May want to try running the signal through some sort of gain stage. I’ve been using veils to push the level up of various things through the resonator, and the quality of the resonation (or at least my perception of them) can really change.
Seeing this video pop up of the Basimilus Iteritas Ater in another foum made me curious if anyone has one and has tried running it through a Rings/Elements? I imagine you could get some really interesting percussion with some aggressive modulation of both of them.
Long sequences tend to sound like white noise, short ones make those glitchy but somewhat tonal sounds.
I’ve not yet read the relevant Braids source code (there there are two parameters changing), but I think in something like the AT, it’s a fixed set of 13 different lengths set by the tone control. I don’t know if they are all maximal length LFSR sequences, but they’re clearly changing some combination of the shift register length and the XOR feedback (the polynomial).
One reason the Noise Engineering AT is one of my favorites in this sort of thing is that it seems to have a good range of Atari 2600-like sounds and it can either be controlled by a 1V/octave input or it can be clocked externally. Clocking externally gives the ability to run it slower than audio rates
As I understand it, the doepfer one is just a single (rather long) length, which with a higher frequency V/oct oscillator you can clock for pitched noise sequences, but you can’t get those less random glitchy sounds.
The “Raw Spring” module from Error Instruments – basically a guitar tremolo spring mounted over a contact mic – into a Doepfer A-119 for amplification, and then into Rings’ audio input. Change the pitch with a keyboard CV going into V/oct.
Well, that was delightful! Thanks for sharing!
I love the things I’m hearing here, so much to learn. Here’s another patch I came up with:
The contribution from Rings is more subtle in this case, but I think it adds a kind of silvery breathiness to the square wave coming from the Mother-32, making it sound like a piccolo. Also, when I slightly detune the Mother-32, the tuned resonance from Rings creates a little fluttery beating that I particularly like.
Beautiful patch and playing! Are all the delay effects coming from clouds, or do you have something else going too?
Thank you! Just Clouds, with Position being modulated by the Mother-32’s LFO (I love how that makes the delay speed up and slow down). Pitch is set one octave down, with some feedback so the next repeat goes down another octave.
Really lovely! I had this running in a loop for some time and just could not stop it
Amazing!! I love this use of Rings! Also inspiring me to see if I can dredge up some Messiaen sheet music for solo piano…
I quite like simply running a low-pitched sawtooth into the input in Inharmonic String mode. With low structure and frequency it acts almost like a really awesome-sounding filter, it can get quite nasty!
Ok, I had completely forgotten that the disastrous peace effects could be applied to external sounds!!! I’ve been running plaits in mini rings mode through rings disaterous peace’s chorus and having rings provide chord swells here and there!
(All looped through a mannequins w/ with a 3 sisters formant filter in the feedback loop.)
Come to think of it, I’ve been sending a ton of different stuff filtered by 3 sis into rings in the resonant string mode lately. 3 sis provides a nice way to pick out/emphasize which harmonics get fed into rings.
Rings is one of my all-time favorite modules. My current album project is a (mostly dark ambient) study of Rings using various input sources
Some favorite sources:
- Plaits – I honestly think this is the best module to pair with Rings. It’s a versatile source of raw material, and its own Rings-like modes layer very well with it.
- Putting Rings inside a feedback loop with a reverb or delay, frequency shifter, wavefolder, etc.
- Sines with an envelope to modulate the frequency – it’s like taking a more harmonically rich source, but spreading it out over time
- A TZFM complex oscillator (Hertz Donut, or something+Warps). Put Rings in yellow mode, and mult the pitch CV through a slew before sending it to Rings V/OCT. Optionally, put an LPG before Rings. In this patch Rings acts like the waveguide delay in Madrona Labs Aalto.
- A second Rings. Layer them, cross-feedback them, take advantage of the alternating outputs in polyphonic modes…
- Something noisy into both the input and FM or V/OCT inputs.
As I just got a new Tides (2018), I am curious to know if anyone has been experimenting with it as an exciter for Rings.
I found that the low freq and mid freq settings creates interesting pattern.
I love using it to both trigger low pass gates that go into rings to get rhythmic patterns and to feed it directly into the input. At lfo rates, it pings and feedbacks very nicely, at audio rate, you can use rings to simulate body resonances like the corpus of a violin while tides acts as the string and bow. A little feedback fm to tides from the rings output works great too.
All mutable instruments modules work brilliantly together, my rack is 90% MI
I randomly decided to fm rings, I think in inharmonic mode with the formant output of a mangrove oscillator. With particle noise from plaits driving rings it sounded like a spring reverb being plucked in a really satisfying way!
Random Rings experiments
Things that sound good through Rings/Elements
I was really surprised how good the fm can sound despite the rather low sampling rate on the input.
One thing inlike to do is set structure to 12ish, brightness high, damping rather short and feed the even output back to the fm input.
This technique can give really pleasant atonal sounds for cymbals, high hats and so on.
Also worth exploring in this context is not directly triggering it but using a noise source on the input and gate it afterwards so attack and decay can be adjusted without influencing harmonic content.
Overall rings is a really great sound design tool imho.
Sending Edges hand-tuned chords through it sounds great!
This is my first post.
I’ve been experimenting with my Rings. I bought it with fear that it would sound like everyone else with that plucky string sound, which is cool but kind of borring if everyone else has that sound. So I started to experiment with it.
One of the experiments consisted in creating a feedback loop of the even output going to the in, then controlling strum with a gate from the KB-1 and the tone with te 1V/oct. You have to adjust the damp control to noon or beyond to create the feedback tone which is great. I can play it with the keyboard but the result may vary depending on the frequency position, also the structure.
Another thing I really like is to pass a sound (noise) thru a reverb, in my case the BHDPS 1 an then thru Rings. Lovely.
Last night I was experimenting with a DS-M going in to the Rings, both toned. DSM with some noise, both controlled in pitch. Modal Mode: Sympathetic Strings.
I started this journey because a friend of mine lend me a Mikrophonie, which changed my approach to the modular. Then I bought the Ears, Rings and Marbles (awesome modules, really) and I started playing with the Ears, I had for ages a stock CPU cooler (http://www.pcstats.com/articleimages/201206/install1155_DSCF3470.jpg), it’s beautiful, and has a sound of its own. It has a copper core and aluminum fins.
I hope to show you with sound examples soon.