PLAN B analog blog

The first wave of the new product to be released are the ELFs.  they
will be released en mass in June.  The Model 30 has no release date as
such, but all of these we announced this week will be here by the fall.

Panel widths:

The Model 31 is 6 wide

The MOdel 30 is (currently) 26 wide.

The Model 30A is 8 wide

The 21C is 18 wide, same as the M15 

The Model 32 Plotter is 14 wide , the same as the Models 9, 11, 12.

The Models 33, 34 and 35 are 10 wide, the same as the Models 25 and 26

The Elfs are 4 wide.







--- In PLAN_B_analog_blog@yahoogroups.com, "gabu_004" <gabu_004@...>
wrote:
>
> Your new VCO seems to be really indeed giving us a new approach on
timbre manipulation 
> and soundcreation... I can't wait till it's out to grab one... do
you have any forecast of a 
> possible release?
> Oh yeah... the M16, is it still comming up... ahhhh and since we're
at it!
> What's the size of the new modules in HP(maybe not necessarry for
the elfs ;P)?
> 
> thanks
> 
> g.
> 
> --- In PLAN_B_analog_blog@yahoogroups.com, "(i think you can figure
that out)" 
> <peter@> wrote:
> >
> > I am sadly unable to provide short answers to questions asked
> > regarding the capability of this module.  Please forgive the over-long
> > description that follows.
> >  
> > Regarding DX-Metal:
> >  
> > As an instrument, the DX7 served a particular FM sensibility quite
> > well.   The user interface required a great deal of strategy to
> > develop sounds that deviated from the "clang" and "ding" which became
> > the audio signature of this device and perhaps, its era.
> >  
> > An alternative is to model a format that analog instrumentalists know
> > as second nature; panel adjustments and jacked in connections.  Long
> > before you feel you authoritively understand the conceptual
> > intricacies of the module, you will know how to confidently produce
> > aural results that are hoped to be judged musically useful to an
> > instrumentalist.
> >  
> > Patch Configuration (and VCA's):
> >  
> > Referencing the patch configuration chart uploaded to the photos here,
> > the numbered "bubbles" represent an oscillator and it's amplifier. 
> > This is a graphic convention that allows less complicated art to
> > express a patch.  
> >  
> > As example, "Mini-Mode 1" is simply 3 oscillators being mixed together
> > with no internal frequency modulation.   The amplifiers as adjusted by
> > the panel controls (or jacked in voltage) blend or mix the result to
> > monaural audio. Connected control sources can exploit this patch as an
> > VC mixer for extended capability.  Different Sync strategies allow a
> > lot of timbral variation.
> >  
> > Another example being FM mode 2, a "DX-like" configuration where a
> > chain of oscillators and amplifier (with levels set by panel or jacked
> > in controls) set the degree one oscillator "drives" the next
> > oscillator in the chain.  Unlike the "DX" panel strategy you exploit
> > this configuration less intellectually and more empically because you
> > just grab knobs and tweak from subtle complex vibrato's to pure hash,
> > crash and noise.  
> >  
> > Regarding FM, the more intuitive analog format allows the
> > instrumentalist to explore more FM variation from subtle frequency
> > deviation to thunder-blam.  I particularly like the reedy or nasally
> > sounds.
> >  
> > Ring Mod Mode 2 is interesting because it allows one oscillator to
> > emulate the carrier feedthrough that historically was the bane of
> > analog multipliers but in fact can be key to it's effect.   It can be
> > startling at first to perform Balanced Modulation without hearing the
> > modulator osc. bleeding through.  
> >  
> > Frequency Shift Modes also are free of carrier feed through and as
> > such, produce the theoretical goal of this configuration, single
> > sideband modulation.   The effect is Ring Mod timbre without the
> > simultaneous down shift when you only want the upshift (or vice
versa). 
> >  
> > Aliasing:
> >  
> > All digital audio designers deal with this characteristic, and
> > hopefully at the time of design.  I've been dying to answer this
> > question but i was hoping it would be asked as "does it alias" to
> > which i would respond "Yes, gloriously".   Does it have to alias,
No.  
> >  
> > The goal achieved was accurate quality audio that was easy to
> > musically deploy.   Until module release, final oscillator
> > specifications will not issue.  It is clear audio samples are needed
> > to fully describe this module and the degree the audio does or does
> > not have to alias will be gladly and honestly demonstrated.  Those
> > experience with digital sound generation should be pleasantly
surprised. 
> >  
> > Waveshapes:
> >  
> > The ease in which continuously variable waveform selection occurs
> > provides opportunity beyond simple waveshape "morphing".   While pulse
> > width modulation is an obvious capability, the ability to variable
> > adjust the duty cycle of the noise wave shape provides timbral
> > opportunity not commonly employed.  One effect of progressive waveform
> > sweeping is a low-order filter effect, in fact this module can produce
> > final audio in many variations without resorting to additional audio
> > modules such as a VCF or a final VCA.  It must be said however
> > additional audio modules seriously extend the aural possibilities
> >  
> > Analog Oscillators:
> >  
> > This module does not supercede analog oscillators.  In fact it is
> > designed to be complimentary in the way it allows an external source
> > (i.e. analog osc) to sync it or alternatively letting this module sync
> > an external analog oscillator.   Also external exponential modulation
> > is an effect of its own that can be exploited to great effect.
> >
>