I would like to share my experiences with Jena so far. I bought the module together with Drezno and Lipsk. I have to say I was not sure if I will dodge the complexity just because I don’t have any visual feedback in my rack to really understand what is happening. I started experimenting with the subsystem bu feeding different signals. Notes, Gates, Lfos and connecting outputs to different sources. The outcomes are amazing and very musical. Quite soon I realized this can be true heart of my rack. I love it because it can change simple sequences into versatile melodies. I have to say I still have to work out a lot and I feel like I’m utilizing 15% of the subsystem. Thank you XAOC for this and hope there will be more modules like this.
This is my favorite module. Along with Drezno there’s so much beautiful territory to cover. I attached Lipsk to Odessa but I’m now thinking of getting a second Lipsk and maybe a second Jena.
I may have to try that. I still haven’t figured out how to hook Drezno, Jena and Lipsk together. I figured getting a second Lipsk just for Odessa would simplify the process. Bank E is genius. The rhythms are laid out perfectly. Which bank is specifically for wave shaping? I’ve used a lot of those banks as modulation sources using a SSF Muton to turn the bit output on and off. These modules are absolutely amazing and inspiring. I love them and use them regularly.
@@17cortland74 Bank B and C are designed for shaping CV signal. B is good for LFO and C is preferred for the envelopes. Bank C is divided into subbanks of 8 waeforms, each one with deeper effect of shaping. If you want scan waves using bank C it is good idea to always use attenuator. Also in other banks like bank 7 you can find waves suitable for CV shaping. Remember that you can shift phase for different effects. If you want to shape the audio signal all banks are good for this except last two. Remember if you'll use complex signal as a source resultant sound can get harsh and dense. Like with FM synthesis sine and triangle waves are nice start.
Suspiciously sounds like my old Korg Poly 800 (with its 4-bit Walsh appox. sawtooth) at times. But this is much better. I love when you can hear the "feet" like with a Hammond B3 drawbars.
@xaoc_devices Would you share your Patching for this visually like you recently did with the Patching with Leibniz series. This is one of your most musical videos but quite complex to understand. I purchased Jena and some of your other modules because of this video. Make it one of the Episodes for Leibniz. So you need TWO Jena's & TWO Drezno's to make this happen? Thanks
In future episodes of Patching with Leibniz we will include some of the ideas from this video, but for clarity the series focuses on the simpler building blocks. The key to using Walsh functions is to dynamically mix the multiple bit outputs to get this morphing effect. If you want to use rhythm bank and Walsh functions simultaneously you will need two Jenas and two drivers such as Drezno, Berlin or Erfurt, last one works for the rhythms. I also used more complex envelopes from Zadar in the video.
I'm not sure if you are familiar with Drezno. It converts analog signal to 8 bit digital and vice versa. Digital signal is available on Drezno and Jena as 8 gate/sqare outputs. Depending on what you connect to the input this outs can generate audio or triggering signals. In this patch I'm using two sets of Drezno/Jena modules. One is used as audio generator, It spits 8 different waves, so called Walsh functions and is clocked/feed with VCO (Jena and Drezno works as a waveshaper). Second set is used as 8 channel trigger generator and is clocked/feed with LFO. Each of eight signals is shaped only with VCA and envelope triggered by one of eight triggers. In Jena memory most of banks is used to shape signal taken from analog output of Drezno but there are few specialized banks dedicated for generation of specific signals on digital outputs like Walsh functions and rhythms.
@@xaoc_devices Would you please share your Patching for this visually like you recently did with the Patching with Leibniz series. This is one of your most musical videos but quite complex to understand. I purchased Jena and some of your other modules because of this video. Make it one of the Episodes for Leibniz. So you need TWO Jena's & TWO Drezno's to make this happen? Thanks
Rather depressing that I need two Jena modules to emulate the sounds here. I’m about to pull the trigger on one, but two… Excellent ambience though, which is why I’m tempted!
I would like to share my experiences with Jena so far. I bought the module together with Drezno and Lipsk. I have to say I was not sure if I will dodge the complexity just because I don’t have any visual feedback in my rack to really understand what is happening. I started experimenting with the subsystem bu feeding different signals. Notes, Gates, Lfos and connecting outputs to different sources. The outcomes are amazing and very musical. Quite soon I realized this can be true heart of my rack. I love it because it can change simple sequences into versatile melodies. I have to say I still have to work out a lot and I feel like I’m utilizing 15% of the subsystem. Thank you XAOC for this and hope there will be more modules like this.
This is my favorite module. Along with Drezno there’s so much beautiful territory to cover. I attached Lipsk to Odessa but I’m now thinking of getting a second Lipsk and maybe a second Jena.
I like to use Lipsk in the chain after Jena, but while in waveshaper mode it is also useful before it so I ended with two Lipsk modules in my setup :)
I may have to try that. I still haven’t figured out how to hook Drezno, Jena and Lipsk together. I figured getting a second Lipsk just for Odessa would simplify the process. Bank E is genius. The rhythms are laid out perfectly. Which bank is specifically for wave shaping? I’ve used a lot of those banks as modulation sources using a SSF Muton to turn the bit output on and off. These modules are absolutely amazing and inspiring. I love them and use them regularly.
@@17cortland74 Bank B and C are designed for shaping CV signal. B is good for LFO and C is preferred for the envelopes. Bank C is divided into subbanks of 8 waeforms, each one with deeper effect of shaping. If you want scan waves using bank C it is good idea to always use attenuator. Also in other banks like bank 7 you can find waves suitable for CV shaping. Remember that you can shift phase for different effects. If you want to shape the audio signal all banks are good for this except last two. Remember if you'll use complex signal as a source resultant sound can get harsh and dense. Like with FM synthesis sine and triangle waves are nice start.
Suspiciously sounds like my old Korg Poly 800 (with its 4-bit Walsh appox. sawtooth) at times. But this is much better. I love when you can hear the "feet" like with a Hammond B3 drawbars.
The logic modules for this system are probably the best in euro right now. Will be definitely picking them up next year :)
@xaoc_devices Would you share your Patching for this visually like you recently did with the Patching with Leibniz series. This is one of your most musical videos but quite complex to understand. I purchased Jena and some of your other modules because of this video. Make it one of the Episodes for Leibniz. So you need TWO Jena's & TWO Drezno's to make this happen? Thanks
In future episodes of Patching with Leibniz we will include some of the ideas from this video, but for clarity the series focuses on the simpler building blocks. The key to using Walsh functions is to dynamically mix the multiple bit outputs to get this morphing effect. If you want to use rhythm bank and Walsh functions simultaneously you will need two Jenas and two drivers such as Drezno, Berlin or Erfurt, last one works for the rhythms. I also used more complex envelopes from Zadar in the video.
Is there a way to bump the voltage of the bit outputs to 10v?
Sorry, only with external modules.
Kiedy Lipsk jest zaraz za Dreznem dziala jak waveshaper...a kiedy jest za Jeną?
Lipsk w obydwu wypadkach działa w domenie cyfrowej i odwraca bity więcjegodziałanie za Jeną będzie zbliżone.
Kiedy Lipsk jest między Dreznem i Jeną to działa jak nieliniowy modyfikator fazy sygnału produkowanego przez Jenę (tylko w trybie asynchronicznym)
Please could you explain this patch in greater detail. I love the sounds but it's not obvious to me what module is doing what function. Many thanks.
I'm not sure if you are familiar with Drezno. It converts analog signal to 8 bit digital and vice versa. Digital signal is available on Drezno and Jena as 8 gate/sqare outputs. Depending on what you connect to the input this outs can generate audio or triggering signals. In this patch I'm using two sets of Drezno/Jena modules. One is used as audio generator, It spits 8 different waves, so called Walsh functions and is clocked/feed with VCO (Jena and Drezno works as a waveshaper). Second set is used as 8 channel trigger generator and is clocked/feed with LFO. Each of eight signals is shaped only with VCA and envelope triggered by one of eight triggers. In Jena memory most of banks is used to shape signal taken from analog output of Drezno but there are few specialized banks dedicated for generation of specific signals on digital outputs like Walsh functions and rhythms.
@@xaoc_devices Would you please share your Patching for this visually like you recently did with the Patching with Leibniz series. This is one of your most musical videos but quite complex to understand. I purchased Jena and some of your other modules because of this video. Make it one of the Episodes for Leibniz. So you need TWO Jena's & TWO Drezno's to make this happen? Thanks
Rather depressing that I need two Jena modules to emulate the sounds here. I’m about to pull the trigger on one, but two… Excellent ambience though, which is why I’m tempted!
It is easy to use two in Xaoc office :). One is still a lot of fun!
Have already bought ：）