This is the first time I have seen that you can use the VCA before a trigger input. This was always a module for me to control the output signal of a VCO. Sometimes I build complicated constructions with switches to control clock signals, I could have just used a VCA :D. My goodness, I have to laugh at myself right now that I didn't think of this sooner. Thanks for the video Omri. It was also very pleasant to listen to the examples :)
16:14 sounded great!! It actually reminded me of a Rammstein Synth Solo.. maybe ill find which. Edit: It sounds quite alike the outro synth of "Du Hast".
I think we are tuned into the same "aether". I've been working with instrument samples and synthesizing real world instruments. A sample of high-middle C on a piano doesn't sound right if it plays a low-middle C. I've used several *comparators* and some steering logic (necessary to individually select if using more than one comparator), to trigger the 12 note range of either a Low-middle C, Middle C, or High-middle C, to use the sample for that range. As for synthesizing real world instruments, many only have a 2 octave range, but one like a tenor sax (very difficult to simulate) has a different tone and resonance in it's upper octave than it does in the lower - making the *comparator* necessary to separate or steer the raw wave through a different set of filters. I also have been using the IMPROMPTU GATE-SEQ-64, clocked by dividing the main clock by 32 to start and stop various "instruments" in the patch. This gives a non random control over an 8.5 minute "song" (at 120 BPM). Even if the instruments are randomly playing notes within a selected scale, the gate sequencer gives it a feeling of being "directed" My activities in VCV have often preceded or coincided with your videos on the same subject or technique by a day or two or three. ... weird, hu!
+1 for the "Branches else triggering delay trail" appreciation society - that is a great idea, thanks ! And using comparator to only get certain notes through delay is even better, many thanks !!
Lovely video, as usual!!! By the way, Bogaudio modules have a dark mode! Takes a bit getting used to, but at least my eyes aren't blasted with white. :D
Triggering the delay trail with another envelope and VCA is SO cool. that's brilliant and sounds amazing. thanks for the lesson
Glad you enjoyed it!
Learning, then, so much more to learn. Thanks Omri.
Yes, there is so much to explore... Cheers!
Great tutorial again. Loved the vca to delay on the first vca tail tip. Thanks.
Glad you enjoyed it
This is the first time I have seen that you can use the VCA before a trigger input. This was always a module for me to control the output signal of a VCO. Sometimes I build complicated constructions with switches to control clock signals, I could have just used a VCA :D. My goodness, I have to laugh at myself right now that I didn't think of this sooner. Thanks for the video Omri. It was also very pleasant to listen to the examples :)
Like I always say, voltage is voltage is voltage :)
Very nice, especially the gated clock technique - definitely incorporating that into my generative patches.
There's so much to explore... Cheers!
Enjoyed it,
Cheers!
Oh Yeah .... nice ;-)
Cheers!
16:14 sounded great!! It actually reminded me of a Rammstein Synth Solo.. maybe ill find which.
Edit: It sounds quite alike the outro synth of "Du Hast".
Proper
great video as always Omri Cohen ty very much
soon vcv 2
Cheers!
I think we are tuned into the same "aether".
I've been working with instrument samples and synthesizing real world instruments. A sample of high-middle C on a piano doesn't sound right if it plays a low-middle C. I've used several *comparators* and some steering logic (necessary to individually select if using more than one comparator), to trigger the 12 note range of either a Low-middle C, Middle C, or High-middle C, to use the sample for that range. As for synthesizing real world instruments, many only have a 2 octave range, but one like a tenor sax (very difficult to simulate) has a different tone and resonance in it's upper octave than it does in the lower - making the *comparator* necessary to separate or steer the raw wave through a different set of filters.
I also have been using the IMPROMPTU GATE-SEQ-64, clocked by dividing the main clock by 32 to start and stop various "instruments" in the patch. This gives a non random control over an 8.5 minute "song" (at 120 BPM). Even if the instruments are randomly playing notes within a selected scale, the gate sequencer gives it a feeling of being "directed"
My activities in VCV have often preceded or coincided with your videos on the same subject or technique by a day or two or three. ... weird, hu!
Oh wow, it sounds like you're deep into this :) I wish you many hours of fun!
@@OmriCohen-Music All started 35 years ago at my electronics bench. VCV is less messy and far cheaper!
Another great video Omri, thank you!
Glad you enjoyed it!
Just what I needed 😎
Cheers!
+1 for the "Branches else triggering delay trail" appreciation society - that is a great idea, thanks ! And using comparator to only get certain notes through delay is even better, many thanks !!
Glad it was helpful!
Lovely video, as usual!!! By the way, Bogaudio modules have a dark mode! Takes a bit getting used to, but at least my eyes aren't blasted with white. :D
Thanks! I will have to get used to the dark mode :)
Another great one, thankyou Omri
Glad you enjoyed it
Will try it out Omri
Let me know how it goes :)
Ummm. Omri, What about the "Heyyy Guyyys!"?! Can't start without that, otherwise it invalidates the whole experience!!!