My big problem with 2HP isn't being 2HP... it's the labeling. The inscription is above the jack while the knob is below it. The inscription closest to a pot is the one most deeply associated with it. Even a simple line across the module or alternate shades to visibly group things together would make them so much easier to use in an intuitive way.
My only problem with 2hp is that they might be too efficient with space, both in accessing the knobs, and getting them to fit together in a skiff without interspersing them amongst other 4hp+ modules. But other than that, they are unbelievably powerful for their size.
Right?! I thought it might just be me. I have to think twice everytime. Like, "how does that top input control probability without a knob? 🤔... Oh, right."
fyi the turing machine module (whether from music thing modular or 2hp) isn’t the turing machine concept used in computer science. they do share a “tape” of data, but the similarity basically ends there.
I always assumed these things just used a Linear Feedback Shift Register as they're simple to implement and can reliably step through a long sequence of pseudorandom values.
That first patch from the Font sounds straight out of Throbbing Gristle 2nd Annual report… beginning of Maggot Death live in Southampton! Damn I love it!! So I def want yo try to recreate this with my TG3 filter if possible!
Thanks Andrew, the general tone of the TG3 filter will be very different to Font. But you'll get some fantastic results! I've had good results from using similar stepped modulation to a Turing Machine on the TG modules. Also happy to channel TG in the examples subconsciously too.
definitely not redundant to have multiple filters, it's a bit like owning multiple guitars. They all do the same thing in one sense but how they sound, react, feel in the hands, react to voltages etc is different. A friend once said ... if you were a painter and had a red tube of paint would you only ever use that one shade of red because you had red covered? I quite liked that, more so for the idea you can mix colours to make new things, you can patch modules to create new unified or opposing things too.
So sample and hold by its nature isn't random. It's the input signal that gets sampled that defines that. In lots of cases that's a noise signal (white noise, pink noise etc) and that's a random source in itself. So sampling noise with a sample and hold gives those random values. If you put in say an LFO, a basic wave shape that cycles regularly you can get more predictable results. For examples of that my videos on the SSF Ultra Random Redux, my own RND STEP and NANO Modules VCV Random will show examples. The Turing Machine design is a little different in that it works with a shift register and a number of bits (data). Stacking up of those bits creates the resulting waveform. What you get on a Turing Machine is often an output level control, which will attenuate the signal it creates to occupy less voltage range. Say 0-1V rather than 0-5V. But you also get the option to loop the information, so a Turing Machine with 8 steps you can have loop those 8 steps so it becomes a regular pattern like a sequence. But the looping isn't an on or off situation. Varying the loop from fully locked loop keeps it cycling regularly, then it increases the potential/rate of change in the data stream until it's completely random and not cycling/looping any of the data at all. Bit of a long reply, but I hope that helps.
Have you reviewed any Studio Electronics modules like the SE 88? I'm wondering if it can sound CS-80 ish, like the filter in their Code / Omega synths, can't seem find a demo like this for the SE 88 anywhere.
I’m a little fuzzy on how to use CV to lock the pattern. You set the knob all the way to the left, and then what’s the simplest way to patch in something so that it locks, and unlocks over time? How would I do this with Maths, for instance?
Figured it out! Prob is turned all the way in 2hp TM. Patch from channel 4 in maths routed to the prob CV in, turned on cycle for channel 4 in maths, set channel 4 all the way right, then whenever the cycle falls, it'll unlock the pattern.
@@hubertrazack Yes, you can feed the Odd and Even outputs into a stereo bus, or for example, into a granular synthesizer like Clouds. Ben does a great run-down of Rings' features here: th-cam.com/video/O0IHt1JiRvk/w-d-xo.html
just simple not in tune. Microtonal would be intentionally in a microtonal scale and tuning system. Imagine pitch as a fluid number scale let's say a C is 1 and D is 2 If this module outputs a value of 1.2 then the quantiser would force it to 1 (and play a C in our example). If it outputs 1.8 then the quantiser would force that the nearest value which would 2 in this example and play a D. Without a quantiser to force voltages to set values (scales) you would have 1, 1.00001, 1.2, 1.7345 etc. Think of it like a fretless instrument rather a fretted one. You can play any value between the notes. This just outputs voltages to no scale. That feels like a blurred response from me but I hope it's helpful.
What was the controller module you reviewed that had a big slide / fader on it? Lots of mixing / macro control uses for it. I remember it was aesthetically similar to frap tools modules.
My big problem with 2HP isn't being 2HP... it's the labeling. The inscription is above the jack while the knob is below it. The inscription closest to a pot is the one most deeply associated with it. Even a simple line across the module or alternate shades to visibly group things together would make them so much easier to use in an intuitive way.
The only thing that bugs me on this one is not being able to clearly know the number of steps you're on
fakshen1973 me too
My only problem with 2hp is that they might be too efficient with space, both in accessing the knobs, and getting them to fit together in a skiff without interspersing them amongst other 4hp+ modules. But other than that, they are unbelievably powerful for their size.
Right?! I thought it might just be me. I have to think twice everytime. Like, "how does that top input control probability without a knob? 🤔... Oh, right."
@Jasiah Jaden you’re right. No one gives a damn
Turing machine as trigger for a sequencer ... genius!
Perfect timing--just purchased a TM and TUNE.
Classic
That is so cool, kinda explains the origins of the digital music we have.
Using it as a gate source to drive a sequencer is a great idea, I'll have to give that a try
fyi the turing machine module (whether from music thing modular or 2hp) isn’t the turing machine concept used in computer science. they do share a “tape” of data, but the similarity basically ends there.
I always assumed these things just used a Linear Feedback Shift Register as they're simple to implement and can reliably step through a long sequence of pseudorandom values.
That sounds beautiful.
Great demo. Finally subbed (it’s complicated…)
Thanks for this! I always wondered why AMP seemed to have such an inconsistent effect!
nice demo, I've had one for a while now and love it.
That first patch from the Font sounds straight out of Throbbing Gristle 2nd Annual report… beginning of Maggot Death live in Southampton! Damn I love it!! So I def want yo try to recreate this with my TG3 filter if possible!
Thanks Andrew, the general tone of the TG3 filter will be very different to Font. But you'll get some fantastic results! I've had good results from using similar stepped modulation to a Turing Machine on the TG modules. Also happy to channel TG in the examples subconsciously too.
If you get a sec listen to the TG track I mentioned. It’s uncanny! Love it!
Also- I’m wondering if it redundant to have a couple filters? I love what they do to sound
definitely not redundant to have multiple filters, it's a bit like owning multiple guitars. They all do the same thing in one sense but how they sound, react, feel in the hands, react to voltages etc is different.
A friend once said ... if you were a painter and had a red tube of paint would you only ever use that one shade of red because you had red covered? I quite liked that, more so for the idea you can mix colours to make new things, you can patch modules to create new unified or opposing things too.
@@DivKid I love that analogy.
Nice video, now I understand how it works! I want one.
kind of fun stuff , I like this one.... as always super presentation
Great tutorial!
Awesome I've been waiting for this demo!!!!!
It seems like a good module. The only thing I'm unsure about is the number of steps can't be difficult to judge. Did you have any issues with it?
This is probably heresy, but I prefer 2HP TM to others, say like MMT’s TM..🤭
I’ll get my coat...😬👍
I totally agree. I sold my music thing with pulses (to get the space back) and I MUCH prefer the 2hp TM for playability
Out of interest why?
Dumb question but, is this like a sample and hold in which you can adjust how random you want it?
So sample and hold by its nature isn't random. It's the input signal that gets sampled that defines that. In lots of cases that's a noise signal (white noise, pink noise etc) and that's a random source in itself. So sampling noise with a sample and hold gives those random values.
If you put in say an LFO, a basic wave shape that cycles regularly you can get more predictable results. For examples of that my videos on the SSF Ultra Random Redux, my own RND STEP and NANO Modules VCV Random will show examples.
The Turing Machine design is a little different in that it works with a shift register and a number of bits (data). Stacking up of those bits creates the resulting waveform.
What you get on a Turing Machine is often an output level control, which will attenuate the signal it creates to occupy less voltage range. Say 0-1V rather than 0-5V. But you also get the option to loop the information, so a Turing Machine with 8 steps you can have loop those 8 steps so it becomes a regular pattern like a sequence. But the looping isn't an on or off situation. Varying the loop from fully locked loop keeps it cycling regularly, then it increases the potential/rate of change in the data stream until it's completely random and not cycling/looping any of the data at all.
Bit of a long reply, but I hope that helps.
thanks @@DivKid , very enlighting!
Why does this sound like the intro to the most fire 90s emo song ever written?
haha I'll take that! Thanks.
What do you have plugged into the Trig input of the TM?
M L DeMoss wondering the same thing
Have you reviewed any Studio Electronics modules like the SE 88? I'm wondering if it can sound CS-80 ish, like the filter in their Code / Omega synths, can't seem find a demo like this for the SE 88 anywhere.
I’m a little fuzzy on how to use CV to lock the pattern. You set the knob all the way to the left, and then what’s the simplest way to patch in something so that it locks, and unlocks over time? How would I do this with Maths, for instance?
Figured it out! Prob is turned all the way in 2hp TM. Patch from channel 4 in maths routed to the prob CV in, turned on cycle for channel 4 in maths, set channel 4 all the way right, then whenever the cycle falls, it'll unlock the pattern.
Great video as always! What module is used for the stereo strings (I love that alternate panning effect - does that come from a single module?)
It sounds like rings to me. I think there's a mode that bounces between the odd and even outs, or maybe it does that by default.
I also thought it sounded an awful lot like Rings in Inharmonic string mode with the extended four-voice polyphony
@@BottleBass1977 Would the stereo panning come from Rings too?
@@hubertrazack Yes, you can feed the Odd and Even outputs into a stereo bus, or for example, into a granular synthesizer like Clouds. Ben does a great run-down of Rings' features here: th-cam.com/video/O0IHt1JiRvk/w-d-xo.html
What would happen if you skipped the quantizer on your way to the string voice oscillator?
we'd have random voltages that aren't in tune.
@@DivKid By "not in tune" do you mean atonal/microtonal?
just simple not in tune. Microtonal would be intentionally in a microtonal scale and tuning system.
Imagine pitch as a fluid number scale let's say a C is 1 and D is 2
If this module outputs a value of 1.2 then the quantiser would force it to 1 (and play a C in our example). If it outputs 1.8 then the quantiser would force that the nearest value which would 2 in this example and play a D.
Without a quantiser to force voltages to set values (scales) you would have 1, 1.00001, 1.2, 1.7345 etc.
Think of it like a fretless instrument rather a fretted one. You can play any value between the notes. This just outputs voltages to no scale.
That feels like a blurred response from me but I hope it's helpful.
@@DivKid Very helpful actually. Thanks.
What was the controller module you reviewed that had a big slide / fader on it? Lots of mixing / macro control uses for it. I remember it was aesthetically similar to frap tools modules.
Never mind: Rabid Elephant Knobs! It was on future magazine channel which is why I couldn't find it. Thanks Ben for all the videos you've made.
Whats the module that is making that "guitar" pluck sound?
Mutable Instruments Rings
Not related to this great demo, but can't find information regarding the "Font" filter at the rigth, what is this filter ?
Thanks ! :)
You'll hear news the next week ;) Divkid video coming very soon
nice, but i think 2hp rnd is more interesting in this same range of tiny modules
2hp stuff is shoddily made... I.had to throw a module in the bin..because it broke so easily. 😢
Was looking for a S&H module and a noise source specifically for this kinda thing. Guess i won't be needing those anymore.
ok, I need this, I love my MTM Turing Machine with expanders but its taking up WAY too many HP in my rack considering what I use it for.
i was playing around with it on modulargrid an came to pretty much the same conclusion, thanks for verifying. :)