Hello,

If you have the A-137, you do not need the 136 or 116 (that is my opinion).

Regarding the tweakability: the main parameter for all distortion
devices in the world is the level of the input signal.

Feed a sine into a VCA, modulate that VCA with an envelope, feed that
signal into the stompbox -> it will be the same as if you would tweek
the "foldinglevel" at the A136 or 116

I even never use modulation on the A137, but I always use fix parameter
settings on the A137 and modulate the inputsignal with an VCA.
This has the big advantage, that the output signal level stays the same.

Florian



Am 07.02.2013 17:07, schrieb sweetsynthchuck:

> Hi Florian,
>
> Thank you for the very in-depth response,
>
> That's exactly what I want to do is "Add" to my source signal before further processing ie filtering..etc
>
> ok regarding your last statement (stompboxes), the reason I am interested in the units suggested is for there tweak ability and shaping abilities of static waveforms (even modulation options via cv which is a huge plus).
>
> I first set my eyes on a few stomp boxes but in terms of tweak ability and shaping waveforms I fear they may be a one trick pony and not flexible enough.
>
>
> I had originally planned to get a A-138D and a few stomp boxes but in terms of flexibility I opted not to and after some research came to the modules listed in original post.
>
> I may consider the 138d if stomp boxes will give me more or alternative types of distortion that cannot be achieved with modular units, I am fascinated with distortion, pushing things to there limits to create harmonics be it subtle or extreme.
>
>
> My goal is to build a fx chain in a beauty case for my vco shaping duties , I have 32hp to fill.
>
> so any recommendations for my specific task is welcome.
>
> the 136 is defiantly on my to buy list (flexible and from the pictures of the actual wave shaping , it looks like the perfect candidate) so I have 24hp free for other modules.
>
> I have in mind the 137 + im not sure what else.
>
>
> Also for my specific task do you really feel the 116 is not really needed if I pick up a 136
>
>
> Thanks
>
> ps
>
> Thanks Zoe I did check out all the demos while researching (I research a lot before any purchases)
>
> :)
>
>
>
>
>
>
>
>
>
> --- In Doepfer_a100@yahoogroups.com , Florian Anwander wrote:
>>
>> Hello and welcome!
>>
>>
>>> I am very much intent on getting a combination of the units above for
>>> processing duties, my question is there any overlap between the four
>>> selected
>> Let me describe it soundwise:
>>
>> The A116 can sound similar to a simple fuzz box, but has many setting,
>> which can make the sound "thin". I like it for non-synth signals and for
>> classic TB303-Filter-through-distortion-box sounds.
>>
>> The A136 can create sounds which remind to hardsync, but also normal
>> "fuzz box" sounds. So there is an overlap with the A-116.
>>
>> The A137 is basically four stages of A136 in series, with less
>> parameters per stage, but the count of stages adds parameters. It
>> doesn't really do the fuzz box sounds, but it does all the hardsync-like
>> waveshaping sounds in "cubing".
>>
>>
>> The A-137-2 makes a supersaw from a normal saw. It has nothing to do
>> with the other three modules.
>>
>>
>> The A116, A136, and A137 require that you thinking goes away from
>> subtractive synthesis. Those modules add(!) something to the sound,
>> while usual filters subtract(!) somthing from the sound. To get the
>> interesting results, you have to feed smooth and "dark" sounds into
>> those modules.
>> Of course you can use those modules for alread bright signals, but then
>> they do not add a dramatic change to the signal. Example: sending a
>> rectangle wave into one of those modules is quite senseless, as a the
>> distortion of any waveform will result finally in a rectangle.
>>
>> To be honest: 80% of the sounds from a A116 or A136 can be achieved with
>> a simple guitar stomp box. In the opposite the A137 (used in the right
>> way) can create very unique sounds. I recommend the A137.
>>
>> Florian
>>
>
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