PLAN B analog blog

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.

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.
>

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.
> >
>

Making an astute prediction: Once you all hear it, your apprehensions
will subside.  The MOdel 30 not only behaves like it's analog brethren
as far as the user experience - the interface, it sounds remarkably
analog as well.  

We must remember the big part of the DX wasnot only the operator architecture, but the manner in which it handled polyphony.  This took a big toll on the it's richness.  They weren't fat.  The MOdel 30 doesn't have these issues.  Imagine that marvelous phase cancellation caused by two slightly detuned analog oscillators. We know this sound.  Now imagine that phase cycle being a minute long. These are the types of advantages digital technology bring to the analog model.

Sound samples will be here soon.

Regarding the select switches, and we must keep in mind that the MOdel
30 is still in development and being digital, changes can come easily.
But as it stands, the select switches are used in conjunction with the
WAVESHAPE (labeled 'Variable') controls to determine which VCO or
combination of VCOs are effected by manual adjustment or control
voltage of waveshape.

For instance,  if you wish to change the waveshape of VCO 1 alone, you
would depress it's SELECT button, it's LED will light indicating it's
armed and then you could change it's waveshape via the pot or
external VC.  If more than one VCO is selected, which is allowed, then
each individual LED will light and adjustments to the Variable control
will effect them all.

If multiple VCOs are enabled and on the next adjustment you wanted to
change only one of them, depressing the select button of any 
'live' VCO will disarm it.  It's LED would turn off, it would not be affected by the change.

- P


--- In PLAN_B_analog_blog@yahoogroups.com, tomas everaert
<teveraer@...> wrote:

>
> 
> On 25 Apr 2008, at 01:03, gabu_004 wrote:
> 
> > Your new VCO seems to be really indeed giving us a new approach on 
> > timbre manipulation
> >  and soundcreation...
> 
> Agreed.
> 
> I must admit, the very first moment I saw the model 30 announcement, I 
> had something like: nice, but not spectacular. After all, don't I 
> prefer analogue oscillators? And FM, haven't we seen that enough 
> already? Yet the more information sneaks in, the more my mind is 
> changing...
> 
> By the way, thank you very much, Peter, for taking the time to give all 
> these thorough explanations.
> 
> Still one thing is unclear to me. How exactly do the select buttons 
> function?
> 
> Thanks again,
> 
> Tomas
> 
> (anxiously---but patiently---awaiting sound samples.)
> 
> (PS. Please excuse me for my yestereve's ramblings. It was late night 
> already here in Brussels (as it is now, in fact). I misunderstood 
> Peter's sentence
> 
> >  the VCAs come after the processing
> 
> thinking that he meant that the VCAs merely serve a final mixing 
> purpose and are not involved in the FM/RM/FS process itself. This would 
> have been crazy, of course, since this would mean that, in the 
> FM-modes, the modulation indexes are fixed.
> 
> I must admit that I liked the idea of an FM-synth (ok, ok, the model 30 
> is much more than that:-) that is unable to perform even the most 
> simple standard FM patches, because the indexes are fixed. There's 
> something jolly blasphemous about this, which I like. And stíll I do 
> suspect the model 30 to be capable of a lot of interesting sounds with 
> such "fixed index FM", thanks to it's waveform 
> morphing/synchronization/... possibibilies. But I must agree, having 
> also VC of the indexes is still that little bit móre interesting :-)
> 
> Heck, all this talk about the FM modes...and saying that I'm 
> particularly intrigued by the RM and FS modes!)
>

On 25 Apr 2008, at 01:03, gabu_004 wrote:

> Your new VCO seems to be really indeed giving us a new approach on 
> timbre manipulation
>  and soundcreation...

Agreed.

I must admit, the very first moment I saw the model 30 announcement, I 
had something like: nice, but not spectacular. After all, don't I 
prefer analogue oscillators? And FM, haven't we seen that enough 
already? Yet the more information sneaks in, the more my mind is 
changing...

By the way, thank you very much, Peter, for taking the time to give all 
these thorough explanations.

Still one thing is unclear to me. How exactly do the select buttons 
function?

Thanks again,

Tomas

(anxiously---but patiently---awaiting sound samples.)

(PS. Please excuse me for my yestereve's ramblings. It was late night 
already here in Brussels (as it is now, in fact). I misunderstood 
Peter's sentence

>  the VCAs come after the processing

thinking that he meant that the VCAs merely serve a final mixing 
purpose and are not involved in the FM/RM/FS process itself. This would 
have been crazy, of course, since this would mean that, in the 
FM-modes, the modulation indexes are fixed.

I must admit that I liked the idea of an FM-synth (ok, ok, the model 30 
is much more than that:-) that is unable to perform even the most 
simple standard FM patches, because the indexes are fixed. There's 
something jolly blasphemous about this, which I like. And stíll I do 
suspect the model 30 to be capable of a lot of interesting sounds with 
such "fixed index FM", thanks to it's waveform 
morphing/synchronization/... possibibilies. But I must agree, having 
also VC of the indexes is still that little bit móre interesting :-)

Heck, all this talk about the FM modes...and saying that I'm 
particularly intrigued by the RM and FS modes!)

so should i still buy the Buchla ? :-)


>
>

Sounding good !!

One question about the select buttons again :
If an external VC is modulating the waveshape of osc 1 and I want to
adjust the waveshape of osc 2... i'd have to deselect 1 and select 2,
asjust, then go back. ?
I'm just thinking... it could get confusing, esp if modulation is
happening at audio rates - switching back and forth. Hard to say in
practice though I am just theorising! 

Ideally there would be another select for ext cv for each osc. But I
understand space and cost are prob more important to consider.

Thanks for all the info. Def on my list now. 


--- In PLAN_B_analog_blog@yahoogroups.com, "(i think you can figure
that out)" <peter@...> wrote:
>
> Making an astute prediction: Once you all hear it, your apprehensions
> will subside.  The MOdel 30 not only behaves like it's analog brethren
> as far as the user experience - the interface, it sounds remarkably
> analog as well.
> 
> We must remember the big part of the DX wasnot only the operator
architecture, but the manner in which it handled polyphony.  This took
a big toll on the it's richness.  They weren't fat.  The MOdel 30
doesn't have these issues.  Imagine that marvelous phase cancellation
caused by two slightly detuned analog oscillators. We know this sound.
 Now imagine that phase cycle being a minute long. These are the types
of advantages digital technology bring to the analog model.
> 
> Sound samples will be here soon.
> 
> Regarding the select switches, and we must keep in mind that the MOdel
> 30 is still in development and being digital, changes can come easily.
> But as it stands, the select switches are used in conjunction with the
> WAVESHAPE (labeled 'Variable') controls to determine which VCO or
> combination of VCOs are effected by manual adjustment or control
> voltage of waveshape.
> 
> For instance,  if you wish to change the waveshape of VCO 1 alone, you
> would depress it's SELECT button, it's LED will light indicating it's
> armed and then you could change it's waveshape via the pot or
> external VC.  If more than one VCO is selected, which is allowed, then
> each individual LED will light and adjustments to the Variable control
> will effect them all.
> 
> If multiple VCOs are enabled and on the next adjustment you wanted to
> change only one of them, depressing the select button of any
> 'live' VCO will disarm it.  It's LED would turn off, it would not be
affected by the change.
> 
> - P
> 
> 
> --- In PLAN_B_analog_blog@yahoogroups.com, tomas everaert
> <teveraer@> wrote:
> >
> >
> > On 25 Apr 2008, at 01:03, gabu_004 wrote:
> >
> > > Your new VCO seems to be really indeed giving us a new approach on
> > > timbre manipulation
> > >  and soundcreation...
> >
> > Agreed.
> >
> > I must admit, the very first moment I saw the model 30 announcement, I
> > had something like: nice, but not spectacular. After all, don't I
> > prefer analogue oscillators? And FM, haven't we seen that enough
> > already? Yet the more information sneaks in, the more my mind is
> > changing...
> >
> > By the way, thank you very much, Peter, for taking the time to
give all
> > these thorough explanations.
> >
> > Still one thing is unclear to me. How exactly do the select buttons
> > function?
> >
> > Thanks again,
> >
> > Tomas
> >
> > (anxiously---but patiently---awaiting sound samples.)
> >
> > (PS. Please excuse me for my yestereve's ramblings. It was late night
> > already here in Brussels (as it is now, in fact). I misunderstood
> > Peter's sentence
> >
> > >  the VCAs come after the processing
> >
> > thinking that he meant that the VCAs merely serve a final mixing
> > purpose and are not involved in the FM/RM/FS process itself. This
would
> > have been crazy, of course, since this would mean that, in the
> > FM-modes, the modulation indexes are fixed.
> >
> > I must admit that I liked the idea of an FM-synth (ok, ok, the
model 30

> > is much more than that:-) that is unable to perform even the most
> > simple standard FM patches, because the indexes are fixed. There's
> > something jolly blasphemous about this, which I like. And stíll I do
> > suspect the model 30 to be capable of a lot of interesting sounds with
> > such "fixed index FM", thanks to it's waveform
> > morphing/synchronization/... possibibilies. But I must agree, having
> > also VC of the indexes is still that little bit móre interesting :-)
> >
> > Heck, all this talk about the FM modes...and saying that I'm
> > particularly intrigued by the RM and FS modes!)
> >
>

Adam,

The scenario you're raising is accurate, but keep in mind it would
more than likely only  be an issue while in MINI MODE 1. There are 11 others which this wouldn't be as significant. I am not attempting to discredit your observation and realize I have an unfair advantage,  higher ground if you will,  as I've had an opp to hear this module in action.

When the initial operational conventions of this module were defined,  I too had concerns based on what seemed to be potential circumstantial
complications. Then I heard it and the piece of paper with comments on it was crumpled up and thrown into the trash. I understand that this
cannot be adequately conveyed until you've had a chance to hear it 
yourselves,  but as soon as you do I speculate you'll come to similar
conclusions.

You will be amazed at what it came do. Things which it can't I
don't think will be as much of an issue at that point. We are currently discussing our initial sound files examples, the goal being to clearly highlight the key features without masking the audio through creative secondary processing (anything sounds good going through THAT delay). 

- P   


--- In PLAN_B_analog_blog@yahoogroups.com, "elemental"
<adam.elemental@...> wrote:
>
> Sounding good !!
> 
> One question about the select buttons again :
> If an external VC is modulating the waveshape of osc 1 and I want to
> adjust the waveshape of osc 2... i'd have to deselect 1 and select 2,
> asjust, then go back. ?
> I'm just thinking... it could get confusing, esp if modulation is
> happening at audio rates - switching back and forth. Hard to say in
> practice though I am just theorising! 
> 
> Ideally there would be another select for ext cv for each osc. But I
> understand space and cost are prob more important to consider.
> 
> Thanks for all the info. Def on my list now. 
> 
> 
> --- In PLAN_B_analog_blog@yahoogroups.com, "(i think you can figure
> that out)" <peter@> wrote:
> >
> > Making an astute prediction: Once you all hear it, your apprehensions
> > will subside.  The MOdel 30 not only behaves like it's analog brethren
> > as far as the user experience - the interface, it sounds remarkably
> > analog as well.
> > 
> > We must remember the big part of the DX wasnot only the operator
> architecture, but the manner in which it handled polyphony.  This took
> a big toll on the it's richness.  They weren't fat.  The MOdel 30
> doesn't have these issues.  Imagine that marvelous phase cancellation
> caused by two slightly detuned analog oscillators. We know this sound.
>  Now imagine that phase cycle being a minute long. These are the types
> of advantages digital technology bring to the analog model.
> > 
> > Sound samples will be here soon.
> > 
> > Regarding the select switches, and we must keep in mind that the MOdel
> > 30 is still in development and being digital, changes can come easily.
> > But as it stands, the select switches are used in conjunction with the
> > WAVESHAPE (labeled 'Variable') controls to determine which VCO or
> > combination of VCOs are effected by manual adjustment or control
> > voltage of waveshape.
> > 
> > For instance,  if you wish to change the waveshape of VCO 1 alone, you
> > would depress it's SELECT button, it's LED will light indicating it's
> > armed and then you could change it's waveshape via the pot or
> > external VC.  If more than one VCO is selected, which is allowed, then
> > each individual LED will light and adjustments to the Variable control
> > will effect them all.
> > 
> > If multiple VCOs are enabled and on the next adjustment you wanted to
> > change only one of them, depressing the select button of any
> > 'live' VCO will disarm it.  It's LED would turn off, it would not be
> affected by the change.
> > 
> > - P
> > 
> > 
> > --- In PLAN_B_analog_blog@yahoogroups.com, tomas everaert
> > <teveraer@> wrote:
> > >
> > >
> > > On 25 Apr 2008, at 01:03, gabu_004 wrote:
> > >
> > > > Your new VCO seems to be really indeed giving us a new approach on
> > > > timbre manipulation
> > > >  and soundcreation...
> > >
> > > Agreed.
> > >
> > > I must admit, the very first moment I saw the model 30
announcement, I
> > > had something like: nice, but not spectacular. After all, don't I
> > > prefer analogue oscillators? And FM, haven't we seen that enough
> > > already? Yet the more information sneaks in, the more my mind is
> > > changing...
> > >
> > > By the way, thank you very much, Peter, for taking the time to
> give all
> > > these thorough explanations.
> > >
> > > Still one thing is unclear to me. How exactly do the select buttons
> > > function?
> > >
> > > Thanks again,
> > >
> > > Tomas
> > >
> > > (anxiously---but patiently---awaiting sound samples.)
> > >
> > > (PS. Please excuse me for my yestereve's ramblings. It was late
night
> > > already here in Brussels (as it is now, in fact). I misunderstood
> > > Peter's sentence
> > >
> > > >  the VCAs come after the processing
> > >
> > > thinking that he meant that the VCAs merely serve a final mixing
> > > purpose and are not involved in the FM/RM/FS process itself. This
> would
> > > have been crazy, of course, since this would mean that, in the
> > > FM-modes, the modulation indexes are fixed.
> > >
> > > I must admit that I liked the idea of an FM-synth (ok, ok, the
> model 30
> > > is much more than that:-) that is unable to perform even the most
> > > simple standard FM patches, because the indexes are fixed. There's
> > > something jolly blasphemous about this, which I like. And stíll I do
> > > suspect the model 30 to be capable of a lot of interesting
sounds with

> > > such "fixed index FM", thanks to it's waveform
> > > morphing/synchronization/... possibibilies. But I must agree, having
> > > also VC of the indexes is still that little bit móre interesting :-)
> > >
> > > Heck, all this talk about the FM modes...and saying that I'm
> > > particularly intrigued by the RM and FS modes!)
> > >
> >
>

Awesome Peter! gotta change my plans now to fit those I will need heheheh yesss 
addicting stuff!
Hey BTW... "en mass(e)" you often spice your writing with  words "en Français" here and 
there, can you speak it? That has that "distingué" vibe there ;P
Or is it some southern californian way?
hehehe I think it's cool though! 
Ouais, vraiment là!!!!!!

g.


--- In PLAN_B_analog_blog@yahoogroups.com, "(i think you can figure that out)" 
<peter@...> wrote:

>
> 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.
> > >
> >
>

yeah I realised also Peter but other american langage speakers use "sans" to replace 
"without" sometimes...

(what's funny is that "without" translated litterally in french doesnt exist "avec en 
dehors"...) 

well just return of things as us french we use so many english based words...

and we sometimes also badly transform them or frenchise them...


Best,


Alexandre from Paris




--- In PLAN_B_analog_blog@yahoogroups.com, "gabu_004" <gabu_004@...> wrote:

>
> Awesome Peter! gotta change my plans now to fit those I will need heheheh yesss 
> addicting stuff!
> Hey BTW... "en mass(e)" you often spice your writing with  words "en Français" here and 
> there, can you speak it? That has that "distingué" vibe there ;P
> Or is it some southern californian way?
> hehehe I think it's cool though! 
> Ouais, vraiment là!!!!!!
> 
> g.
> 
> 
> --- In PLAN_B_analog_blog@yahoogroups.com, "(i think you can figure that out)" 
> <peter@> wrote:
> >
> > 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.
> > > >
> > >
> >
>