i am still in the process of adapting my vocal technique and audio gear chain so that trailing edges of certain sung phrases don't cause rs-35 to output divebomb pitchbends followed by chaos, for instance.To print, go to File on the menu bar and select Print.Ĭonstruction (Non Building), Traffic Control, Road Construction Using instruments whose basic tonal spectra don't have much in the way of harmonic content to begin with (such as undistorted electric guitar played one note held at a time, for example) makes using the rs-35 easier than with singing or harmonic-laden brass and woodwinds.Īdapting your playing technique (like with palm-muting strings, as Monobass suggests above) is also essential to getting the most from this module. The effects of the rs-35 losing track of pitch and going out of control are none too subtle (it actually reminds me a bit of a wogglebug with chaos balance set to chaos), so it essential to set it up correctly (which means filtering out all and any upper harmonics from your monophonic tone source, as well as any low-pitch accents at ends of notes ). the closer it sees to a pure sine wave, the happier it seems to be (as you can see by patching a vco sin out straight into its freq in). i've found that it can be tricky to set up. I have an rs-35 which i purchased from bcm earlier this year (and which i plan to demonstrate in next month's your-tunez-here 'jj/unkle' vid where it will track my voice patched through some filters). I'm primarily a bassist - doesn't do such a wonderful job with electric bass.Īnyway, like I say, thinking I'd like another module in its place, it you have any interesting trade ideas or something, shoot a pm at me.Įdit: in fact posting this got me to thinking - up for trade: My problem with it is that with guitar it does kind of too good a job of translating guitar articulation - to the extent that I may as well be playing with the crazy tone shit I already have for my guitar rig side of things, because that is guitar to me - not playing it through my modular. It's cool and fun, but I'm thinking it may not be a permanent resident of my rig. There's always at least a little slew, but you get used to this and work with it.
Also boost the signal a little bit on the way in. It does really well with guitar after you make some adjustments to your playing like definitely palm muting pretty aggressively in combination with a compressor helping with sustain and rolling the highs out by whatever means.
I think that this is exactly what the ms-20 and other analog pitch->CV circuits are anyway. Thus you should get a "pitch CV" from this, even though it will be glitchy and flawed. since doepfer gives users the oppurtunity to get into the loop in various gives you the CV out of the comparator to use elsewhere. Thus, a squared up input will, in theory, offer the comparator a suitable waveform to compare with the internal osc. obviously the whole point of the module is that it doesn't really work "properly" giving crazy glitches etc.
as it is patched in a "loop", changes in the input freq are "supposed" to be mirrored in in the output of the internal osc. a voltage is created at this point which then controls the pitch of the internal osc. the "phase locked loop" uses a phase comparator to compare with it's internal oscillator. To do this with a PLL you have to "square up" your signal as much as possible (a119 probably) and put it into "signal in". The PLL will get this.though i can't imagine how the Maths would do this other than in a "sync" way. Maybe these modules can do that, I dunno. True Pitch-to-CV function in my mind should generate a steady CV signal that you can send anywhere, not just a pulse that syncs or resets the cycle of an oscillator. Soundxplorer wrote:How does a PLL or MATHS do this? Just curious.