Almost anything Maybe this is just stating the obvious: The key is to use Rings stereo-image. When using Rings in mono, you’re missing out.
while that may be true for some sounds, i find it can really mess up your mix and take a lot of weight from bassy low range sounds.
Id recommend using mono for most percussion, bass and lead applications, leaving stereo images for pads, drones etc.
One thing that is extremely fun for horizontal timbre shifts (changing the timbre without simply adding or removing harmonics) is using a crossfader (eg warps) and an lfo to fade between odd and even harmonics, creating strange tremolo-ish modulations. This works great if youre just making some simple plucks using the internal exciter and feel like they need some spice.
One more thing: I feel i have neglected using vcas after rings. additional envelope-mediated amplitude shaping can give access to a world of different timbres, especially slow-attack ADSRs with rings set to a long decay time make for wonderful pad sounds reminiscent of electric guitars through reverse delays.
This track is nothing special – I just routinely record my experimental modular sessions – but it captured something cool Rings does when you feed it noise, with Damping all the way to the left, and slowly move Position over the 50% mark from above or from below (in this case over CV from Marbles’ Y output). It creates this weirdly human rhythmically accelerated sniffing noise. Kind of surprised me when I was alone in the room and this came up in my headphones. Starts around 1:25, then occasionally returns.
(I imagine that as you move the pick-up position over the virtual resonating plate, you encouter nodes of a standing wave, almost like ridges, where the incoming sound is alternately amplified and canceled, leading to the rhythmic “sniffing” effect?)
Filtered noise from Plaits sounds very nice.
(Lots of subtle modulation based on velocity and aftertouch. Arpeggios by Yarns. This is an improvisation to test the patch, hoping to incorporate it into something bigger. )
I like Elements` exciter through Rings - should be obvious, but i forgot about that for quite some time. Really extends the functionality of Rings.
This week I experimented with the 4ms Stereo Triggered Sampler into Rings - that was awesome. Maths channels 1 and 4 cycling at different speeds triggered the STS (using the play and reverse trig inputs), channel 4 EOC triggered Kinks` S&H which was fed a quantized output of Marbles. The S&H output went to the STS and Rings 1V/oct input.
Modulating the sample CV on the STS, together with reversely played samples and modulated structure (and other parameters) on rings resulted in some great orchestral sounds. Playing samples backwards results in really rich bowed sounds. Some samples make you laugh, though - think of plucked birdsong or bowed frogs…
I’ve revisited this patch to try and simplify it, and specifically to replace Plaits as a noise source so that it can be used for something else.
Turns out the variable clocking (Timbre knob) of Plaits’ filtered noise played an imported part. Downclocking the noise makes it scratchier, like a well-rosined bow pulling on the strings. I’ve managed to replicate this using the S&H part of Kinks, with a very fast trigger (pulse signal in the high audio range).
That enabled me to create a nice cello sound using just Stages, Kinks, a VCA and Rings.
- Two of Stages’ stages provide the fast pulse signal (a looping green stage with the slider all the way up and the pot to the right, with a CV offset from an orange stage, also with the slider all the way up) to trigger Kinks.
- The S&H noise signal from Kinks goes into a VCA controled by a three-stage envelope from Stages (ASR: green – looping red – green), which also controls Damping on Rings.
- The output of the VCA goes through a final Stages stage (orange mode, slider all the way down) which serves as a low-pass filter (the pot controls the cutoff, with the highest cutoff all the way to the left).
Here’s a recording with it. The cello patch is capable of staccato notes like the arpeggios in my previous one, but this time I have it doing a slow sequence (through clouds for a delay shifted one octave up). Plaits provides the bells, and I’ve used my beloved Erebus V2 as well.
wow! that is an incredible sound, well done - I gotta try this with my own noise source! thank you for patch notes
So you’re basically using a more “low res” noise signal to excite Rings this way don’t you? Which mode did you use in Rings? The “red” one?
I must say, it really sounds beautiful!
Yes, exactly. Like lowering the sample/bitrate, I guess?
Because the pulse signal triggering the sample and hold is still pretty fast (the highest pitch audio Stages can output), the result still sounds more like noise than like a series of discrete random voltages, but it’s coarser/scratchier than regular noise. The second red algorithm on Plaits does more or less the same, I think, if you turn down the Timbre knob.
Red mode on Rings, yes, with Structure around 10-11 o’clock. Although the other modes sound nice with this exciter, too!
The amplitude of the exciter noise and Rings’ Damping parameter are both controlled by the same envelope. That way you get rich resonation during each note, but the notes don’t ring out endlessly in-between. Around the middle of the recording, I gradually turn down Brightness to get a softer, more col legno sound and make room for the Erebus.
Thanks! Do post the result!
thanks a lot for elaborating! In theory this should produce similar results with LFSR noise I guess (I’m thinking about the Hexinverter VCNO mostly), I need to try.
Tried this last night with some variation
I was using a disting mk3 with a variable noise type that was varied by one channel of befaco rampage and filtered by a Serge VFQ.
Disting Noise as built-in VCA.
Envelopes for the VCA and rings damping was created on a O&C
I have to say that I managed to recreate a very convincing bowed double bass.
Tried at higher pitch and it did sound too artificial for me.
Very nice patch idea!!!
Love the track!
Hi all, a couple of post back I explained a feedback loop in Rings. Here is a video exploring its sounds.
I splitted the Odd output and feed a copy to the In and the other to a reverb. The Even output also it’s splitted and one copy goes to the FM input and the other to the Structure.
This is more of a basic one, but i found that beside the obvious colored noise the Random Output of the Doepfer A-118 is a great Exciter for Rings. It makes a nice drone, which is a bit unstable and irregular, but not too chaotic, i remember it being more in the glassy/clean territory.
I tried a singing bowl. I’m constantly inspired by Rings, I need to spend more time with it.
All the drippy, creaky, scratchy sounds in this ambient jam are made by Rings sent through a Wasp filter. Plaits in wavetable mode is playing a melody from Marbles, and I improvise over that using the Supercritical Synthesizers Demon Core Oscillator through Ripples.
Ive been having fun putting clouds thru rings… to trying to reverse the cliche
this one clouds into rings…
in this one clouds into rings in a feedback loop, then a quick pulse into clouds to put some energy into the system…
I usually run fast LFOs through the Rings resonator input and it sounds good with harmonically related CV going through the other inputs to modulate.
Really greatI often work on Elements with Stages but I’ve no Rings…it give me ideas, congrats for this wonderful work!