This sturdy and compact mixer is great for audio and CV. It’s clean, yet can be driven to distortion easily is desired. It’s bipolar output makes it great for using with Control Voltages.
Visit STG SOUNDLABS for more information.
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Angelspit demonstrates how to use a High Pass Filter to move with a sound’s pitch and remove unwanted rumble.
Lolita from our Forum asked me this question:
Um, basically, how do you keep your songs sounding original? Even if you listen to diverse range of music, how do you keep your songs sounding like your own?
Like, whenever I try to write a song I’ll come up with a cool bass line(because the bass is my main instrument), then stop and realize, ‘oh damn, that sounds just like that Marilyn Manson song or that Emilie Autumn song.’ And I’ll try re-arranging it, but I’m always afraid that I’ll write something great then realize too late that it sounds just like another song. Or I’ll not realize it at all and publish the song, then later get a bunch of people accusing me of copying a part of someone’s song.
Roland SH-101 (Wall Mounted, Bad Paint Job)
This is my oldest synth!!! It was the second synth I purchased.
The custom paint job was allegedly done by FRANKIE KNUCKLES (!!!) during the early 90s at a bush rave (Doof) near Byron Bay – back in the day when “Raves” and glow sticks were cool. This horrible paint job also acts as insurance…no-one wants to steal it.
I’m on an (insert “old and established” artist here) binge. Everything from his first demos to the latest stuff – nearly 30 years of amazing music. His old stuff is raw, experimental, full of mistakes, poor production and AWESOME.
His new stuff is clinically brilliant, but lacks something. Like he’s lost that edge that comes with learning, making mistakes and not giving a f*ck.
Don’t get me wrong, i think the guy’s brilliant and he’s been a profound influence on me and millions of others.
Brand: Oberheim and Moog (allegedly)
Model: The mythical “OberMoog” Pro-type *Modular* Synth made by Moog and Oberheim
Link: NO LINKS EXIST.
I bought this in an auction after we lost the bid on a MiniMoog (the Obermoog started our modular addiction!!). The guy we bought if from told me he bought it in Germany in the early 80s.
Techmaster originally posted on Angelspit’s Forum:
Check this thread because there’s been a lot of cool conversation since the original post.
Modular questions for Zoog
Can you share any info on extra equipment you’ve added to your rig, like why you chose it, and how well it serves its purpose, etc… I’m sure modulars are just like anything else, no one brand is good at everything, and you kind of have to find what brand is best at what…like Doepfer might have the best oscillators, but Blacet has the best LFO, Analogue Solutions has the best distortion unit, etc…
Can you share any info on extra equipment you’ve added to your rig, like why you chose it, and how well it serves its purpose
Anyways, after seeing/hearing what you’ve accomplished with your modular, and what other people are doing with them, I’ve decided to take the plunge. I purchased a Doepfer kit today to build my rack, it comes with the rails and power supply. Before I started ordering any modules, I figured I’d ask Obi-Wan Kenobi himself, what he recommends getting as far as the modules.
Firstly, go here and read this:
i think your attitude to this is really good – take it slow!
modulars allow you to dissect sound on a very detailed level….patience and persistence young jedi!
So will these recommended setups sound like these other guys, or will it sound like all hell is breaking loose?
Anyways, here’s a brief rundown:
Mini basic system (1 row of modules):
2 VCO’s, 1 ring modulator, 1 random noise, 1 VCF, 1 log VCA, 1 log mixer, 1 ADSR, 1 LFO, 1 midi interface
if money is tight, get this one. you can do A LOT with this!
be aware: i think this filter is the A-120…and it’s rather plain.
Basic system 2 (2 rows of modules):
2 VCO’s, 2 ADSR’s, 2 LFO’s, 1 ring mod, 1 audio divider, 1 VC wave processor, 1 random noise, 1 VCF1, 1 VCF2, 1 linear VCA, 1 log VCA, 1 linear mixer, 1 log mixer, 1 dual S&H, 1 trigger divider, 1 trigger sequencer, 1 dual slew limiter, 1 multiple i, 1 midi interface
this one is awesome, but there’s some stuff here that you might not use:
1 VCF1, 1 VCF2 – interesting to find out what these are. like i mentioned, the A-120 is plain…but the A-102 is AMAZING! (and it’s also cheaper)
The Trigger Divider and Trigger Sequencer are not overly useful unless you’re using analogue trigger sequencers.
You’ll notice eBay is crawling with trigger dividers, trigger sequencers and dual slew limiters…this is because people buy this package and sell the stuff they never use.
Also you’ll need more that on multiple…they’re easy and cheap to make!!
Either way, you will want to add to your system….start with a GOOD oscillator and a GOOD filter.
Doepfer oscillators are ok…they have a habit of loosing their tuning over several octaves, but they have some awesome strengths – they’re cheap and they respond wonderfully to FM.
Important thing to remember about Doepfer power units:
They can power A LOT more than 10 moduals – there’s a “Studio Planner” Excel sheet somewhere that will let you plan your set up. It will add up the voltages to make sure you don’t blow the power….and you can power MANY (like 15-20) modulars from the one power unit…which is handy to remember, because the power units are the most expensive part of a modular.
Different oscillators and filters from different companies sound completely different. A Doepfer oscillator sound different to an Analogue Solutions oscillator.
I was thinking of basically piecing together the 1 row setup, then slowly add pieces to make the 2 row setup.
I think this is the best option. Keep me posted on how it grows!
We’re laying down pads for a new track. They need to sound like EVIL CLOUDS…here’s how we do it:
1) Two similar pads sounds. Slow attack and slow decay. Super slow LFO modulating Freq Cut-Off (Resonance applied to taste…the more resonance the more alien it will sound). HiPass filter applied so it takes the “guts” out of the pads.
2) Pan pad [A] 70% left, and pad [B] 70% right. Add reverb and chorus, but pan the reverb+chorus for Pad [A] 100% hard RIGHT, and Pad [B]‘s chorus+reverb 100% hard left.
The mirrored wet to dry signals will add to the stereo field
The variation in panning will add to the perceived width of the stereo field
The HiPass filter on the pads will add to the perceived depth
…and yes, call me a liar, I pushed the UNISON button on the Jupiter8