LXR-02 gets Xeno'ed (no talk)

video upload by Richard DeHove

"In the last video I had the DB-01 going into the Nightverb reverb and then into the Xenodrive. This time it's a more conventional routing of the LXR-02 into the Xenodrive and then into the Nightverb. With the Nightverb early reflections, a little pre-delay and a careful amount of shape,it sudden;y came together. I was setting up for a completely different video idea but just had to capture this instead.

It's not all happy accidents though. First I tried Echolocator feedback into the Xeno and then Nightverb. Mildly interesting but even the Xeno couldn't rip the Echo feedback apart. And that's how it goes sometimes - you set everything up, twiddle up to 11 and you draw a blank. Sometimes I'll chew on it for days before admitting it was a rotten idea. I wasted the best part of two weeks recently on a looper pedal I bought and just couldn't get a single thing out of it. So sometimes when I don't post a video for a couple of weeks it's not because I'm too busy with cocktails and cigars, it's because my latest great idea just didn't produce anything worth your time.

Hopefully you'll agree that this little experiment with the LXR-02 was worthwhile. The LXR-02 remains one of my favorite machines. It has its flaws and is still desperately in need of another firmware update but I think it's a brilliant machine. Six assignable LFOs and multiple filters, deep editing and a tiny footprint: So much to love.

If this were a final production drum track I would definitely add a deep and clean bass drum from Hexdrums, but as usual I like to keep things well defined. Adding an external bassdrum would sound better but then you wouldn't be hearing pure LXR-02 / Xeno / Nightverb. My aim is to show you possibilities.

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My website: https://richarddehove.com/
My other channel "IntraCosmos" of long-play dark ambient textures: / @intracosmos"

Reverb into waveshaping

video upload by Richard DeHove

"A single oscillator into reverb and then distortion and waveshaping - I thought the result might be a serving of noise mush. Instead I think it turned out surprisingly well defined. Sometimes it felt like a massive unison patch, othertimes like a wonderfully unstable test tone. All up a type of tone salad that I find satisfying to twiddle and relaxing to listen to.

The sidequest here ended with 'fluctiphile' - a word I've coined from the Latin "fluctus" meaning billow, flow or wave in motion and the Greek "phile" meaning love of or fond of. So "fluctiphile" is a lover of waveforms. An outrage that no such term was available. So the next time you're showing someone the wonders of a modulated square wave, or a perfect sine, and they express their appreciation you can then congratluate them on their good taste as a fellow fluctiphile.

0:00 Setup
0:42 Sidequest
2:46 Nightverb settings
6:12 Xenodrive tweaks
7:40 Screamer
8:43 Ambient screamer
10:00 Waveshaper
14:05 All twiddle no talk

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My website: https://richarddehove.com/"

Industrial experiment with Hexdrums, Xenodrive & the Echolocator

video upload by Richard DeHove

"This is an experiment. It started with the thought: "What if I took just two voices from Hexdrums and feed them as individual outs left and right into the Xenodrive?". That felt a little raw even for me so I then added the Echolocator after the Xeno. After hooking it up I had a joyous 30-minute "jazz odyssey" of which this is the still-very-long-for-pure-drums cutdown version.

All three machines are tweaked as a single control surface and I don't think any machine here is the star. They all do their bit. Since there's no unaffected sound keeping things stable the Xeno work is quite restrained compared with the complete destruction of which it's capable, and likewise the Echolocator stays reasonably tame.

Was there a lesson from all this? Perhaps it's just that trying odd combinations is fun. On a more practical level I can certainly see that various sections could be usefully sampled as loops. To that end I've put together a pack of 16bit 44KHz loops at 110bpm that are on my Patreon page. Many of them can be usefully split left and right for further processing.

As usual there is no DAW processing and the volume has all the ups and downs of the original.

0:00 Setup blather
2:05 Drums start. No more talk
3:45 Gritty
4:11 Bass synth
5:00 Noise & shimmer
6:10 TransEurope
7:40 Growler
8:32 Pitcher
9:40 Feeder
11:20 Droner

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My website: https://richarddehove.com/"

Hexdrums and friends

video upload by Richard DeHove

"Noodle the second. Hexdrums plus effects. The routing here has BD1 going to Gallows for a little dirt and reverb; BD2 going to the Boss DM-2w; the machine voice 3 to the Zen delay; and everything else to the Xeno filth machine. A six-minute drum machine solo is a challenge. You're essentially making an 'accompaniment' instrument take the lead.

Here I again use the mute/unmute to create variations. That's reasonably easy on machine with ten voices. I've often thought that four voices is plenty for me. So is ten voices with mutes better than two patterns with four voices; or four voices one pattern and parameter locks? Is one more efficient than another? Is there any way to quantify such things? Just for laughs I asked Grok this exact question. Predictably (just like any forum) it started with "It really depends...". Later it said that: "In the drum machine world, parameter locks (p-locks) on a single pattern are generally considered far more powerful and creative than having multiple patterns or more voices." Hmmm. maybe. P-locks might allow more voice variation on a single pattern but then you have to program that in. With multiple voice and muting you can create multiple 'scenes'. Of course AI isn't going to tell you anything profound, it's just scraping forums.

What really strikes me with Hexdrums is that it hits hard. It's easy to get a very solid bass drum in all sorts of flavors. Why can't cheap drum machines do that? Ah, so many questions...

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My website: https://richarddehove.com/"

Nightverb and DB-01s: Generative dark ambient

video upload by Richard DeHove

"My Christmas video. Dialog is from the 1948 film noir English movie 'A Woman's Vengeance'. Audio is two DB-01s running left and right into the Erica Synths Nightverb. The Nightverb audio is absolutely as-is with no other processing than what you see. Movie dialog has been processed in Reaper and the Valhalla delay effect has been automated - which is an incredibly tedious process compared with riding the dials on hardware.

The DB-01s are set to different scales and random playback. The melody was randomly generated. I'll make a separate video showing this (simple) process if anyone's interested.

Merry Christmas :D

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Hexdrums: First Noodle (No talk, no drive)

video upload by Richard DeHove

"You want easy? Hexdrums is easy. The sounds are whatever the knobs are on. There are no hidden extra sound controls. The sequencer is wonderfully straightforward yet has the options to create long and complex passages on a single pattern.

This is my first pattern with Hexdrums and I created it to learn the options, so it contains a little bit of everything. Voices 1, 3 and 6 run for 24 steps; most of the others are 16 or 64; there's shuffle on voices 3 and 4; and about half the steps on voice 4 have some microtiming. Many voices use the 'play once in 4' or similar settings applied to various steps and I activated the option for those to affect the last time around rather than the first. Various voices also have accents on different steps. I replaced the cymbal samples with my own samples which is what you hear on voices 9 and 10.

I used the individual outs on the back to send the snare to the Echolocator and the low boom sample on voice 9 to the Nightverb. MIDI out on the Hexdrums controls the Echolocator clock. By that stage it was all feeling full so I didn't want to artificially squeeze in the hats so I left them for next time. Many people like to immediately apply loads of drive to the sound. I love drive, saturation, dirt, gain and distortion. But there's none here. Another thing for next time. Likewise only a tiny touch of compression. With me applying 'test amounts' of all these options, usually at random, it's a miracle it sounds as coherent as it does. Even so rolls and hits do appear at odd intervals, the result of the 24 vs 16 step interplay and the 1-in-4 steps.

Not surprisingly then I thought it best to leave the knobs alone and concentrate on muting parts to create this little demo. Obviously it's all a single take and has not been enhanced, edited or remixed in the DAW. Stupidly I had a loose cable going into the Echolocator which created a bit of hum which I did try to eliminate in the DAW.

My one sentence review so far: Hexdrums is incredibly easy to use with loads of effortless thump and a deep sequencer.

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My website: https://richarddehove.com/"

Xenodrive on synth, drums, drone and SFX (no talk)

video upload by Richard DeHove

"First up: Erica Synths sent me the Xenodrive, so my thanks to the kind crew in Latvia. And did you know Latvia and Tasmania are almost identical in size? Not sure that fact will prove useful to you, but who knows.

The Xenodrive joins the Echolocator and Nightverb in Erica Synths' desktop range. Older members include the DB-01, LXR-02 and AcidboxIII. The Zen delay eats at a different table because of its slightly different case size. Perhaps we can speculate on what's next? I'm thinking of a sampler-looper thing. Thoughts?

Back to the alien-green Xenodrive. But before we get there it's interesting that alien stuff is associated with the colour green. If you read fairy tales in their original form then you'll know green was always the colour of witches and other evil folk.

So the Xeno: Stereo dirt, drive, waveshaping, distortion and tube screaming. Dial in just a touch or destroy everything. Lots of knobs plus presets. It's a rare beast.

Aggressive effects can lead to aggressive knob twiddling spinning from zero to ten looking for the big changes. Sometimes it's true: the parameter might be linear from not much to lots. I find the Darkglass B3K works like that: There's not much true variation as you wind up the knobs, you simply get more. But that's not how many parameters work here. If you rotate wildly from 1 to 10 you'll miss all the flavors. That's especially true of the rotate parameter, the drive tone, and the X and Y waves. With all these you'll find variations with tiny movements.

Another parameter I really appreciated was the noise gate threshold - one of the few things that doesn't get a dedicated knob. Dirt and distortion pedals are notoriously noisy so a noise gate at the end of the chain can save you from lingering hiss. You can hear this in the first drum demo here. It begins with long tails and then I wind back the gate. Fun also to use it as a hard release rather than just a noise killer.

I tried to give a variety of scenarios in this demo. My unexpected favorite was how good it was at simulating the details of shortwave heterodyne noise.

0:00 Synth demo
2:45 Drum demo 1
7:48 Throbbing Gristle
9:30 Shortwave
11:55 Drum demo 2
15:26 Feedback drone
17:19 Cheese demo
19:00 Drum demo 3

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"Transient-only" LXR-02 kit with the Zen, Nightverb & Roger That

video upload by Richard DeHove

"This started as a little experiment: What would a transient-only drumkit sound like? Of course it's very clicky, like someone on "amateur talent night" playing a set of spoons. But the filters, LFOs, drive and sample-rate controls all still work so there's some wiggle room. First job is to disable the underlaying sound which, I finally discovered, is most simply achieved by switching everything into PWM mode and adjusting the PWM level.

When the thrill of slightly different flavors of click wears off the challenge becomes finding an effect to give it some deeper variation. The Zen, Nightverb and twin Roger That' all did wildly different things. The Nightverb was unexpectedly successfully especially using the pre-delay, feedback and shape controls to give a heavily gated feel. On the Roger That section I did use the morph parameter so strictly speaking it ceased being all-transient, but I thought the end result was worth a little rule-bending.

0:00 Setup talk
1:50 Raw kit
2:27 With the Zen
3:09 Karplus time
4:40 Nightverb (no more talk)
7:18 Roger That

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My website: https://richarddehove.com/
My other channel "IntraCosmos" of long-play dark ambient textures: / @intracosmos"

Syncussion SY-1 dark ambient driven by the Midicake Arp (no talk)

video upload by Richard DeHove

"I toyed for some time with the idea of titling this video: "To a Mouse, on Turning Her Up in Her Nest With the Plough". Which is the title of the 1785 poem by Robert Burns. Supposedly Burns was ploughing his field in Scotland when he accidently destroyed a mouse nest; was full of remorse for 'little Mousie' who now faced a disastrous Winter; and composed this rather lengthy poem while standing in the field.

It contains the verse:

But, Mousie, thou art no thy lane,
In proving foresight may be vain;
The best-laid schemes o' mice an' men
Gang aft agley,
An' lea'e us nought but grief an' pain,
For promis'd joy!

The key line of which has been popularized as "The best laid plans of mice and men often go astray". Which, it can finally be revealed, was my resigned feeling when rendering this video, and which led to the impulse for the silly title. In the end I decided against this title assuming algorithms don't appreciate obtuse connections by mood.

The plan was to string together a good half dozen Arp-driven Syncussion noodles with long stretches of blather about the Midicake Arp settings. After putting most of that together the only part I really enjoyed was one of the darker pieces, so that's the video. At least I learned a little about Robert Burns. It's worth another few minutes of your time to read something of his life, it's fascinating.

Here the Syncussion is in Mode 2 which means the pitch is controlled via MIDI. At times the Arp is also modulating the only other available MIDI parameter which is decay. The two leftside Arp channels control the left-side Syncussion voice; and the two right channels of the Arp control the right voice.

A pedal I bought used many months ago 'Gallows in the Morning' is on the left channel, and a delay on the right. Gallows is a drive and reverb combo pedal. Meh. The reverb is OK but the drive is pretty gutless and has an odd crackle to it. Mode B I never used because it just sucked the entire bottom end away. But it looks good, has a big light, and a nice gloomy name.

In other news I recently had to endure a few days here without my Fab Knocker. Lord, what an agony. So my thanks again to my loyal handful of Patrons. I detest ads.

In reaching this far I thankyou, it's good we can share these little interludes of irrelevancy.

Many thanks to my kind patrons who keep this channel ad-free
My website: https://richarddehove.com/ My other channel "IntraCosmos" of long-play dark ambient textures: / @intracosmos"

Zen and Echo star in the feedback romance 'Sounds of Love'

video upload by Richard DeHove

"The final evolution of various experiments using the Zen delay and Echolocator delay. This time it's just self-generated Echolocator feedback run through the Zen delay.

Movie sequences are from the 1932 movie 'The Red Haired Woman' starring Jean Harlow. This was one of the steamy, amoral, boundary-pushing Hollywood productions that led to the puritanical Hays Code. It was also notable for its famous slap scene.

The movie audio was process in the DAW using automation on delay plugin parameters - and what a colossal no-fun pain that was compared with twiddling knobs in real time. I made it to three lanes of automation then gave up. The Zen-Echo combo is not processed from what you see.

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My website: https://richarddehove.com/"

Echolocator delay fully cranked for guitar-style feedback (no talk)

video upload by Richard DeHove

"I've always loved dirty guitar feedback. But since I don't play guitar (other than very bad Punk bass) it's proved hard to replicate with synths. Lately I've been looking at the Audrey II feedback drone thing which is all about feedback. At around 400 Eurobucks that seems a lot to pay for feedback so I thought: surely there's something that I already have that can do controlled feedback?

Delays are a reasonably obvious choice although very few have enough controls to generate the classic feedback tone yet also keep it under control. Happily the Echolocator can by a little manipulation of its compressor setting. At zero (in the 0 to 100 range) it is just a little too keen and can generate an overload which freezes the unit and requires a power cycle. I finally settled at "9" which gives it just enough compression to prevent meltdowns. Even so the output level needs to be kept low. Most of the other parameters just add degrees of thickening or turbulence which you can see in the video.

The routing here is the DB-01 into the Echolocator and then stereo out to the Zen with generous serves of distortion and a touch of lowpass filtering to roll off some of the shrill top end. I had thought the Echolocator would be the Zen's executioner, instead they're now a loving couple.

In the two demos here the first is with the clean delay setting with the feedback amount set low in the patch. The second demo using patch 54 uses the 'dirty' delay setting and has the feedback amount programmed high in the patch which is why it starts whining as soon as I switch to it.

0:00 Demo 1 clean
2:07 No Zen
2:51 Demo 2 dirty
3:50 No modulation
4:20 Timing change
5:00 Thick modulation

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Syncussion SY-1 - Walkthrough and extended demo

video upload by Richard DeHove

"The Behringer Syncussion clone is a simple beast. It creates mighty bass drum hits with no effort and has beautiful noise. That in itself is something I find puzzling: If this cheap clone can so easily create big hits why are cheap drum machines always so dinky and gutless?

Here I do some lengthy noodlings with the SY-1 Syncussion with one channel through the Zen delay and the other through the Echolocator. This duo is really growing on me. The Zen has some good grit and saturation, while the Echolocator has various tricks with its freeze, shimmer and filter.

About halfway through I digress into a basic overview of the controls, then it's back to noodling. The DB-01 does a good job with sequencing although the original plan was to drive everything with the LXR-02. But horrors! I discovered that the MIDI out functionality on the LXR-02 is totally broken - confirmed by Erica Synths. Hoping for a fix on that soon. In the meantime the DB-01 will have to battle on as my sequencer.

If there's one thing I could change on the SY-1 it would be to add clock sync to the LFO. For me unsynced LFOs are a huge miss. Otherwise it's an excellent little synth. Two of them mounted in a Eurorack case could easily make for a powerful drum voice solution.

As usual, no DAW processing of any kind, it's all what you see.

0:00 Setup explained
2:01 Noodle soup
2:58 Elephant song
4:44 Tin shed
6:29 Weather system
8:08 Interface walkthrough
18:05 Robot bird
19:40 Corky
21:46 Trainride
22:36 Punching bag
26:19 Subby McSub

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My website: https://richarddehove.com/"

Behringer Murf Box on synth (no talk)

video upload by Richard DeHove

"Behringer's BM-15M Murf Box - now renamed as the BM-15M Resonant Filter - is a clone of the Moog Moogerfooger MF-105 MuRF. I bought this pedal thinking it might be a more interesting replacement for my Boss SL-2 Slicer. Why did I want to replace the Slicer? Because the Slicer has a few things that slightly irritate me. In hindsight, a pitiful motivation since the Murf Box has an equal number of small irritating things.

First, if you bypass the effect you only get sound out of one channel. That's irritating. It's huge, the knobs are hard to read, I don't love the EQ, the way the envelope works is odd, there's no compression on the drive, and you can't adjust the LFO without an expression pedal. Not that I entirely blame Behringer, I also blame Moog since these are all present on the OG Murf. But of course all the actual blame rests with me for not being satisfied with the Boss Slicer.

Not that the Murf sounds bad. It's a rather interesting, gritty, unusual and reasonably versatile machine. I think rather my expectations were pumped up to the same artificial heights as the OG Moogerfooger reputation and prices.

Here the Murf is receiving a MIDI clock and the expression pedal is connected to the LFO rate. The volume varies a lot depending on the EQ, mix and drive settings - and seems to fade away a bit toward the end of the video - but I thought it best to keep these as-is to show real usage.

Originally I was going to do a comparison between the Murf Box and the Boss Slicer with lots of talk. But knowing that hearing me talk too much annoys some people, and that merely showing a Behringer product will guarantee a percentage of automatic dislikes, I thought it wiser to start with a plain audio demo. I'll do a comparison with the Slicer very soon (unless everyone hates this video) since I think there's a lot of overlap and interesting design contrasts between the pedals.

0:00 Intro ditty
1:00 Twiddlings
3:30 Drone
4:06 EQ fun
4:56 Envelope
5:50 Many tweakings

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Dark DB-01 drones with 100% resonance (no talk)

video upload by Richard DeHove

"This began as a lengthy blather and demo of the Boss RT-2 ensemble pedal. That's the pedal designed as a Leslie effect emulation promising gorgeous swooshes and modulation. But as Bilbo Baggins warned (if I recall the quote correctly): "It's a dangerous business Frodo, switching on your synth. You play a single note, and if you don't keep your feet, there's no knowing where you might be swept off to."

So here all that remains of my sumptuous and detailed RT-2 demo is a rather dark, dirty, and meandering resonant dronefest. I blame the RT-2 of course. I was testing the effect on a poly synth and I was horrified that it seemed to be sucking all the bottom end away. Surely that couldn't be right I thought. So, purely as a test, I plugged in the trusty DB-01. That's all it took. The RT-2's tube saturation was engaged, the DB-01 resonance cranked, and beautiful harmonics cascaded out.

As usual there is absolutely no DAW processing on the DB-01 sound. The vocal samples were obviously added afterwards with some Valhalla delay. DB-01 delay is from the Boss SDE-3.

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My website: https://richarddehove.com/"

Industrial drums with the Plasma Voice and DB-01

video upload by Richard DeHove

"The Plasma Voice has many unexpected talents. One of them is a Channel 10 MIDI mode where you can play four octaves of sounds centred around the percussion bank. So even though this is a CV-heavy module I'm back in MIDI land using the DB-01 as a sequencer and arpeggiator.

The DB-01 is ideally suited as the master here letting you 'spin the wheel' for new patterns with the randomizer. Things get much weirder if you then start feeding it CV as well but I thought it best to keep things simple - just a couple of LFO feeds and the whole thing can get chaotic. The Plasma again proves to be a surprisingly deep little synth.

The routing here is the Plasma Voice out goes to the Zen and off to the DAW. No other effects or processing. The DB-01 is just providing MIDI note info and has no audio connected.

0:00 Background info
1:32 Randomized pattern
1:50 Arp on top
2:30 Lucky dip
4:50 Sliders

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My website: https://richarddehove.com/"

Complexification of LXR-02 drums with Echolocator & the Zen

video upload by Richard DeHove

"Complexification is a perfectly cromulent word to describe 'A drum machine with two delays; since this is no mere everyday serial setup. Here we have two stereo delays in alternating parallel mode embiggening a single drum pattern. In fact 'chronocomplexification' would have been more accurate but I thought the Youtubes would punish me for being stupid.

The aim is to take a simple single pattern and create variations and interest while having fun. I think everyone knows the feeling of having a single pattern and trying to expand it into something greater. Depending on what machines you use it can start to feel like you're fighting to advance. Here it's all just knob twiddling fun.

In the video I describe the routing of the stereo outputs: One to the AB pedal which is then manually switched to either the Zen or Echolocator; and one channel direct to the DAW 'dry'. In this demo I didn't use any of this dry signal. If this were a "real" finished track I'd probably mix in some of the dry bass drum just to keep things coherant. For the video I thought it more useful to just have the two delays' sound. For a more nuanced routing setup you could change the left-right balance of various voices and use the 'dry' channel to instead go to a third pedal effect which could also be manually switched on and off. Putting a looper somewhere in the chain could also be interesting.

With all this I'm increasingly feeling that moving up to a higher tier in the drums or synth department is perhaps not as significant as investing time and attention to effects.

The video is all one take with no DAW processing - even though I was extremely tempted to EQ the Zen parts to bring out the crunch and distortion. The couple of cuts in the track are from me trying to find slice points to bring it down from 30 minutes. The samples are from a couple of 1950s sci-fi movies just for a little variation.

0:00 Routing and setup info
1:08 Dry pattern
1:25 All tweaking, no talk

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My website: https://richarddehove.com/"

Plasma Voice: A single sound played like a "normal" synth

video upload by Richard DeHove

"The Plasma Voice module loves being modulated, But how about just playing it as a standard synth voice? Here I twiddle at length with just one of the 49 core sounds. This is bass sound number 2, but it happily scales up and down the octaves. One thing I like about the Plasma is that you don't need to tune it. As much as I liked all my old analog Eurorack oscillators, I absolutely hated tuning them. Often I wouldn't bother, then I'd come up with something good and realize it wasn't going to fit with anything else until I stopped everything, broke the spell, and went back and tuned them :/

Playing a Plasma voice with no modulation isn't what you'd probably often do. It's setup for easy and crazy amounts of realtime change. OTOH it's interesting as a synth voice to play with a range of unfamiliar parameters. Since there's no ADSRs or other standard controls you tend to go in different directions.

Ten minutes of this might be overkill, but as my daughter always says (with a laugh): "Your channel is so niche", so I'm unfazed. It actually felt quite brief to me although the Nightverb was essential to smooth things out.

And watch your ears at the 4 minute mark. There's no compression, limiting or other volume modifications on the audio and the sound gets rather piercing.

0:00 Dry sound
0:54 With reverb
3:32 Jackhammer
4:02 O Lord My Ears
4:45 So low
5:30 Smoothie
6:05 Prod
6:57 Sustainers
8:15 Octaves
9:56 Wet
10:49 Square

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My website: https://richarddehove.com/"

Echolocator vs the Zen delay (lots of talk)

video upload by Richard DeHove

"Primarily this is a discussion about the various merits and abilities of each delay and how they compare."

"Although this video runs almost half an hour it feels like I was still skating on the surface. I avoided what I thought were completely obvious things or multiple sound comparisons of particular details. Even so a few areas I never got to include winding the delays all the way down and looking at various flanging and chorus effects, and maybe this deserves its own video? Likewise the Echolocator never got to its dirty mode or the alternate filter placement (although I do have no-talk videos which cover these). Nor did I play with the time parameters, long fripperish things, or drums. Ah well, so many wondrous sounds are waiting in the ether eager to be released. I'm trying.

And of course I never get to any conclusion about which delay is 'best' but surely you didn't think that was ever going to happen? Instead we only get to that forum advice favorite of 'use both'.

0:00 Basic specs
0:38 Alternative delays
1:57 Strymon Timeline
2:58 Ergonomics
4:30 More specs
4:58 Delay time
5:49 MIDI
7:05 - Audio begins! --
9:04 Both playing
9:44 Zen as a crunchy filter
12:00 Echolocator basic twiddle
13:10 Echolocator modulation
15:24 Echolocator pitch shift
17:04 Echolocator freeze
18:45 Noise tones test
22:00 Pure tone test
27:25 Cats or dogs?


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My website: https://richarddehove.com/"

Good news for LXR-02 owners (now let's list bugfix & feature requests)

video upload by Richard DeHove

"Although the recent 1.07 firmware update was just a maintenance release it's far more significant than an assortment of bugfixes. Instead of having to wait for the Great Eye of the original LXR developer to fall upon the LXR-02, Erica Synths can now do updates in-house.

So rather than feeling this wondrous little machine has been forgotten, this is a reason for great optimism for more development. Erica Synths surely wouldn't go to the effort of taking over development just to then shelf it all again.

Here I look at the main new feature which is parameter lock value display, which is an excellent excuse to look at how parameter locks work in general.

For the future I'd like to see song mode fixed; the delay effects get proper tempo sync options; and the lighting changed on the buttons so you can see which patterns are empty and which have data.

Perhaps this may be a good place to put your bugfix and feature requests...

0:00 Background
0:46 The good news
2:12 Parameter locks
5:12 Per step FX
6:10 Easy saving

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My website: https://richarddehove.com/"

Plasma Voice: An Electro and an Industrial noodle (no talk)

video upload by Richard DeHove

"As my grandmother used to advise: 'They can't shoot you for asking'. So I asked GamechangerAudio if they might send me a Plasma Voice module - and here it is.

It's easy to get started - just send it a trigger or a MIDI sequence (MIDI adaptor cable is included). From there you can get as complex as you like. In the first noodle the DB-01 is sending it a basic pattern and the Plasma Voice and DB-01 are doubled up playing it. Some synced LFO CV is switching voices in the bass and lead category. My daughter pulled a face when she heard me editing this and said it sounded 'loose', so I added some drums in the DAW. And then a few extra vocal samples for seasoning.

CV comes from the SPC Neptune 8-LFO module (currently in development). This is an early prototype but is just the thing for sending lots of synced modulation. The Plasma Voice loves being fed.

The second piece is pure Plasma Voice fed into the Nightverb. Quotes are from the original 1938 Halloween broadcast of The War of the Worlds. Again lots of CV tweaking the core sounds.

As usual the sound is not subsequently modified, EQed or processed in any way in the DAW (except the added drums in Noodle 1).

0:00 Electro noodle
2:01 Industrial noodle

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