"The digital modules (A112 and the bitcrushers) are interesting, but
they are easily done within the computer"

although i have some sympathy with this view, the same could be said
of filters and all that, realistically.

although there are endless debates to be had about sound quality, to
my mind the key difference between noddling on screen with plugins,
and noodling in the basement with boxes knobs and wires, is the
different way of working, the different varieties of serendipitous
discoveries, the different workflows which can be better or worse for
spontaneous playing around, and so on.

so i would still say that digital modules are a good idea. remember
too that we are talking about high church hipster 8bit digital crud
modules, in the harvestman and a112 stuff. not waves plugins.



--- In Doepfer_a100@yahoogroups.com , "Korhan Erel" <listekutusu@...>
wrote:

>
> Thank you very much partlydrone, stu and florian! The instrument I

have in

> mind is indeed a bass clarinet, which is played wonderfully by a

friend of

> mine. But I would like to use this setup with other instruments, such as
> electric guitar, tenor saxophone or even vocals. I play in a free
> improvisation group and would like to use the modules there (I

normally use

> Audiomulch to create sounds and process instruments)
>
> I guess the BBD is definitely on the shopping list now. So is the

A-137 -

> I'll have to ask Schneidersbuero if they would go for a swap.
>
> The digital modules (A112 and the bitcrushers) are interesting, but

they are

> easily done within the computer (including CV control with Pluggo by

Cycling

> 74). I would like to keep this process as analog as possible.
>
> The phaser was only interesting for the CV input, but it's not on

the list

> anymore.
>
> I wanted the noise/random module for the random part, but I am open

to other

> suggestions.
>
> Florian, can you please elaborate on the use of A160,161 or the

A151. I am

> totally unfamiliar with these modules and cannot imagine how I could use
> them in my setup. An example that contains some of the modules mentioned
> here would be very useful.
>
> What would happen if an instrument, a clarinet or tenor sax, is fed

directly

> into a PLL You can assume that the instrumentalists are virtuosos

and can

> play whatever is required. I am looking for radical changes - I

would prefer

> terrible pitch tracking to very good pitch tracking.
>
> I can already use the Quad LFO as an oscillator, but would like to

modulate

> the frequency and hence want the A-110. Envelope out from A-119

would be a

> nice modulation source for the A-110, I guess.
>
> The S&H is the A-148.Slew limiters are 170 and 171. 170 has two, 171

has CV

> control. Which one should I get I'm usually a numbers guy and

assume 2 is

> better than 1.
>
> I do have one Multiplier.
>
> Thanks once more! I have already a much better idea. I'll try to put all
> your suggestions together and see what comes out (in functionality

and in

> Euros)
>
> Best,
>
> Korhan
>
>
>
> On 3/2/08, Florian Anwander <Florian.Anwander@...> wrote:
> >
> > Hi Korhan
> >
> > > I use these modules to process instruments as well as for sound

design

> > > (using the LFOs as oscillators). I have been planning to expand this
> > > system to process acoustic instruments during live performance,

and I

> > > consider the following modules:
> > >
> > > A-106 Xtreme Filter
> > > A-110 VCO
> > > A-114 Ring Mod
> > > A-118 Noise/Random
> > > A-125 Phaser
> > > A-127 VC Triple Res. Filter
> > > A-175 Dual Inverter
> > > A-188-1 BBD (1024)
> > > A-196 PLL
> >
> > > What can it
> > > do to a bass clarinet plugged into it
> > OK, I assume your instrument is woodwind (bass clarinet, but maybe
> > others like saxophon).
> >
> > So my definite recommendation is:
> > A-188 any BBD (which one is matter of taste) not for flanger, but for
> > standing resonances, karplusstrong stuff...
> >
> > A-137 Waveshaper. This is a MUST for a monophonic acoustic

instrument. I

> > do not know whether you work already with some kind of distortion, but
> > this one goes far beyond all you could think until now about

distortion.

> > And while the most synth audio modules require very constant

sound, the

> > waveshaper shows its real pwoer with dynamic input material from

ppp to

> > fff.
> >
> > A-114 as Ring modulator is very nice, but it is only one single sound,
> > which could be achived very similar also by audiomodulation of a

filter

> > or VCA.
> >
> > A-106 with a clearinet I'd go instead for the A-101-1.
> >
> > The A-196 can(!) be very interesting with an clarinet, but don't be
> > disappointed, if you find, that it is too extreme. If you want the
> > original PLL usage (transpose frequencies), then a guitar stompbox

or a

> > Boss RPS10 might be interesting too.
> >
> > A-110 is ok (but modify it so you can tune it through the full range
> > witht he pot)
> >
> > Cancel the A-127 you already have two filters, you don't need this.
> >
> > Cancel the A-125, and get instead a used guitar stompbox.
> >
> > instead: more CV sources which make your play vivid:
> > -> Get a Sample and Hold and a Slew Limiter, i think there is a AS

combi

> > module.
> >
> > Some kind of analogue sequencer, not the A155, but maybe a

A160/161 or a

> > A151 plus a mixer.
> >
> > Trigger them by the gate out from the 119, and each note will have a
> > different sound.
> >
> > finally: you will be in need of multiples. So don't forget them.
> >
> > Florian
> >
> >
>
>
> [Non-text portions of this message have been removed]
>