row and then no more triggers so the chord would hold. On my big system it was easy to create a resetable logic patch that did it (although doing logic in groups of 3 is tricky) trying to recreate this in my tiny system was hard until I decided to use a sequence: I used a Brainseed (which can record a step sequence of CVs, up to 1000 steps) I recorded 3 steps of very high voltages and then about 60 steps of 0 volts. This sequence is clocked by the Krell Melody voice and is reset by a clock divider (12-16 divisions) the output of the sequencer opens a VCA which passes 3 triggers from the Krell envelope. (AND Logic) these 3 triggers tell the Telharmonic to grab 3 new notes. (The reason for the long 60 step sequence is so that the sequence is always reset before it loops and fires off the triggers) This same clock divider out is multed to a second clock divider (dividing slower) which advances the Mutamix sequencer that changes the scale type. The beauty of this clocked/logic system is that whenever all the dividers line up, a new scale is chosen, the melody picks a new note, the harmony picks a new note, and the chords get 3 new notes with all 5 of the new notes being from the newly loaded scale. After that, the rest is just simple patching; I patch out of the Telharmonic in stereo into 2 6db low pass filters, just to take the edge off and I have the two slow LFOs (that drive the Krell envelope) slowly modulating the two filters (a tiny bit!). Lastly I patch the Krell melody CV into a Disting (as a slew) and use that slowly moving CV to modulate the main timbre control on the Telharmonic. I went to great trouble to tune the stereo low pass filters and then control them with the SISM knob I used to also control the brightness of the melody and harmony. It’s also interesting to note that the entire patch relies on sample and held noise to create its note generation and the noise source I’m using is from the telharmonic noise output. That noise output changes its character as the Telharmonic’s other oscillators are modulated. It’s hard to say what effect that might have on the note choice of the S&Hs that drive the whole patch but it is a feedback loop of sorts.
In this final layer of the patch, I show the clock divider and sequencer that call up the scale types and I show the simple mixer patch with effects.
I really wanted the piece to be in stereo and to have reverb on it. It was a shame not to have more rack space so I really had to squeeze things in. The clump of cables in the top right simply patches the mixer outs to the output/headphone module and creates an effects to a reverb and mixes it into the stereo master outs. (The Flame FX-6 stereo reverb preset has no dry mix!)
The mix was simple, with the Chords being panned in stereo and the melody and harmony spread out a little (often the harmony part was very low in pitch!)
The harmony was sent to lots of reverb, the melody and chords less so.
The rest of the cables are used to call up different custom scales in the uScale once both clock dividers have reached their maximum division. The bottom clock divider gets its trigger from the top so it moves very slow. When it finally triggers it advances the Mutamix one step forward (some versions of the patch call up random sequence steps) and a new scale loads. For Utrecht, I created 12 custom scales and the Mutamix was able to call up six of them throughout a performance. (I was able to pre choose which scales and what order)
Because both clock dividers were triggered by the Krell voice, I am able to calculate how long an entire movement (cycle of all six scales) takes in actual notes, even though the notes are constantly changing speed. For most of my performances on the three days I’d programmed it to generate 864 melody notes per movement, with the movements running between 10-18 minutes in length.
I was able to make many decent quality recordings of the patch and I’ve managed to strip those down to 7 movements for the live album that will be released on June 30, 2018, the day after a festival performance of the piece in my own home town
And finally, the Gearsluts video interview and performance from Utrecht in which I actually speak!
It’s followed by a very good quality recording of a single movement performance of the patch.
(Thanks Jan!)
Ik vond dit nog op het Muffwiggler Forum, Daniël Cramer die zijn patch in (veel) detail uitlegt. Interessant om te lezen en als inspiratie om zelf (delen van) te gaan patchen
:These next four posts describe, in detail, the final patch I took to the Netherlands for Colin Benders’ Museum.
Each description speaks to its own layer of cables as documented in the Modulargrid pic.
The fifth post contains an absolute rarity, the Gearsluts interview in which I speak about the patch (he finally speaks!) with the second half of the video featuring a performance of the patch.
The Exodus, Melody Engine:
The idea for this patch comes from my previous work in which I started with my variation of Barton’s Krell, and then added voices to it to create a polyphonic Krell patch. Many modular users I talk to are aware of the Krell, but don’t really know where it comes from, or how exactly to patch it.
The Melody engine (my name for a sub-patch) is the central, driving part of the patch as it controls the timing and pitches of all the parts.
It’s quite simple:
Two unsynced LFOs modulate a simple Attack/Decay function generator which is self cycling.
I’m using a Flame CV recorder and Math’s channel 4, channel 4 gives me the EOC trigger which becomes the master clock for the whole patch.
This envelope created by Maths is used to control the timbre and amplitude of the melody. The oscillator in this voice gets its pitches from a simple Sample and Hold (sampling noise) which is triggered by Maths channel 4 each time it cycles.
This is the basic Krell patch.
Starting with this, I then add in my own variations;
I Offset and scale quantize the noise to produce musical scale tones (I designed my own scales for this patch)
I use the Maths envelope in various ways to create highly correlated timbres for the melody voice.
I used a Disting triangle wave as the oscillator and patched it into a VCA, then into a Doepfer LPG (in LPF mode) and the into an Intellijel Wavefolder and finally into a final VCA. This is completely backwards compared to a normal synth voice! But here’s why, the first VCA is modulated by the Maths envelope (but inverted) so that as the Maths envelope gets the higher, the VCA closes (but only a tiny amount!) this means that I’m modulating the gain going into the Doepfer filter. I’m also slightly modulating the filter’s frequency with the envelope and pitches of the melody. The filters resonance is high and will tend squeak thru as the first vca closes a little (it’s always biased open and never closes all the way)
Then the signal goes into the Wavefolder (again backwards to what is considered normal) which amplifies and folds the original triangle wave as well as the added resonance from the filter, which changes in pitch and amplitude slightly, with the Maths envelope and Melody’s pitches. Finally I patch the wavefolder’s output to a final VCA to control the output of the voice, creating the articulation.
I’m also using the third output of the Flame knob recorder as a faster, vibrato LFO. It’s signal is patched into a third VCA and from there in the Disting oscillators FM input, to create vibrato. Because I want the vibrato to fade in and out, I use the Maths channel 4 envelope (inverted) to control the third VCA. This way, the vibrato starts at the beginning of each note but fades out as the note gets louder. I’m using Maths channel one as a slew to create portemento on the melody voice. I’m modulating the portemento with the same sequence CV (Mutamix) that calls up the different scale types on the uScale quantizer.
(In Utrecht, really pushed this part of the patch and came up with some great sounding note runs of dive-bombs!)
I’ve also got all 4 channels of the SISM patched to give me control of the Melody patches note range and offset, overall brightness (by opening the LPG and the Wavefolder of the melody and all the other filters in the patch) this brightness control on the SISM also had a CV feed from the sequencer that controlled the scale type so that when the scales change the whole patch got brighter or darker. (I was letting the children who came to the event play around with these controls) channels 3 & 4 of the SISM control the range and offset of the two LFOs that modulate Maths channel four.
It’s important to get the speed of the two modulating LFOs just right in relation to Maths channel 4 envelope so that the Maths envelope is always changing its curve shape throughout its cycle, generating different envelope articulations.
And finally, the other important aspect to the patch is that each and every modulation needs to be extremely subtle, especially with the Wavefolder as it’s easy to over modulate it, or have too high an audio level going into the Wavefolder. By keeping the modulation ranges in the ‘sweet spot’ I’m able to get a much more organic, expressive sounding voice.
Having those extra days in Utrecht was great as I was able to ‘tune’ the whole patch to the environment, making it edgier, adding more bass, and giving it a little wider range. By the time Sunday came I was busy ‘playing’ the patch as it ran, pushing it in different directions.
Here’s a description of the second voice of my patch. It’s a single voice that loosely follows the melody to create a harmony line:
I used a second Disting as the oscillator for this voice and patched its triangle wave into an old Doepfer A-120. I used a Pittsburgh Envelope (similar to a Doepfer A-172-2) to control the volume and timbre of this voice.
The Pittsburgh Envelope gets its trigger from the EOD on the first channel of Maths. Remember that in the melody patch, the first side of Maths is used to create portamento for the melody voice. Maths still produces a trigger out, even when used as a slew generator. This trigger out only happens when Maths reaches a certain point which creates a random trigger that always lines up with the melody but happens less often. This same trigger is used to trigger a sample and hold which gets its sample CV from the output of the uScale, just like the melody. When the envelope is triggered, both the melody and harmony play the same note (the harmony is down an octave) but then the melody continues playing other notes over top of the harmony which holds its note. In order to get the sound I’m after, I also patch another cable from the harmony’s oscillator (pulse wave) into a VCA controlled by the Pittsburgh Envelope. The VCA is then patched to one of the CV inputs on the A-120 filter. This creates a little audio-rate FM modulation which gives the filter a much fatter, wider tone. The same vibrato LFO is used so that when the melody voice gets vibrato, so does the harmony voice. The Pittsburgh Envelope has a unique behaviour in that unlike Maths, it doesn’t just rise to the top and stay there until decaying. Instead it may only go up part way and fall or go up and fall down, hanging mid way. It makes for an extremely organic articulation. The A-120 filter also partially receives the harmony part’s note voltage. From there it goes to the mixer and gets a lot of reverb. The harmony voice filter also get a CV signal from SISM channel two to control brightness.
This voice was very effective as it can go quite low and produced tons of low end, great fun given the giant bass bins we were each provided with...
Here’s a quick look at the ‘Chordal Engine’ from my Utrecht patch. It’s pretty straight forward compared to the Melody and Harmony:
The chord sounds come from a Make Noise Telharmonic, running in ‘shift register’ mode. This mode will grab and hold a note every time a trigger is received. Because it’s a three voice module, it will hold up to three notes, producing a chord. When the fourth trigger is received, it steals one of the notes. For my piece I wanted the Telharmonic to grab three of the melody notes in succession and hold them while the melody played another 10-20 notes. This works out really cool as I simply mult the output of the uScale into the Telharmonic and it just follows along, creating interesting chords, no matter what custom scale I call up.
The only trouble was getting no more than 3 triggers into the Telharmonic in a row and then no more triggers so the chord would hold. On my big system it was easy to create a resetable logic patch that did it (although doing logic in groups of 3 is tricky) trying to recreate this in my tiny system was hard until I decided to use a sequence: I used a Brainseed (which can record a step sequence of CVs, up to 1000 steps) I recorded 3 steps of very high voltages and then about 60 steps of 0 volts. This sequence is clocked by the Krell Melody voice and is reset by a clock divider (12-16 divisions) the output of the sequencer opens a VCA which passes 3 triggers from the Krell envelope. (AND Logic) these 3 triggers tell the Telharmonic to grab 3 new notes. (The reason for the long 60 step sequence is so that the sequence is always reset before it loops and fires off the triggers) This same clock divider out is multed to a second clock divider (dividing slower) which advances the Mutamix sequencer that changes the scale type. The beauty of this clocked/logic system is that whenever all the dividers line up, a new scale is chosen, the melody picks a new note, the harmony picks a new note, and the chords get 3 new notes with all 5 of the new notes being from the newly loaded scale. After that, the rest is just simple patching; I patch out of the Telharmonic in stereo into 2 6db low pass filters, just to take the edge off and I have the two slow LFOs (that drive the Krell envelope) slowly modulating the two filters (a tiny bit!). Lastly I patch the Krell melody CV into a Disting (as a slew) and use that slowly moving CV to modulate the main timbre control on the Telharmonic. I went to great trouble to tune the stereo low pass filters and then control them with the SISM knob I used to also control the brightness of the melody and harmony. It’s also interesting to note that the entire patch relies on sample and held noise to create its note generation and the noise source I’m using is from the telharmonic noise output. That noise output changes its character as the Telharmonic’s other oscillators are modulated. It’s hard to say what effect that might have on the note choice of the S&Hs that drive the whole patch but it is a feedback loop of sorts.
In this final layer of the patch, I show the clock divider and sequencer that call up the scale types and I show the simple mixer patch with effects.
I really wanted the piece to be in stereo and to have reverb on it. It was a shame not to have more rack space so I really had to squeeze things in. The clump of cables in the top right simply patches the mixer outs to the output/headphone module and creates an effects to a reverb and mixes it into the stereo master outs. (The Flame FX-6 stereo reverb preset has no dry mix!)
The mix was simple, with the Chords being panned in stereo and the melody and harmony spread out a little (often the harmony part was very low in pitch!)
The harmony was sent to lots of reverb, the melody and chords less so.
The rest of the cables are used to call up different custom scales in the uScale once both clock dividers have reached their maximum division. The bottom clock divider gets its trigger from the top so it moves very slow. When it finally triggers it advances the Mutamix one step forward (some versions of the patch call up random sequence steps) and a new scale loads. For Utrecht, I created 12 custom scales and the Mutamix was able to call up six of them throughout a performance. (I was able to pre choose which scales and what order)
Because both clock dividers were triggered by the Krell voice, I am able to calculate how long an entire movement (cycle of all six scales) takes in actual notes, even though the notes are constantly changing speed. For most of my performances on the three days I’d programmed it to generate 864 melody notes per movement, with the movements running between 10-18 minutes in length.
I was able to make many decent quality recordings of the patch and I’ve managed to strip those down to 7 movements for the live album that will be released on June 30, 2018, the day after a festival performance of the piece in my own home town
And finally, the Gearsluts video interview and performance from Utrecht in which I actually speak!
It’s followed by a very good quality recording of a single movement performance of the patch.
(Thanks Jan!)
- Lid sinds
- 12 oktober 2016
- Berichten
- 6.327
@SmartBits, bedankt voor het plaatsen. Ik was van plan om te gaan, maar door een familieomstandigheid kon dat niet. Iets anders, maar hopelijk ook leuk, ik heb nog het Dutch Modular Fest op het programma staan. 