I only like bubbles in my champagne...

...but for this particular module, i'll make an exception.

So who is this manufacturer anyway? 

BubbleSound has an interesting philosphy in that they use some NOS components (in the case of the module on the block today, the SeM20 V|S|F; we are experiencing the sound of NOS transistors and opamps) in their product. Boutique guitar pedal manufacturers (fuzz pedals in particular) have a penchant for using NOS germanium or silicon transistors to help obtain that vintage feel. So why not the same concept for modules?

I for one have never personally been too attached to the notion of needing a certain piece of gear to capture the sound i'm looking for. Within reason, any able-minded synthesis should have the capacity to create workable sound from any synth with full parameter control that they might have in front of them. 

With that being said I was impressed with the sound quality of the SeM20. Its character was a softer, more rounded color scheme that some of the more harsh and gnarly filters that seem to frequent the eurorack format world. Yet it broke up with a nice grit in the final stages of the input attenuation and frequency knobs rotation.

Each filter modes output sounded good to my ears for its purpose. When combined with the AFG square wave output, (a module which uses 70's era tracing and component techniques) I was impressed with the outcome. It sounded vintage-eque to my ears at least.

The most unique feature from the other eurorack filters is its Notch Balance knob. Giving you, the user; the ability to shift the notch balance closer to either the LP or HP sides of the spectrum. giving a nice phasing sound you hear near the end of the clip above. I really wish it was voltage controllable though. :(

Now that I've said my positives i'll hash out the few, (but still unavoidable) negatives which may or may not concern most users.

1) Their website states that the filter will self oscillate. Mine came unable to achieve this. It might be as simple as a trim pot adjustment but its still worth noting.

2) Something that doesn't impede its sound in the least; its layout, knobs and faceplate font. This little darling is not winning any beauty pageants, thats for sure.  I would have much rather had all the filter outputs across the bottom of the module in a nice even row while all the knobs would be shifted into two, symmetrical columns. That would leave plenty of room for that really nifty CV input for the Notch Balance. (hint, hint)

So there you have it. In the end I find this filter to be a very worthwhile purchase that can add an older (ie: more distinguished) sheen to your fairly modern filter arsenal.

go get one now.

You had me at "HELO"

Tiptop Audio's Z3000 to be exact.

Having had the opportunity to utilize not just one, but for a short time, up to four of these newly minted oscillators in my own system; I have to say the Z3000's utilitarian & highly convenient frequency counter was, as with most who first look upon the module, the initial draw and drool factor. Let alone its ability to also show the note & octave state the module is currently outputing with the bonus of an external in to utilize the frequency counter with all your existing oscillators to boot! 

The unit is completely analogue aside from the frequency counter. It is rich and warm with one of the best sine waves I've had the opportunity to use. It's by no means pure & that's most likely the reason for it sounding so good to my own (& the others) ears who've been fortunate enough to test and play with these lovely modules ahead of time.

The other wave forms are very good & for me the pulse especially, with its full sweep pot that dosen't dead end or drop off near the limits of the pot's radius. Would I have liked a dedicated 50/50 duty cycle square wave output too? Of course, but at this price point to feature ratio I am not about to complain!

A nice feature that helps alleviate the need for a multiple is the CV out thru-put on the unit. You can cascade multiple Z3000's or send that CV to another oscillator without the need for a middle man to make the connection. (hush you banana jack users, I know already what your going to say) There is even a jumper on the PCB to allow you to connect it to the Doepfer CV bus, all the while still having the 1v/oct input active for use.

You'll notice another feature that is unique to

 this particular oscillator & that is its HSM input. Hard Sync Modulation allows you to input not just the saw or square waves that have a hard edge but also triangle and sine waves with varying effect from each waveform. You can even input whole tracks and external audio signals from you DAW or other source to distort and rectify the waveform according to the incoming signal. Also worth noting is the fact you can use both inputs at the same time, having frequencies fight it out in a duel to the divisible-death if you will. Nifty stuff. :) 

Below is a simple example of that very thing. Only four modules and three patchcords are in use here. Two Plan B Model-15 oscillators as the sync sources. The sine wave output from the Z3000 is going directly into a VCA set wide open. One M-15 is used for its pulse out going into the Sync input & the other M-15 has its sine out going into the HSM input. The frequencies of the two M-15's are set as the Z3000's frequency is slowly swept up and back down again. Then random frequency changes are applied manually to the individual M-15s as well as the HSM input source being changed from sine to triangle to sawtooth.

The FM is also lovely. It's not as "out there" as the Plan B Model-15 can get but it's a new and very choice color to add to an existing color scheme. If I had the brain power left tonight i'd upload an audio demo but that will have to wait until later, unfortunately.

With that said I can definitely say I would not want to be without this guy from now on. Especially with it's handy frequency counter allowing me to subdivide & multiply frequencies with greater ease to create harmonic overtones as well as adding or subtracting by a set integer for inharmonic overtones both of which come in great handy not only for FM but for rhythmic beating of the tuning when mixed together, etc. etc.

Oh, and this last image is for Surachai: Super Devil Brutal Metal Frequency

Does Anyone name their systems?

I happened to slap Fortress of Amplitude on my rig because of a drunken night of watching Superman II & continuously calling for my friends pug to "kneel before Zod" until I passed out. 

you know, one of those nights. 

so, If you do I'd like to know what it is.

Personally, I still think John Duval's "Fist of God" is the best name ever.

P.S.

I'm hopping on the Drone-Wagon.

I provided a picture of the patch to save myself from typing it out. its late.

Along with the modular I used an Empress Effects Superdelay. More on that little nugget of goodness in a proper write up tomorrow evening.

Livewire AFG, Squared.

Just took delivery of two Livewire AFGs this evening.




Easter Eggs:

While inspecting the PCBs for hidden treats before installing them I came across lots of quotes from The Matrix. They are as follows...

animator board = "YOU TAKE THE BLUE PILL..." & "YOU TAKE THE RED PILL..."

main component board = "Wake up, Neo..." & "welcome to the real world..."

Knob & Jack board = "everything that has a beginning has an end"



I apologize for the lack of pictures for the majority of these, but my less than stellar camera "can't haz macro shots" without the blur.

Tip of The Ice Berg:

I'm having far too much fun exploring the module to do any worthy video demo of the unit. Seeing as how Mike did an amazing job on his own @ Winter NAMM08 for Sonic State I personally see no need. With that said, what I will do is record a simple sequencer showing all four pulse/square outputs one at a time, then all together in the end just to give an example of how thick this one oscillator can get.

Looped Mobius sequence. Square, Pulse, Animated Pulse & Sub Square outs in that order, then all together in the end.

Audio signal chain = AFG -> Frequensteiner -> VCA

Modulation = sine LFO's into pulse & harmonic animator cv inputs. triangle LFO into frequensteiner cv input 1.



Dull, boring, meh. Just an example, nothing more people, the more mundane the process the more I can keep the inkling to wander off and look at shiny things at bay. I'll post worthy examples along with everyone else soon enough.

Lastly:

Everyone who's been waiting so patiently for these will not be disappointed. Mike's team lead by Steve R. were tremendously diligent in working all week to make sure the AFGs get finished. Also note worthy is Analogue Haven's Shawn Cleary & Andrew Felix's dedication to not only shipping out the units as fast as they could safely pack each one for delivery, but also attached knobs to the 20 remaining modules from the delivered sum. They deserve our admiration and respect for putting the time into getting the units finished, with the few exceptions in the end due to quality control. Personally I'd rather it work right, the first time. (But I type this with two units sitting in my system, so I can't speak for everyone or risk the hypocrite banner) Steve did ship them back to Ohio for a speedy turn around before they meet their final destination. So get ready, those in waiting; your time's almost come!

Resonance instability = fun

I was fiddling with the polivoks vcf's resonance this evening and came about a startling setting. Something I can only describe as a sustaining vinyl needle slip.

The only modules in this set up (as shown to the right) are a Livewire Dual Cyclotron -> PlanB Model-15. the Model-15 pulse out -> Polivoks vcf -> Model-13 set fully open (vca-only setting).

The polivoks settings are static, no modulation inserted into the unit of any kind. The input attenuation is at about 60%. Luckily (or not, depending on your opinion) I'd been recording the patch. I brought the cutoff down slowly, once the "needle scratch" is sustained I touched nothing else. The circuit eventually stopped and restarted the oscillation on its own.

It doesn't sound pretty, thats for sure. but we likes it.

Slacking on the other half.

I've been busy this week and haven't had time to write the second half of the review for the Clockwork, but I will get to it, soon.

In its stead I have uploaded a short mp3 of a very bland patch that shows how the 3 seperate gate/clock outputs could be used to fire off individual envelopes in a patch. the summed CV/LFO is routed to the 1v/oct input of a Plan B Model-15. the rest of the patch can be seen here. Nothing fancy, just random division assignments that the Clockwork puts into play every downbeat.

I amost forgot, I wouldn't have the opportunity to make this review had Shawn @ Analogue Haven not told me about it. I'd recommend anyone interested in something like this to shoot either Shawn or Andrew over there an email. Good guys those two.

FLAME Clockwork... the first 10 minutes.

ok, so I just de-boxed this guy around 3:00am and have only spent about 15 minutes with it. not nearly long enough for a justified opinion on the whole. BUT, I will say a few things. 1) I plan on a more in-depth post after I get better acquainted with the bugger. 2) It was easy to understand right out of the box without much mucking about with what little manual (more like a one page pamphlet) that comes with the unit. & 3) I'll open her up and see what kind of build quality we are dealing with.

so, until then here is a short little sample of what the patch above sounds like.