Doepfer

Wow, thanks for that!  I've been wanting to hear a demo of that thing
for quite some time, and I honestly have to say, I'm absolutely
convinced that is what my modular needs.  Maybe I was wrong when I
said my modular isn't "fat" enough, it definitely needs that bottom
end growl, and hearing what it did to that voice and sine wave is
definitely impressive.

--- In Doepfer_a100@yahoogroups.com, achtung_999
<heinrich.himmelwasser@...> wrote:
>
> 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@...> 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
> > >
> >
> >  
> >
> 
> 
> [Non-text portions of this message have been removed]
>