Joined: Jan 06, 2007
|Posted: Mon Feb 01, 2010 9:17 am Post subject:
D-1000 says hello
Subject description: vacuum tube drum machine audio demos
|After spending some time getting to know and understand the D-1000, its now time to show the world what it sounds like.
The preamp overdrives nice after about 75%, patch the the individual outputs into the individual CV inputs on various voices and things get crazy.
Overdrive the preamp!(4:00)
Thump thump..Bump bump..( 13:28 )
Rubber n Wood(1:54)
Roll switch is fun(:34)
Things get fun when you start modulating the tuning CV,
In this case I used a Blacet Binary Zone slaved to the D-1000 clock,
with one out of the BZ feeding a d-1000 voice CV, and the Inv out feeding another d-1000 voice CV:
Thats okay by itself, but a lot cooler with delay:
Modulated voices with delay(:30)
ADD dElay 2.....(2:57)
Delay settings for digirack mod delay II can be downloaded here.
Using the individual outs doesn't cut them from the master output,
so the master output can feed the board/recording interface while the
individual voice outs can feed into eachother through the individual voice gate inputs which will pass audio to the bandpass filters.
Run 3 bandpass filters in series for formant effects.
slow long dark sequence/drone(17:00)
Wretch Machine through D-1000 drone(7:56)
Sounds like things freezing to death, cold icy wind....Wretch Machine and D-1000 wind drone(8:25)
Bl00d( 2:48 )
Fun with fast external clock, Blacet Window Comparator triggering 2 voices, Blacet Binary Zone triggering one voice. CGS/metalbox Psycho LFO feeding ramp CV.
Melting, burning, dripping(5:33)
Bouncy balls and marbles hit the floor(1:50)
Aliens dancing, puddles, rain, dripping(3:41)
modulating the voices for More wet drippy sounds(6:13)
3 big voices(4:51)
Joined: Apr 26, 2010
|Posted: Fri Sep 03, 2010 7:31 pm Post subject:
wow eric barbour
Subject description: i have only just heard these- im a bit slow
|wow eric barbour thank you for making these amazing machines, i have read some critique on them in terms of both audio limitations and pricetag but many audio technologies specialise in certain types of sound or genre application and most new tech is expensive
(even if it is old/new tech).
i cant help feel these technologies will be more useful in ten years than 8 and 12 bit samplers were, which were also very expensive when they were the new kid on the block.(ps i loved my e-mu ii-rip)
they also have another selling point that i haven't seen discussed- they are the only new electro music tech that can survive an emp weapon,- which gives them an edge too....
over the years i have abused signal paths in many ways to create new timbres but find the demos of the wretch and modules from metasonix
to have a very unusual and distinct character and conceptually what they are doing is very interesting imho.
btw i dont fetishise retro or analogue gear but see all as potential tools available to a composer and therefore useful in context.
peace love and creative expression for all, frankie_d