ฝัง
- เผยแพร่เมื่อ 26 ส.ค. 2024
- I would like to introduce two brand new modules to the Instruō line up!
cruïnn is an all analogue stereo oscillator and the cnōc is a highly compact powerhouse of a function generator.
Please check out the full overview video's on this channel and check them out in stores now as of 2022-09-01.
• Instruō - cruïnn Overview
• Instruō - cnōc Overview
Please also check out Crazy Oil Arts:
www.etsy.com/s...
Amazing modular art and merch featuring several Instruō modules!
![ว้าว!ลุงบีมแบกทองมารับขวัญหลานกันยกบ้าน [cc] แดนแพทตี้ SS2 | EP.49 |](http://i.ytimg.com/vi/Osihq1OAs-4/mqdefault.jpg)
For some reason your stuff always reminds me of the movie "Stargate". Amazing creations as usual!
Excellent movie! I’m a big fan of both it and the series. Quite possible there is some foundation influence there!
A meta knock-knock joke, nice
Jason, hopefully you will read this. You are by far the best module designer today. I've been noodling with synths since 1976: Sharing my idea is my way of paying my respects to your talent. Let me jot down a few points :
• One thing that should be noticed with classic West Coast oscillators is how their basic waveshapes (sine, triangle, square et al) change substantially with frequency. A sine will be pretty pure around C4 but as you tune down it will start to fold, and as you move up it will tend to look overdriven. I don't know whether this is by design or because these are old topologies (although they always claim great tracking, temperature stability and so forth). Nevertheless deliberate or not, the results are interesting and characterful. The only drawback is that you can't defeat the effect. With modern oscillator designs like yours, with lots of normalled behaviour, I was wondering if it would be desirable to have such frequency-dependent (and why not, amplitude-dependent) effects patched directly within the circuit path along with pots so one could adjust the amount of it. Regardless of why Serge or Buchla VCOs came to do such things, there is an element of truth in this behaviour, as this is reminiscent to how timbre evolves with frequency and amplitude on physical instruments.
• One thing related to function generators : There have been studies (psychoacoustics and general cognitive psychology) that demonstrate that human-generated musical patterns (along with a plethora of other phenomena) tend to have a 1/f distribution ; so, Pink noise rather than White. Correct me if I'm wrong but we hardly see this sort of ratios in modular systems (falling linearly in log space) and I reckon these could prove to be very useful in synthesis.
• I also have a strong conviction that formant filters are likely the ones that represent best the whole intent of subtractive synthesis. But I would add, a broad definition of formant, and not just ooos, eeehs and aaahs.
• I think in modular we are usually confused as to what belongs in the time domain. The reason is the idea of "modulation" vs "envelopes" et al. Sounds do evolve over time, and some parts of this temporal change belongs in an oscillator. We also need to break the artificial boundary between cyclic function generators (LFOs) and envelopes. We also forget about micro-modulations, that ultimately belong in the oscillator (chorusing, vibrato, etc).
• Lastly, I would say that the idea one can totally control the sonic palette just by tuning an oscillator and associated LP/BP/HP filters, is like "drawing with a lorry". Why is it that mixing desks and mastering engineers all have per-track EQ and dynamics ? Because it's the most natural way to polish your sound. No one does a "mixing track" module in Eurorack land ; There are archaic concepts like Doepfer's Fixed Filter Bank, sure. But elevating the concept of "audio sweetening" to a modular approach (that is, rich with CV inputs) would be a game changer. Parametric EQ, Compressor. Real pros don't user compressors to make sounds louder ; they use compressors to control the release tails of sounds and hence enhance their spaciality in a reverberant field.
Ooh, stereo! Sounds great!!! 🔥🎶🙌
Virt Iter Legio from Noise Engineering and now this - it's great to see some STEREO VCOs!
Cnoc! Need to get two of those!!
GREAT WORK!
Love it!! keep up the good work!!!
Nice work 👍
WIZARDS INCOMING !
Very nica works, impressive
Oh wow.
3:08 yes very much
hello. plz, that "drunken offset kick" was made using cruinn aswell right? well, due to the topic of video, probablly yes...its just not visible here. very nice kick indeed. maybe tips how to achieve this kick even from more humble oscillator like Ts-L hmm?
Is the patch you’re asking about from the quadrature cnōc example?
th-cam.com/video/ESkyAD4MZ10/w-d-xo.html&si=JRBGnhRP1Txd5Gtv
I think the main sound source is the neoni’s wavefolder :)
👍👍👍👍👍
stereo? What is the benefit of a stereo saw? I watched the video but the answer was not there for me sorry. Let me know pls. Thx
Depends entirely on what you’re trying to do musically. 😊
Many classic synths are monophonic by design. To make them stereo there are various tricks:
Chorus effects, spectral width processes, all pass filtering.
Super saws are a tried and tested method of enriching timbre of subtractive synthesis core voices.
The cruïnn essentially provides 3 phasing sawtooths per side/channel/LeftRight.
(Or it can be 6 together in mono).
It produces a common fundamental pitch with rich timbre distributed between left and right.
I personally have two ears, so I designed the cruïnn to tickle them both 😬
This is also a “trailer” introduction video.
The full cruïnn video might better answer your curiosities.
May I ask you how I can connect a midi keyboard as Keith Mcillent K.-board to this module?@@instruo
@@Molluszk That would require some form of midi-CV interface.
Cruinn or Saich I cannae decide which to get
They definitely have some overlap! But are quite different at their core(s)!
Saïch is 4 oscillators in 1 module. They can be controlled independently in pitch. The root core can dropped into sub saw/pulse modes. The “smart” part is the VCA configuration which is curated for versatility as a paraphonic voice using the 4 cores.
So it’s 4 discrete oscillators pre-patched with lots of control, quick access interval offsets, detuning etc.
Cruïnn can sound like 6 layered oscillators! But is fundamentally only 1 core with 5 parallel derived phase variant clones.
These can be distributed as stereo L/R and it sounds really really fat!
Modulation is built in which gives a lot of control over stereo spread, “detuning” of the layered sound. And with built in saturation everything stays really tight dynamically!
The expander adds some very interesting capabilities. The 5 phase variants are parallel implementation of through-zero phase modulation -/+360°.
This can allow for some very interesting audio rate waveshaping capabilities when paired with other oscillators/voices.
I was slightly concerned at a certain stage that they would compete with each other being on the market simultaneously, but when patching with them I’ve found they really do each sit in their own spaces and offer a lot of contrasting capabilities.
This may not have helped you at all! But I do enjoy talking about oscillators! 🙃