Does anyone use Ripples for feedback patching? I think I tried it a while back, but don’t think anything interesting happened. If you got interesting results, how did you patch it?
I like taking one of the audio outs and putting it in the modulation input. I think this may be related to the Brute Factor on the MicroBrute (albeit with a Steiner-parker filter)? With mild resonance, if can start getting noisy very quickly.
Another patch is putting your sound source into In 2, and then one of the outputs (usually LP or BP) into In 1. You get additional control via the In 1 volume knob and things can get aggressive real fast.
Man, I had never thought of this. I would think that you would want to attenuate the signal a bit before bringing it back in? I can’t wait to try this out.
While using Ripples as an oscillator (self oscillation) you can patch an output to the FM cv to change the timbre. Keep in mind the pitch will change with the amount of feedback though.
You can get some interesting patching using ripples as an lfo…
The lpf has a vca on the output which makes it nice to add occassional feedback…
OK! Got one that’s interesting, it sounds like a sawtooth to me, which is nice cause I didn’t have an analog sawtooth osc before. It tracks pretty well to V/OCT over at least a couple of octaves. Kinda weird is that both the FREQ and the RES act like tuners, but the RES works backwards? I don’t have an oscilloscope so I don’t really know what’s going on.
Using Ripples 2, self patching:
Band OUT → In 1
High OUT → Freq CV
Freq 12 oclock
Res 12 oclock
In 1 MAX
Freq CV MAX
INPUT: Pitch CV → V/Oct
OUTPUT: Low out to mixer or whatever next.
EDIT: Hmm, only seems to work in 24dB mode. Still don’t understand what’s happening, but it’s fun. Lots of timbre weirdness when you move the attenuators for In 1 and Freq CV.
Thanks for the ideas. I will try these out when I can liberate some patch cables. I thought with the gain control and dual inputs that Ripples might be a good module to try no input mixer feedback noisemaking. However, I could see it being tricky without more sculpting in the feedback loop since mixers have a few EQ knobs available to tweak the feedback.
I can’t remember the exact patching, but the FreeSound file attached was entirely down to self-patching Ripples- aside from a bit of reverb and delay. It gets even better when played a Morphagene at quarter-speed with more delay!
Very cool, playing through a Morphagene like you mentioned sounds intriguing.
The file is, of course, free for you to download and mangle to your heart’s content. And I’d recommend FreeSound in general- there’s some great noises there…
I tried some feedback patching, with Low Out to In 1 High out to In 2 and some FM from a VCO. I got a beating rhythm sound that I sent from Band out into Clouds. Adjusting the In 1 level changed the speed of the beating and Resonance had a similar effect. (Before I patched high out into In 2, I was getting similar chirping noises in a narrow band on the resonance knob.)
@pichenettes – Is there any combo of self patching on the Ripples 2020 that would cause any damage?
Reso all the way up.
Band Out to IN 1, all the way up.
High Out to IN 2.
You can’t damage the modules by simply using them. Any output can be connected to any output, and any output can be (mistakenly) connected to any output. This applies to any module.
Just don’t bring mains voltage to them!
I pulled out my mixer and tried some no-input-mixer feedback patching and I am wondering what set of MI modules could approximate that kind of set up? I also ran the feedback through a delay effect in my rack.
I am guessing a config like Ripples (gain + optional high pass filter) into Shelves (EQ with gain) in series would sort of emulate a mixer. Maybe add Beads after Shelves for delay.
On my mixer I am running aux 1 into Line in for the feedback path.
VCAs paired w a mixer module are extremely helpful for feedback patching. Veils functions as both, and I use it in the external feedback loop of a delay pedal for weirder trails.
The basic process for modular no input mixing:
- connect a signal to a channel of a mixer module
- monitor the mixer’s output
- mult the mix output into a separate attenuator or another VCA (this will give you a “post fader” send)
- pass the multed copy through whatever audio processes you want
- return the processed sound to the mixer…blending it into the mix will make it feed back
I like to use Veils for all this. One channel for the straight signal can be mixed with another being used as the feedback return. The other two channels can be used for more routing, other duties, or split off out of the mix for processing the audio.
On Veils, or any VCA mixer with static offsets, use the offset to make the basic mix, turning it up until it just starts feeding back. Then use the channel’s CV attenuator to apply a scaled external control signal like an LFO. And you can have all sorts of fun overdriving VCA inputs and attenuating the result before reintroducing it to the mix. (As explained, nothing will blow up, the signal will just saturate.)
You can get all sorts of complex but controllable whooping swooping madness with the right levels and CV control…something an external mixer can’t do. CV feedback loops controlling audible parameters are fair game, too!
Sounds like a fun thing to try out. What other stuff do you route the feedback path through? Do you have a sketch of it? Or is it really just mult out the second channel on Veils and then loop back to the input on the second channel (leaving the first channel unpatched to normal to the second)?
Yeah, that’s pretty much it. Or put another way, all you need to do is have a way to mix the output of a submix back into one of the inputs, while simultaneously monitoring it.
The details are a little different, but that’s basically what happens when you feed an fx send back into another mixer input that can send to itself. The mixer’s hardwired send routing is splitting–essentially multing–the signal so you can both monitor it and pass a variable amount out the fx send. It’s helpful to have some kind of control over the amount being sent, or returned, or both.
People use this trick w Minimoogs…routing the output back into the input to “fatten” the sound. A similar idea is also used in a resonator or some physical modeling where you ping a short delay line that feeds back into itself. Only there, it tends to be set so the regeneration tails off over time.
Another example is dub delay, where a hipass filter is in the delay line and a mid or high shelf EQ is boosting the highs…this gives the effect of the signal progressively emphasizing high frequencies, which saturate over time as they spiral off into space. Of course, a hand needs to be kept on the dial, so it doesn’t run away. But w modular, you can automate this.
I like to put some kind of short audio delay in line, because it allows time to shape the regeneration of the feedback before it runs away and gets stuck at one of the rails or goes out of comfortable audio range. You’re looking to achieve some kind of oscillation, not merely slamming one of the voltage rails. Which is all that’s happening in an analog oscillator core anyway. So, basically making your own regenerating feedback path, like on any delay fx unit.
Once a short delay is introduced, anything goes. But I like to get the system just to the point of stable feedback, or slightly below, and use VC to automate the send or return volume so the feedback fluctuates controllably. So, something like a tremolo effect, but w more complex shapes so the effect wobbles in and out.
Compression/limiting, EQ, modulation, or distortion in the loop can be fun to experiment with. Feedback pedals w sends and returns in the feedback loop are an easy way to configure this. Focusing on the edges of the feedback will lead to more interesting, dynamic results.
I think I tried this… with Veils where I used Links to mult the output back into an input on Veils, but I think it was just creating a positive DC offset since the output LED stayed green.
Yeah, it can get pinned to a rail without some wiggle. An in-line delay, or lower levels of amplification combined with some randomness like noise can fix that.
Yeah, I tried again with a delay FX and it didn’t saturate. I also used Shelves in the feedback path.
One thing I didn’t catch was you mentioned running the straight signal into one of the VCA channels. Do you mean running some other audio to mix it in with the feedback patch?