MOTM

I've stuck a small all-MOTM sample up at:
http://www.tomy.net/MOTM-BinOral-Beats.mp3

This uses no external processing and uses
only MOTM modules. It is strange in that
it sounds like it might have used delays
or reverb, but it is all a trick of the
ears. It uses 3 300s, 2 320s, 1 100, 1 120,
1 700, 1 440, and a whole lot of patch
cords :-)

Tomy

Sounds great Thomas! Alas, it makes me pine for two more oscillators... 

Are you using the 700 to route audio l/r only? Or are you setting a
threshold for the pitch somehow with the second switch (good idea, must try
at home)? It may be another trick of the ear, but it sounds like the LFO
slides the pitch to a plateau where it stays momentarily before sliding back
up... I would have thought slow 820, but you don't list that...

Thanks for posting it!

David.

> -----Original Message-----
> From: Thomas Hudson [mailto:thudson@...]
> Sent: Tuesday, December 05, 2000 1:20 PM
> To: motm@egroups.com
> Subject: [motm] New demo
> 
> 
> 
> I've stuck a small all-MOTM sample up at:
> http://www.tomy.net/MOTM-BinOral-Beats.mp3
> 
> This uses no external processing and uses
> only MOTM modules. It is strange in that
> it sounds like it might have used delays
> or reverb, but it is all a trick of the
> ears. It uses 3 300s, 2 320s, 1 100, 1 120,
> 1 700, 1 440, and a whole lot of patch
> cords :-)
> 
> Tomy
> 
> -------------------------- eGroups Sponsor 
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> --------------------------------------------------------------
> -------_->
> 
> 
>

David Bivins wrote:
> 
> Sounds great Thomas! Alas, it makes me pine for two more oscillators...
> 
> Are you using the 700 to route audio l/r only?

Yes, the 700 is switching the output of the 440 between left and right.

> It may be another trick of the ear, but it sounds like the LFO
> slides the pitch to a plateau where it stays momentarily before sliding back
> up... I would have thought slow 820, but you don't list that...

One LFO is set to about .5 hz. It is sweeping one VCO that is hard synched
to another. That does the sort of phasy sweep. This slow LFO is also
the B input to the 120, the other being the third VCO tuned an octave lower
than the one doing the hard sync. This gives some play on the bottom end
(mode set to cross).

The other LFO is set a faster speed and controls (sin out) the 700
flipping 
between left and right. It also controls (tri out) the speed of the
sample 
hold which is fed to the FM input of the 440. Fiddling with the switching
point of the 700 and shape of the 320 gets various syncopation effects. 

> Alas, it makes me pine for two more oscillators... 

Three is very, very good. Of course, I'm sure four would be even better.

Tomy

Wow, this is a great demo!  The panning is a little hard on the ears with
headphones on, but it *really* sounds good!  Great work!

--PBr

> -----Original Message-----
> From:	Thomas Hudson [SMTP:thudson@...]
> Sent:	Tuesday, December 05, 2000 10:20 AM
> To:	motm@egroups.com
> Subject:	[motm] New demo
> 
> 
> I've stuck a small all-MOTM sample up at:
> http://www.tomy.net/MOTM-BinOral-Beats.mp3
> 
> This uses no external processing and uses
> only MOTM modules. It is strange in that
> it sounds like it might have used delays
> or reverb, but it is all a trick of the
> ears. It uses 3 300s, 2 320s, 1 100, 1 120,
> 1 700, 1 440, and a whole lot of patch
> cords :-)
>

Uploaded to

http://www.synthtech.com/demo

is a new WaveWarper demo. No big delay or reverb:)

This shows the unique '6 way Ring Mod' feature (yep, it has 6 inputs!) All
waves used are
simple sine waves (either VCO or '440 in self-res). 3 of the 6 sines are
harmonically tuned, 3 are not.
2 syncopated UEGs drive the beat (using the S&H out of a '101 to drive a
'700 for "voltage-controlled
probability").

Listen as the Warper generates all sorts of timbres, from wood blocks, to
grunge to harsh overdrive.
The gain-riding is tough on this module (needs tweaking) and parts are soft
and parts are loud.

This is the first of the 500-series. These are weird, strange and bizarre
modules. Not for beginners (musically)
and will not be subscription.

Feedback welcome!

Paul S.

Very cool!

"...will not be subscription"?  Does that mean prescription only?

R.

-----Original Message-----
From: Paul Schreiber [mailto:synth1@...]
Sent: Wednesday, September 05, 2001 5:46 AM
To: MOTM listserv
Subject: [motm] New demo


Uploaded to

http://www.synthtech.com/demo

is a new WaveWarper demo. No big delay or reverb:)

This shows the unique '6 way Ring Mod' feature (yep, it has 6 inputs!) All
waves used are
simple sine waves (either VCO or '440 in self-res). 3 of the 6 sines are
harmonically tuned, 3 are not.
2 syncopated UEGs drive the beat (using the S&H out of a '101 to drive a
'700 for "voltage-controlled
probability").

Listen as the Warper generates all sorts of timbres, from wood blocks, to
grunge to harsh overdrive.
The gain-riding is tough on this module (needs tweaking) and parts are soft
and parts are loud.

This is the first of the 500-series. These are weird, strange and bizarre
modules. Not for beginners (musically)
and will not be subscription.

Feedback welcome!

Paul S.




 

Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/

Much better without the effects to hear what is going on, and I like what I
hear!  A six-way RM?  Geeze.  I'll bet a couple of higher-harmonic content
waves in place of the sines would be interesting.  A couple of questions
Paul, if I may:

What control(s) are used to manipulate the timbre?

When you say the gain-riding is tough, do you mean that some sort of
gain-correction circuit will have to be implemented to "even out" the
loudness range?

Do you have a timeline for this 500-series module?

George

----- Original Message -----
From: Paul Schreiber <synth1@...>
To: MOTM listserv <motm@yahoogroups.com>
Sent: Wednesday, September 05, 2001 8:46 AM
Subject: [motm] New demo


> Uploaded to
>
> http://www.synthtech.com/demo
>
> is a new WaveWarper demo. No big delay or reverb:)
>
> This shows the unique '6 way Ring Mod' feature (yep, it has 6 inputs!) All
> waves used are
> simple sine waves (either VCO or '440 in self-res). 3 of the 6 sines are
> harmonically tuned, 3 are not.
> 2 syncopated UEGs drive the beat (using the S&H out of a '101 to drive a
> '700 for "voltage-controlled
> probability").
>
> Listen as the Warper generates all sorts of timbres, from wood blocks, to
> grunge to harsh overdrive.
> The gain-riding is tough on this module (needs tweaking) and parts are
soft

> and parts are loud.
>
> This is the first of the 500-series. These are weird, strange and bizarre
> modules. Not for beginners (musically)
> and will not be subscription.
>
> Feedback welcome!
>
> Paul S.
>
>
>
>
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
>

>This is the first of the 500-series. These are weird, strange and bizarre
>modules.

I have a question, how does the MOTM numbering system work??

I seems fairly obvious that the 300 series are oscillators, the 400 series
are filters, and the 900 series are raw utility modules (mults, power
supply).  Beyond that, I'm confused.

I had thought that maybe the 100 series were audio producing/processing
modules (VCA's, octave divider, noise generator), and the 800 series were
voltage producing/processing modules (lag processor, pedal interface,
Larry's CV dividers, envelope generator), but the 830 is an audio mixer.
Then I thought that maybe the 100 series all had AC-coupled outputs, and
the 800 series all had DC-coupled outputs, but the 101 outputs S&H and I've
heard the 120 can be "used as a sequencer" so that throws that theory out
the window.

Nevermind the 700!!

Could someone please explain how the numbering system works??  I'm sure I'm
not the only person who is curious.

THANX!!

First, you are assuming there is a "system" :)

The reality is that the series was 100 and 900 to put 'placeholders' at the
ends. But, as time went on
I sort of have a little scheme:

100: simple audio procesors
200: reserved
300: oscillators/LFO
400: filters
500: weird
600: reserved
700: no telling
800: DC processors, but the mixer is AC/DC so I stuck it in there
900: misc/utility

Paul S.
workin' on the MOTM-480 filter. Hmmmm..........wonder what THAT is??!? :)

In-Reply-To: <002201c136dc$b21c7900$71765140@...>
> 700: no telling

as in 'big secret'
or as in 'no telling what it might do'?

:o)


Keith

http://home.freeuk.net/lowpass

Since the 410 is 3 1-pole filters, the 420 is a 2 pole filter and the 440 is
a 4 pole filter, the logical conclusion is the 480 is an 8 pole filter/phase
shifter.

John Loffink
microtonal@...

>
> Paul S.
> workin' on the MOTM-480 filter. Hmmmm..........wonder what THAT is??!? :)
>
>

At 9:03 AM -0500 09/06/01, Paul Schreiber wrote:
>
>First, you are assuming there is a "system" :)

Well, you are an engineer named "Schreiber"  :)

>The reality is that the series was 100 and 900 to put 'placeholders'
>at the ends.

That makes sense.  Weren't the 100 and 900 the first modules offered, or
did the 900 come much later??

>But, as time went on
>I sort of have a little scheme:
>
>100: simple audio procesors
>200: reserved

Overflow from the 100 series??  I figure only 10 modules can fit in each
series, as the last digit seems to be the revision number (eg. 101)

>300: oscillators/LFO

Hence the "O" in LFO :)

>400: filters
>500: weird
>600: reserved
>700: no telling

Sequencers, routers, logic modules??

>800: DC processors, but the mixer is AC/DC so I stuck it in there

OK :)  I'm surprised the mixer wasn't named the 600 (it has six inputs) and
start a new series for traditional audio processors such as the triple
pre-amp.  I'm guessing the envelope follower will be placed in the 100
series with the other two VCA's, although like the 830 and 101, it also has
DC output.   I'm thinking the 800 series will fill up very fast, as it
seems Larry can ride a motorcycle and design new voltage modules at the
same time.  What a timesaver!!  I've never come back from vacation with
anything more than an empty wallet and a sunburn :)

>900: misc/utility

Thank you for explaining this.

>workin' on the MOTM-480 filter. Hmmmm..........wonder what THAT is??!? :)

At 7:37 PM -0500 09/07/01, Microtonal wrote:
>
>Since the 410 is 3 1-pole filters,

Are you sure it isn't 3 2-pole filters??  Besides the PS-3100 also had a
fixed HPF so that would make it the 470 :)

>the 420 is a 2 pole filter and the 440 is
>a 4 pole filter, the logical conclusion is the 480 is an 8 pole
>>filter/phase shifter.

Hmmm...well 420 is from MS-20, and you would think a Prophet Five filter
clone would have a five in it, but you'd be wrong.

Oh I get it, "MS" has two letters so that's 420, and "Five" has four
letters so that's 440, and since JH has always been a big fan of those Korg
string machines, PS is probably spelled with 100 letters in
German..."additional followingaboveprevioussignaturecomment" or something,
and Paul just rounded it off to two significant digits :)

Since "Oberheim" has eight letters, the 480 would be the SEM filter, and
since Moog has an "oo" in it, so that would be the 400 -- the very first
synth filter.  Otoh, "Bob" only has three letters so maybe that's the 430 :)

Paul wrote:
>800: DC processors, but the mixer is AC/DC so I stuck it in there

From: <mark@...>
I'm thinking the 800 series will fill up very fast, as it
seems Larry can ride a motorcycle and design new
voltage modules at the same time.  What a timesaver!!
I've never come back from vacation with anything
more than an empty wallet and a sunburn :)

----
Stooge Larry adds:

Funny you should mention this today.  The Paul-refined pedal-interface
prototype with all the extra bells and whistles came to full functionality
Thursday night, went through rigorous testing (and fun time) Friday night
and went back to Paul today.  Paul's idea to add a "gate out" and "mix in"
to this module is just fantastic.  I had lots of fun last night playing a
sequencer and filter all with nothing but my right foot.  Here was the set
up:

850 gate out to UEG in step mode
UEG out to 300 VCO 1/v oct (set up as a 8 step sequencer)
850 CV to 440 FM1 in
300 pulse (could be any wave) to 440 IN1
320 LFO to 850 Mix IN

I used the pedal in kind of a wah-wah fashion in the sequence.  I sat the
gate threshold about 2/3 up.  So, I used the pedal to "step" the sequencer
in real time.  The neat thing is that I could stay on each note with the
"wah wah" effect as long as I wanted.  But, just sweep a little deeper with
the pedal and advance to the next note.  It was fun.  The 320 could be mixed
in so that the gate position on the pedal actually changed with the 320
influence.  That made the whole thing have some randomness. It was
cool was all the control I had over my 8 note sequence and filter cutoff
with just my foot.

This one will be on the "gotta have" list.  :)
I'm sure I'll have to have two.  :)

Larry H.