Thursday, October 29, 2009
I'm one of the lucky few beta testers of the new TipTop Audio Z-DSP eurorack module, and boy is it a lot of fun. The Z-DSP is a lot like the TipTop Audio Z5000, except embiggened. A lot. There are three CV controlled parameters per program. There is a feedback loop that you can tap into on the front panel so you can insert a filter or whatever module you can think of inside a part of the DSP process that is usually closed to tinkering. You can change the personality of the DSP by inserting a different card on the front panel. You can even voltage control the clock. This is serious sound-mangling mayhem.
The short audio files I produced represent only one patch idea using one program on one card on this module. I could spend a great deal of time exploring various options without even changing the DSP program on the Z-DSP. The fact that I could load another program is another whole world of possibilities. If, somehow you got bored of that, you can load a card with a different batch of programs. Egads, this thing is endless.
I used three TipTop Z3000 oscillators to perform some additive synthesis, using triangle waves, as I wanted a few extra harmonics in there. The mixed output went into a Cwejman RES-4 filter, with the frequencies of all the filters modulated by a Cwejman VCO-6. This is what I fed into the Z-DSP. I inserted the Elby Synthacon filter into the Z-DSP's feedback loop and controlled the feedback with a joystick. I recorded the output, and played with the joystick, audio input on the Z-DSP and filter settings in real time. The Synthacon filter is interesting as I can selectively bring low pass, band pass, and high pass variations into the feedback loop whenever I want. This was interesting to control as feedback loops can be very unstable, but this always seems to be easier to 'feel' in the analog domain.
I made another pass using the stepped output from the VCO-6 and played with that for a while. These are creative commons license, so feel free to download and use yourself if you like.
I processed the two drone passes in the DAW and back out the modular and recorded the filtered and triggered result back in.
Next is the drum pattern. I started with a stock BPM pattern, then I edited the pattern slightly, then I edited the sounds. The next clip demonstrates the progression of results.
Drum edit progression
Lazily recorded a bass line using the Prophet 5. I wasn't too concerned about mistakes as I intended to edit the snot out of the recorded audio in the DAW.
Recorded another mono pass, panned each left and right, making it stereo.
Stereo Prophet bass
Post edited result.
Processed Prophet bass
Here are all of the elements together.
I'm not sure if I'll do anything with it, but I thought you might enjoy listening through the process.
UPDATE: removed the embedded quicktime links in favor of linked MP3s as some people were having compatibility issues.