วีดีโอ

Thanks! There are a lot of great sounds to find in delay feedback.

Thank you! There's a lot of cool stuff in the basic building blocks. It's definitely my favorite part of modular.

I think it's a useful read, especially if you're working with generative/procedural systems or wanting to think about AI. I would recommend reading through the table of contents and then get it on loan from a library if it looks interesting. global.oup.com/academic/product/creativity-and-art-9780199659395

It's a very good one! 😁

@@kilo_llama just realized I actually have the 14 with the faders in your other video haha. I just attempted NIMB last night and came here for the tutorials... watched most of them, now listening to toshimaru nakamura... I would have never realized that I should only put the cables half way in on the back, thanks for the info!

@@dominicdit There are all sorts of cool tricks with the mixing board-I'm sure there are a bunch that I've yet to figure out. If there's anything that's still unclear after going through the tutorials, let me know!

Yes! So many interesting ideas from both. I love Stockhausen's recorded lectures too-it's so interesting to listen to him speak about the ideas directly th-cam.com/play/PLCqtKpAgznS7uIRaCVGpbO0ToEAJBI8EJ.html

That's great to hear. I feel like half is sort of perfect because it means there's stuff there you've already connected with, but maybe something new of interest as well. Do you have any favorites that I left out?

@@kilo_llama nothing that I’d personally recommend that wasn’t already on your great list.

Thanks. There's so much detail and expressive subtlety in acoustic instruments. And electronics have so much range and otherworldly character. A hybrid approach gives you the best of both worlds!

Yeah! Generally, you can't break the mixing board from too much feedback. It essentially limits itself at its max voltage (of course, you want to be careful about speakers/headphones/equipment that you run the mixing board into). So using the phone outs works fine. The one caveat is that it's a TRS stereo output, so without a splitter, you will be running stereo TRS into a balanced TRS input, which can distort the sound (not really a problem here, but good to know). For this reason I don't use the Phones out as a feedback point very much, but on my early videos you can see me use the tape out to tape in connection with RCA cables, which is a similar sort of total feedback loop. I don't do it so much anymore because I'm trying to keep my outputs consistently line level, but that's not a requirement for using the mixing board, especially if you're limiting the output.

Thank you!

Listening back to this one, I feel like there are so many spots where I could have just stopped and let it run. There's probably at least a month's worth of sound making to unpack from this if I slowed down a little bit.

Thank you! I'm seeing phase-locked loops everywhere now! 😆 Which is really not a complaint, because they sound so cool.

​@@kilo_llama I agree, they seem to be the rare circuits that really make a synth distort in a guitar-like way. Fun fact: recently a couple of PLL-based distortion pedals have been launched. At least one was fairly big and purple.

@@theproblembelief7549 Interesting. I will have to look for those. That sounds like it could be a lot of fun with the NIMB.

Thank you!

Thank you! I was definitely feeling that too. Delay-based feedback loops seem to hit science fiction sound real fast. This does make me wonder though...how close can the NIMB get to the music of the Krell. Some things can't be programmed, but I think with some manual assistance I might actually get quite close to emulating a Krell patch.

Warning ...warning !!!!

I was so sick when I was recording this video 😆

Thanks! I appreciate the suggestion. I list the video series on the upper title (NIMB, thoughts on music, etc), but I definitely am not settled on the title layout. I'll keep this in mind as I figure out the next iteration.

@@kilo_llama Ah, I see... good thing I said something then, as you've given me what I was after. Now I have more of an idea what to expect√ I must admit though, I didn't understand the naming convention. If you wanted to make it more obvious, maybe using two different Colors, one for Music, one for Monologues... would catch the eye of even the densest viewers, like myself :P

@@CaalamusTube That's really helpful to know. Currently, each category (nimb, talkies, modular, electronic objects, mavis, etc.) all have their own colors, but that's not a particularly useful distinction to most folks. I like your suggestion of using colors to make that higher-level distinction of music and commentary (very different watching experiences). Thank you for the feedback!

Thank you! I really appreciate the interest and support. If there's anything particular you'd like to know that I didn't cover in the videos, feel free to ask.

Thank you! And that's an interesting question. I'm a little hesitant to try connecting the two without a better understanding of how the voltage levels translate, especially for manipulation of the mixing board's core feedback loops. I may be overly cautious, but I like my modular a lot 😄

@@kilo_llamafair point! I usually use a line input module when connecting the mackie to the modular, but in this case I figure the vca will do a good enough job to attenuate the input signal. Plus it’s a pretty cheap vca, so it’s not the end of the world if it breaks :)

Thank you!

Thank you!

Thank you! I hope you enjoy listening to it!

Ooh, his work looks really interesting and resonant with the ideas of distortion and re-mediation that I was thinking about here. I'm very happy with how this ghost of a memory has recommended to me all sorts of new work. Thank you!

The mixing board can be quite versatile! And while more channels will give you more subloops to drone with, you can do a lot with even a small mixing board. If you haven't seen my instructional videos, you might find this one helpful: th-cam.com/video/i6Ah4Te3XAk/w-d-xo.htmlsi=rB0AJW2dy4I1aONH

Ooh, thank you for the suggestion! That's not the particular piece that I was thinking of, but it's a fantastic example of the process/dynamic that I was thinking about.

Also probably not what you were thinking but Alvin Lucier's 1969 I Am Sitting In A Room came to mind.

@@tectorumtapes Even so, I'm totally here for all of the connections and suggestions. Thank you!

Thank you!

Thank you! The Benjolin is pretty much the best.

Benjolin and Mimeophon sounds like a perfect pair!

Yeah! One thing I'd add is that the first mixing board (the NIMB), is also sort of operating as its own limiter under these conditions because it's getting pushed up to its maximum loudness. That maximum is just too loud, so using the second mixing board as an attenuator works in conjunction with the NIMB as its own sort of limiter. Using the external compressor/limiter is definitely a bit of a cleaner approach. I should also say that I'm currently at a point where I don't use any sort of limiter when I record right now. But that's come from getting more comfortable with the mixing board and also not patching the main outputs in feedback (so they work as a guaranteed attenuator similar to the second mixing board in the examples described above). For approaches that are less controlled, I would definitely still want to use a limiter in my setup.

@@kilo_llama Lovely, thank you, that is super clear, I appreciate it.

Thank you! It's definitely something on my list to explore more someday. I imagine that being able to dynamically switch between effects could enable some cool performance tricks too. I've seen a little bit of these mixing boards with effects in one of Sarah Belle Reid's videos, but I'd love to spend some time learning it myself. th-cam.com/video/Aj0nF4_6hPU/w-d-xo.htmlsi=JaJVkWtpS63csfde

Actually, looking at them a little more, it looks like a lot of them don't have individual send/return connections for the preamp channels. The way I patch the mixing board, I would really miss those. They're fairly essential for the way that I patch contained subloops.

@@kilo_llama ah I’m actually looking at the CFX12 or CFX16 for exactly that reason. I believe it has the same channel insert per channel as your usual Mackie mixer, so you could set up your stable oscillators as usual. SBR’s mixer comparison is a great resource!

@@MLoerAudio oh nice! That looks awesome!

Hmm, nothing comes to my mind immediately as a general explanation. I would recommend trying to isolate the problem (get the behavior with as simple a feedback loop as you can), and then figure out: - how long it takes to start drifting - is the behavior different in specific frequency ranges - is the behavior different on specific channels of the mixing board. It can be a pain to approach it scientifically like this, but it can also lead to new insights about your particular setup. I hope this helps!

@@kilo_llama I just moved around the gain knob and it helped a bit but the drifting started again. For context I'm using a somewhat old Behringer Xenyx 502, which is as simple as mixers get. I guess a certain level of unpredictability inherent with No-Input setups, maybe I should embrace it. I'll try your suggestions and see if it helps, thanks, mate!

It's a deep well of possibility! I think there are many exciting sounds to find inside of it.

Thanks!

Thank you! I think bare-bones is ideal starting out. Or at least, I think I could have learned a lot by staying there a little longer 😄

Thank you. I love how full of life the NIMB can sound when it's doing texture like this.

@@kilo_llama It's really impressive, makes me want to try NIMB with my VLZ.

@@Dygerster You should give it a try! And feel free to let me know if you have any questions while you're exploring.

That's great to hear! The NIMB can be such a great tool for texture and percussion. If you have any questions as you're exploring, feel free to ask me about it 😁

Thanks for listening!

Yes! There are opportunities to embrace it everywhere! 😄

Thank you! I'm usually recording into a digital recorder (either my Zoom or my computer), so I can't speak with a lot of certainty here. I believe if you're careful with the volume then you won't have any problems (it seems that plenty of folks use a nimb with an amplifier). But I think if you go in too hot, even with a compressor, there's a chance you could hurt your amplifier? Sorry I can't provide a definitive answer.

@@kilo_llama that's alright! I'll just try and be careful when I try it out and hope for the best 😅

@@pangasius8592 Once you've had a chance to play around with it, let us all know what you find! 😄

Thanks!