Published on May 9, 2013 pjoris2·26 videos
"I got a Vermona Quad Midi Interface and had already 3 RS-95 VCOs -- so I bought a fourth one to have a try at modular polyphony. Luckily, I had a few quad modules: the Doepfer A-143-1 (Quad) Complex Envelope Generator/LFO which contains 4 AR envelopes, the Doepfer A-138m Matrix Mixer and 4ms CVA Matrix, and finally a QMMG which contains 4 identical low/hi pass gates. Some sound impressions in the video. Don't mind the duff notes and unstructured improvisations here and there, and the VCO tracking which is not the same for all 4 RS-95s. But then, the last is part of the charms of analogue modular polyphony. The 4 channels of the QMMG are also not really identical anyway.
I like the sound of it ! The QMMG is a bit rough at times with high resonance, and I would prefer 4 ADSR envelopes (an A-143-2 maybe). And of course 4 note polyphony is not really impressive, but it will give me some nice pads out of the modular.
The final patch was:
Midi-keyboard to Vermona Quad Midi Interface
Gate Out to Doepfer A-143-1 (Quad) Complex Envelope Generator/LFO to Doepfer A-138m Matrix Mixer (to be able to determine the amount of envelope on the low-pass gates) to Make Noise QMMG CV (Frequency) Inputs
1 V/Oct Out to 4x Analogue Systems RS-95 VCO to Saw or Pulse Out to QMMG Audio Inputs to 4ms CVA Matrix (to avoid overloading the Azimuth and to do the placement of the 4 voices in the stereo field; I didn't seem to put much in the centre of the stereofield however) to Intellijel Azimuth II (these last two not really needed, I could just as wel have fed the 4 channels into the mixing desk directly)
Some LFOs to the Pulse Width CV inputs of the RS-95s. The RS-95 are really nice sounding VCOs by the way. No effects, and still sounding nice and full - the polyphonic modular does not sound bad at all imho ..."
"quantum maps arbitrary note values to objects in juggling patterns. higher notes correspond to higher throws by default, but any value can be assigned. additionally, the program allows for a distinction between the left and right hands. note triggers are set to the peak of each object, rather than the traditional catching or throwing position. this produces unexpected rhythmic variations, and allows for chords to exist..."
