Wednesday, March 27, 2019

See, it's not just me!

A quick shout-back to DJ Pangburn, writing for - with a great article on using Single Cycle Samples with your hardware. In addition to talking about how to use SCW's in typical samplers, there is also coverage of wavetable synths like the Blofeld and tuning them in something like an Octatrack.

As part of the discussion, there was also a pointer to my Single Cycle Waveform editor (, which was pretty cool to see. I hope this opens the doors for some new people to enjoy rocking out the cycles!


Monday, March 18, 2019

And all that work...

So, I'd just got done setting up my patchbay the way I wanted it to be. Ran snakes to both of the synth work areas. Got the podcasting mic situation set up as desired. And even got a multi-speaker monitoring setup arrayed the way I wanted to.

Then came the rain.

Here in Minnesota, as with much of the Midwest, there's been a significant amount of flooding. Sometimes it's because of bad storms, and sometimes because of melt before the ground is ready to absorb it. In any case, there it is - and my studio is no more.

I didn't lose any gear, but the work area I was in is basically destroyed. The carpet got soaked, and is now Mold Approved. The electrical got soaked, too, so I'm never going to be able to trust it. And it turns out that getting insurance support on any of this is based on how the water comes it. If it's a sewer backup, that's one insurance rider. If it comes in through the wall or floor (as is my case), that would be flood insurance. Conversely, if the water heater blows up, that's even a different one.

My trust in insurance companies has hit an all-time low. They are all bastard - each and every one of them. I've spent a lot of time with the agents; they could easily have looked at my policy and said "Hey Darwin, here in MN, this here thing is a good idea once."

No such luck. So now I'm going to be working off a limited amount of space, with a limited amount of gear - and a limited willingness to do it again. Seems like the last year of studio work was a massive waste of time and effort, and I'm really feeling down about it.



Sunday, March 10, 2019

My Favorite Modules: Quantizers

When it comes to 'fave' modules, quantizers always end up at the top of my list. This is especially true when we talk about 'playable' quantizers, like the Penrose shown above (from my work mini-system). These quantizers allow you to select the notes that you will 'snag' from all available pitches, allowing you to work within scales - but also to select interesting combinations of notes to build semi-determinate melodies.

I've tried just about every quantizer out there, and this little Penrose quant hits all the marks: selectable notes, triggered quantization (so you can determine when the quantization snags its next note - if that's what you want), and a highly-visible setup. This is really similar to my first favorite quantizer, which I was using back in the good ol' 5U days. That quantizer - the Moon Modular 565 quad quantizer - had a companion module (the 565D) that provided this keyboard-like interface:

One of my favorite performances was based on this thing. At the end of our Spark Festival performance, Tom Hamer was doing a little percussion bit, and I was feeding random voltages into this thing. I started reducing the notes until I was left with just a few notes. The Voltage Gods fed me the right value/octave combinations to do a sweet figure, and it ended perfectly. The audience loved it, and I looked like a hero.

In a way, a quantizer limits a modular to typically 'musical' results - in a way, returning to the tyranny of the keyboard. But it also allows me to experiment freely with voltage generation while providing a note-based constraint on the result, which is something that I find a neat combo. So I'm willing to live within pitch norms in exchange for the freedom to stretch out in other areas.

When I look at other people's systems, I see far fewer quantizers (or quant-like tools) that I would expect. Maybe that's why a lot of modular music sounds a bit like a woodworking shop; people are throwing out the pitch-baby with the keyboard-bathwater.

Too bad.