200e

> I've found running the 259e through a lowpassgate on lowpass at around 60%
> open really tames the gritty aliasing of the 259e.   Makes it sound a lot
> more pleasant.  The 259e is quite an interesting beast.  That being said I
> also have a 261e on order and am curious to see how it compares.
>
I wonder how the taming works - aliasing to me sounds like growly 
low-frequency sounds which were supposed to be high frequency sounds... 
I'm trying to imaging how lowpass filtering helps that, since the aliasing 
effect is heard at those low frequencies.

>> As for the make up of your proposed system: do you really like the
>> 259e? The aliasing is, frankly, too much for me (but I guess it's a
>> matter of personal preference).

The aliasing on the samples on the Keyboard site sound pretty wretched to 
me. Maybe it the 259e could be updated to clock at a faster rate?

- Aaron

-----------------------------------------------------------------------------

Dr. Aaron Lanterman, Asst. Prof.       Voice:  404-385-2548
School of Electrical and Comp. Eng.    Fax:    404-894-8363
Georgia Institute of Technology        E-mail: lanterma@ece.gatech.edu
Mail Code 0250                         Web:    users.ece.gatech.edu/~lanterma
Atlanta, GA 30332                      Office: GCATT 334B

> I think Buchla's only issue was not offering a viable option - until 
now
> with the 261, given (and I don't know this for fact) that he has 
addressed
> this with this new VCO.

Agreed.
One of the main reasons I decided to get it was the promise of a 
distinctive, nonconventional sound source, based on the reputation of 
the old 258's and 259's. Much to my dismay I get something as noisy as 
my (long-gone) Doepfer A-112 or even my Roland MT-32 (remember those? 
ugh!).
I want something as close to the original Buchla oscillators of the 
60's and 70's. I want the oscillators of "Cloudless Ski of Sulfur" 
and "The Wild Bull". I don't need early-80's PPG-driven Tangerine 
Dream (my Waldorf XT has officially been assigned that task).
OK, now I'll shut up.

cuaree

> 
> Respectfully submitted - can we talk about something else now?  The 
aliasing

> has been talked to death!
> 
> - P
>

Aaron Lanterman wrote:

> I wonder how the taming works - aliasing to me sounds like growly
> low-frequency sounds which were supposed to be high frequency sounds...
> I'm trying to imaging how lowpass filtering helps that, since the aliasing
> effect is heard at those low frequencies.

The alaising I've heard on the 200e is much more apparent on the high
frequencies as it begins to sideband in those higher registers.

<<The aliasing on the samples on the Keyboard site sound pretty wretched to
me. Maybe it the 259e could be updated to clock at a faster rate?>>

It's colorful, I'll give you that.

Buchla's caught a lot of comments about his 259e's alaising, which is
interesting to me as the 259e isn't the only wavetable VCO with these
anomalies.  Take a Miniwave into the high registers and it's there on many
of the samples.  Ditto on the Analogue Solutions original issue Vostok
wavetable and the Doepfer.  Bottom line, seamless single cycle waveshaping
isn't easy - but that seam - the tick of energy present at the beginning of
the cycle is a part of it's timbre, and I dare say an interesting part.

I think Buchla's only issue was not offering a viable option - until now
with the 261, given (and I don't know this for fact) that he has addressed
this with this new VCO.

Respectfully submitted - can we talk about something else now?  The aliasing
has been talked to death!

- P

--- In 200e@yahoogroups.com, Peter Grenader <peter@b...> wrote:

> 
> Respectfully submitted - can we talk about something else now?  The aliasing
> has been talked to death!
> 
> - P
>

The aliasing is a big part of the 259e's sonic personality, I see nothing wrong with positive 
discussions such as the one going on. I'm sure someone considering spending ($1400 * X) 
on 259e's would appreciate reading/hearing as much about them as possible. Flame wars 
are of course another story.

Gus

You can also refresh the voltage on the stage of the 249 you are 
editing by hitting the reset button.   Good when you are editing a 
particular stage.

> My particular question on the 250 is the voltage refresh on each 
stage.  On
> the 249, one cannot hear the effect of a given stage pot's offset 
adjustment
> until the instrument passes around again.  In short, there's no real 
time
> feedback of the voltage levels during set up - they work like a 
sample and
> hold and it doesn't refreesh until it passes around again or returns 
to that
> stage by other means.

imabadbadkat96 wrote:

> Flame wars are of course another story.


thaz what I'm talking about!

Something I'd like to get some feedback on is the 250.  The system at Big
City Music is first series e.  No 250, no 255, no 261 and I'm not sure they
are going to arrive in the near future.

My particular question on the 250 is the voltage refresh on each stage.  On
the 249, one cannot hear the effect of a given stage pot's offset adjustment
until the instrument passes around again.  In short, there's no real time
feedback of the voltage levels during set up - they work like a sample and
hold and it doesn't refreesh until it passes around again or returns to that
stage by other means. When I saw the DARF, I was like - 'Oh my God, Oh my
God, Oh my God'.  When I worked with it however and noticed this update
issue that mantra morphed into 'Oh crap, Oh crap, Oh crap'.

Does the 250 handle it's refresh similarly? Or can one hear the effect of
turning a given stage pot in real time?

- P

wiardmodular wrote:

> 
> You can also refresh the voltage on the stage of the 249 you are
> editing by hitting the reset button.   Good when you are editing a
> particular stage.


huh...never new that.  thanks for this info. I'm thumbing through the e
owners manual (again, curent on the initial release of the instrument) and
don't see that mentioned in there. That's actually a really big deal.