I do not have enough words to show my appreciation for all the videos of this type of tutorials... it is not only the time and effort for a "pro" finish, but it is a real master class that you always give us. thank you !
Still debating this or Panharmonium. Your explorations are high production value, mini movies. Your rich soothing narration typed carefully to explain the patch is sweet icing on a proverbial pie.
In my experience you can't go wrong on any Rossum. I am a huge fan of MakeNoise, but I am not a big fan of Tom Erbe's sonic preferences which are the opposite of 'lush' and 'rich'. I hear the Pan is a bit slow on the processing side where Tom used to write assembly when speed was necessary. If you can write a delay/echo in assembly language then you're far away from music and maybe a bit clinical and academic. But Tom's work has immense creative power beyond the design. Like Erbe-Verb. Not a good reverb, but a sound design masterpiece. Imo, the Pan sounds much more like a spectral copy of a source, there's more music in it. I used to own an Emulator IV back in the days where you could do magic with samples and 20 Khz/12 bit just sounded wonderful and warm. However, I am not sure if the Pan can 'beat' the dual complex oscillator design on its own. I don't think so. But I have to add that I haven't tried a Pan yet. I can only respond to what I heared other people do.
I patched SP's A sinewave into Maths channel 2 and used the OR output, going back into SP's audio input A. I patched SP's B sinewave into channel 3 so it's added to the OR output, depending on the knob settings of attenuator 2 and 3. Cycle channel 1 and 4 and dial in a bit of movement with attenuator 1 and 4. So these two sines are mixed and modulated - and have different tones depending on the A and B pitch settings. Set SP A to 'SAM' and listen to the output while tweaking the Pitch, Partials, Slide and Focus knobs of SP A.
The dummy cable thing is key. I did that just the other day-patched the same sound source into both the A and B sides and then monitored the odd partials from one and the even from the other. That lets you independently control both sides of the Spectraphon-pitch, partials, slide, focus, FM-generating a very complex resythnesis of a single sound source. I haven't played around that much with it, but it's kind of like splitting one side in half, partial-wise, and opening it up for much deeper modulation.
@CinematicLaboratory Yeah, it kind of makes you think what it would be like to have two Spectraphons... aside from the HP and $$, there would be so many possibilities for cross- and self-patching, among other things
I think the reason we see lots of used Erbe Verbs for sale is because if you have a high impedance power system, it makes an awful digital whining sound that is impossible to get rid of. That was the only reason I got rid of mine to be honest.
@@CinematicLaboratory Just to clarify, It isn't the module's fault really at all, it's just like the ER-301 in that it is sensitive to a case/power supply being high resistance. PCB bus boards and serial cables are to blame. Not enough copper.
@@EverythingYouDoIsABalloonor rather it's eurorack standards 'fault' or rather limitations, accumulated by the module's circuitry. the former was designed with analog equipment in mind, and the latter, MN as a brand, is notorious for cost savings (see Mimeophon noise/noise gating, Morphagene noise floor)
I do not have enough words to show my appreciation for all the videos of this type of tutorials... it is not only the time and effort for a "pro" finish, but it is a real master class that you always give us.
thank you !
Wow, thank you so much for sharing.
Beautifully done. Also great showcase of the erbe-verbe and maths
Wowserz! First time I'm impressed with the spectraphon!
Thank you so much!
Still debating this or Panharmonium. Your explorations are high production value, mini movies. Your rich soothing narration typed carefully to explain the patch is sweet icing on a proverbial pie.
In my experience you can't go wrong on any Rossum. I am a huge fan of MakeNoise, but I am not a big fan of Tom Erbe's sonic preferences which are the opposite of 'lush' and 'rich'. I hear the Pan is a bit slow on the processing side where Tom used to write assembly when speed was necessary. If you can write a delay/echo in assembly language then you're far away from music and maybe a bit clinical and academic. But Tom's work has immense creative power beyond the design. Like Erbe-Verb. Not a good reverb, but a sound design masterpiece.
Imo, the Pan sounds much more like a spectral copy of a source, there's more music in it. I used to own an Emulator IV back in the days where you could do magic with samples and 20 Khz/12 bit just sounded wonderful and warm. However, I am not sure if the Pan can 'beat' the dual complex oscillator design on its own. I don't think so. But I have to add that I haven't tried a Pan yet. I can only respond to what I heared other people do.
This is beautiful! Unexpected for sure.
There's so much more I haven't discovered yet!
Right about 6:27 it sounds a lot like volumes swells on a guitar (Ala Cathedral off of Van Halen's Diver Down album). Amazing!
I have to check that out!
amazing what you do with this module. Yes its adcenced patching for sure!
I might need more explanation about the bows part and how you got there. that's a sick sound.
I patched SP's A sinewave into Maths channel 2 and used the OR output, going back into SP's audio input A. I patched SP's B sinewave into channel 3 so it's added to the OR output, depending on the knob settings of attenuator 2 and 3. Cycle channel 1 and 4 and dial in a bit of movement with attenuator 1 and 4. So these two sines are mixed and modulated - and have different tones depending on the A and B pitch settings. Set SP A to 'SAM' and listen to the output while tweaking the Pitch, Partials, Slide and Focus knobs of SP A.
@@CinematicLaboratory really smart stuff! Thanks for the breakdown.
The dummy cable thing is key. I did that just the other day-patched the same sound source into both the A and B sides and then monitored the odd partials from one and the even from the other. That lets you independently control both sides of the Spectraphon-pitch, partials, slide, focus, FM-generating a very complex resythnesis of a single sound source. I haven't played around that much with it, but it's kind of like splitting one side in half, partial-wise, and opening it up for much deeper modulation.
That's a cool idea. Haven't thought of it yet!
@CinematicLaboratory Yeah, it kind of makes you think what it would be like to have two Spectraphons... aside from the HP and $$, there would be so many possibilities for cross- and self-patching, among other things
Epic patch !
advanced
Excellent information in here and some inspiring ideas. Thank you so much for sharing 🙏🏻
The first 10 seconds made my arm hairs stand up!
Love This ....... So Violent and Gut Wrenching
Great patch!
i love all the thought you put into your patches instead of just tweaking knobs until you get something. keep it up dude.
I always tweak knobs until I get something and keep the video running just in case. I can almost never repeat the same patch.
Another incredible journey. Thank you. 🤘
You're welcome!
Amazing soundscapes! Just WOW!
Thank you so much!
Some amazing patches in here ❤
Thanks for the compliment!
👍I LOVE !
💙⚪❤
Me too!
I think the reason we see lots of used Erbe Verbs for sale is because if you have a high impedance power system, it makes an awful digital whining sound that is impossible to get rid of. That was the only reason I got rid of mine to be honest.
Thanks for sharing. I did not know it had high impedance issues and never heard anything like that.
@@CinematicLaboratory Just to clarify, It isn't the module's fault really at all, it's just like the ER-301 in that it is sensitive to a case/power supply being high resistance. PCB bus boards and serial cables are to blame. Not enough copper.
@@EverythingYouDoIsABalloonor rather it's eurorack standards 'fault' or rather limitations, accumulated by the module's circuitry. the former was designed with analog equipment in mind, and the latter, MN as a brand, is notorious for cost savings (see Mimeophon noise/noise gating, Morphagene noise floor)