Doepfer

I would not expect too much from the A115 if I were you...
I made some exaples of the A115.

http://ernstvanderloo.com/Doepfer/A115-speech.mp3

Is some speech from an audio book through the A115.
I'm having the original signal at 100% al the time.
Slowly adding one octave below, taking it out, slowly taking in 2 octaves
below etc.
At the end you hear a mixture of all the signals at the same time.

http://ernstvanderloo.com/Doepfer/A115-sine.mp3

Is a sinetone from the A143-9 as input. I'm doing the same as in the other
mp3.
Why the A143-9 for this example? Because it's the cleanest sine tone a
Doepfer module can generate.

These example are very dull and academic but I guess it shows you what the
A115 can do.

Greetings,

Ernst




On Fri, Oct 24, 2008 at 2:24 AM, techmaster242 <techmaster@gmail.com> wrote:

>   The A-102 and A-124 sound amazing. Equally as aggressive as the
> Polivoks, and less than half the price. I'm 100% positive my problem
> doesn't lie in the filters. It's what I'm putting into them.
>
> Everybody is saying to get an A-137, but I already have one. LOL I'm
> kind of confused though, because if you fold a saw wave, you basically
> get a ramp wave, but with lower amperage. If you fold a square wave,
> you get a square wave, once again with lower amperage. You basically
> can't fold any wave with vertical elements, so you're stuck with
> folding triangle and sine waves, and neither one sounds very
> spectacular to me. Honestly, I bought the A-137 to be a drum effects
> unit, and it is no slouch in that department. I absolutely love it
> for effecting drums.
>
> When you all say to sync the VCO's, what do I sync them to? Do I
> split the gate and sync them both to that? Or run, say, VCO1's square
> into VCA2's sync input? I've already played with syncing the LFO to a
> VCO, and that fattens things up a bit, I just want more. :) If I
> tune both VCO's the same, and set their octave switches one octave
> apart, it sounds a bit thicker, since the sound covered two octaves
> instead of one, so I'm thinking the A-115 will give me the same
> benefit, freeing up the second VCO to simply reinforce what the first
> VCO is playing.
>
>
> --- In Doepfer_a100@yahoogroups.com <Doepfer_a100%40yahoogroups.com>,
> "argitoth" <argitoth@...> wrote:
> >
> > I think you need to step back and really think about what kind of
> > sound you're trying to create with your synth. What you seem to lack
> > may be physical (not the right module) and it may also be mental (your
> > understanding of how to create X sound).
> >
> > First thing I noticed is that you don't have a VC ADSR. However, you
> > can get similar effects by combining two ADSRs into the same input.
> > You can get really snappy envelopes that way. You can also get a
> > snappy sound by sending one envelope to modulate the pitch of an osc
> > and the other to modulate the filter. Another thing about ADSRs is
> > that you should make use of the sustain and release to create nice
> > envelope shapes.
> >
> > I think if your $2000 synth doesn't sound like $2000 it could be your
> > quality of filters. I would love to hear the A-102 and A-124. I know
> > the Polivoks it good... well that's what everyone says.
> >
> > Second thing is that you should understand how to make your synth
> > scream. Bandpass and notch is where it's at! I used to think lowpass
> > filters make synths scream. I was wrong! Create feedback patches by
> > multiplying a filter's output to go into itself with a saw wave and
> > out to your speaker, use notch or bandpass. Now invert the signal
> > going back into the filter... it's really confusing IMO. But it
> > doesn't look like any of your modules can invert a signal.
> >
> > Here's how the Model 12 sounds with inverted feedback:
> > http://www.elanhickler.com/misc/model_12_scream2.mp3
> >
> > Another thing is that you don't have any real way to create the
> > classic screamy sync sound. Actually, you can use an envelope. Patch
> > it into the pitch control instead of patching your CV1 from your midi
> > module. Turn release, decay, and attack to 0. Use the sustain knob to
> > manually modulate the pitch.
> >
> > Lastly, a few modules have already been suggested; the A-137 and A-
> > 188. Those modules are good to have, yes, but I don't think they move
> > your synth in the immediate direction you want to go, and that is fat
> > and hard sounds. What I suggest is an oakley overdrive to help your
> > filters scream: http://www.oakleysound.co.uk/overdrv.htm You need to
> > ask the oakley guy if he can make you a eurorack overdrive. It may
> > take a little more than a month for you to get it. I ordered my own
> > just yesterday.
> >
> > I would suggest a saw animator to create supersaw sounds, but it looks
> > like there's none available. E-mail Cynthia about it:
> http://www.cyndustries.com/modules_sawtooth.cfm
> >
>
>  
>


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