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Comments
Thanks again.
I guess starting with the standalone is a better idea, than going for the AU for a EMS noob like me. Which is what intend to do.
But anyway, probably a dumb question:
As the matrix doesn't seem to exist in the AU setup, how is routing between the modules determined?
You just chain things one after the other
I guess it's much easier to play in tune with the Au if you don't understand what's going on
Ppl didn't read the manual and were wondering why the pitches on the keyboard were so odd (you can spread the pitches differently)
The Au doesn't reflect all aspects of the iVCS3 IAA App.
That would have been much to complex and to confusing.
This thing is a monster.
Have a look at the video tutorials from hazel (digital jeepney)
They are really good.
You are welcome.
It took me 2 years to really master this thing.
I was so naive when I started, I know synthesis, it's just a few modules, how hard can it be ...
Make sure you have the latest presets
Preset manager > press the piece of paper with the arrow down icon >
Restore factory bank
Some goes for bought library presets, store > restore purchases
)
(I updated the standard presets and my library lala
Have fun.
I found using it in Aum dead easy. Got a few instances going, put them through a bunch of LFO's and whatnot and triggered the notes with Fugue. Despite only having a few knobs available to tweak, you can get a big range of noises out of it, I actually prefer using it this way to the standalone version.
I like the Au too
it's tweakers delight
Now you can use the basic modules n times with other stuff until the CPU says game over.
I don't think there is any other app that is that modular and flexible
This synth is so good, and so addictive to fiddle with and create patches. The app has a level of detail to it, you can just feel the love. jeepneys tutorials are a must watch, or you won´t even get out a sound of the keyboard.
Once you understand the patch matrix, it´s a pleasure to work with, so much better than the Model 15 on a tablet screen. A lot to love about this app, especially how fine you can adjust the oscillator tunings. Compare to the ODYSSEi and you want to puke at KORG!
It´s a 1-voice but stereophonic, which can lead to amazing results. A must have for every iOS Synthhead, absolute top tier! The filter sounds so damn nice, might very well be the sweetest filter, and know you can slap it on anything via AU!
The moog model 15 is quite conservative.
The EMS Matrix gives you other ideas.
I patched stuff there that I would have never ever patched in anything else.
It's easy to "break the rules" with it. I think that's what makes it so creative.
And all the extras that are not in the original vcs3 (the mods, the Lfos, the samplers, the fx, the accelerometer, link) kick it out of the park.
It's really a work of love from everybody involved.
it's much better than the original because it doesn't loose its tuning every 5 minutes (just open the window and everything goes bananas) and you can save and recall all the craziness.
A friend made a sample library with his EMS stuff and it must have been a nightmare because of the divaesque tuning. He was constantly looking at the frequency counter and retuning
I can give a few points to consider as to how to perceive the iVCS3 among all the other synths. On the face of it, it seems an ordinary 3 VCO, 1 LPVCF, subtractive synth, but there are subtleties that people frequently miss at first glance.
The modules, as already stated, have no normalised patching at all, everything must be patched through the pin matrix, or nothing will be ready to go at all.
Each module has 'volume' controls or level controls, at the output of the module (most synths don't, they have full level output and the next module you patch it into will have an input attenuator or mixer to adjust the levels).
The pin matrix isn't as formal and disciplined as you might imagine (well, applies to the whole synth too) - signals can mix on the matrix, and how they mix is where a lot of the 'weirdness' arises. Remember, you can mix electrical signals just by twinning two wires together - it is a perfectly valid form of mixing. We spend a lot of effort designing buffered input stages to mixers, and even passive mixers have resistors to protect one device from receiving strong signals from another device, but really, if you just twist wires together, you're mixing. That's what the pin matrix allows you to do.
The envelope shaper is actually three things - a VCA attached to a transient generator that is attached to a re-triggering oscillator. The transient generator here is called a trapezoid generator, whereas a lot of other synths might call that an envelope generator - all the same thing, it is a way of defining an up-going level (from zero) and having it stay up for a bit, then go down again somehow (and stay down for a bit, in this case). So, here our transient goes up in a trapezoid shape: slope up; stay up; slope down; stay down. The re-triggering oscillator is actually part of the design of the trapezoid circuit, which if not turned to manual on the 'off' knob, will just retrigger itself again after the 'off' period you've set has expired. Set the 'off' knob to manual, and it won't. Any other value of 'off' defines a length of time that it stays off, but after that, it goes back to the first 'attack' stage again. This actually turns out to be highly useful.
The envelope shaper's two lower levels knobs labelled 'trapezoid' and 'signal' are the CV and audio respectively. The trapezoid level is the control voltage alone, which can modulate other things. The 'signal' is the audio passing through that has been 'shaped' by the envelope shaper's VCA having had the trapezoid applied to it.
Some knobs have letters or numbers beside them - these correlate with the letters or numbers on the pin matrix. This will help you keep track of the input and output busses.
The original real hardware VCS3 was pretty rubbish at staying in tune (unlike this iVCS3 implementation). This is why a lot of old examples of VCS3 were not that musical, but more in the realm of sound effects. You should be able to do proper music with this one though.
U can also look at the matrix as a lot of multiples
But I haven't seen any modular system with that amount of multiples
In the usual bread an butter synths stuff is only connected once, like vco/lfo modulates Filter or pwm and that's it.
With the matrix you can modulate osc 1 & 2 with vco 3 and modulate the filter and do AM at the same time and modulate the vcos, on top of that the oscillator can modulate itself with its own signal etc ... remember all with one single signal
So it's not just mixing, it's cloning a single signal15 times (=16) and changing things together, it is also possible to make feedback loops etc.
so there are lots of wild and unusual possibilities (16x16) (instead of 1x16 what other stuff does)
And we haven't started using all the extra Lfos for each single knob yet, that's 56 extra Lfos that can sync to link if I didn't misscount, so there is plenty of room for experimentation. (Lol, i forgot the knobs on the keyboard so there are more extra Lfos)
Thanks for all the goodies @lala and @u0421793 - this is really helpfull. I do get your point @lala about ignorance about the inner workings and the signal flow, might be an advantage when tweaking and provoking happy accidents. If I get you, that is.However a bit of insight might not be so bad either ...
Understanding the matrix is really the blue key here that opens all doors
Oh btw. You can also use the samplers with whatever sample as envelopes if you really want to freak out ...
And new in version 2 is an envelope follower ...
There are so many options
It's like flying an UFO
I get that. Which is why the AU is a total mystery. Does anybody actually know anything about the signal flow in AU? Is it as simple as signal going from VCO/Noise to first effect, then to the second and so forth? Exciting posibilities is emerging in my head already ...
Yes the Au thing is much easier to understand it's just one thing after the other.
I sense a Mulholland Drive reference
>
The blue key means nothing, it's just mind fuck.
It's a nod to old 8 bit computer games. You always had to find the blue key to continue.
Or it opens Pandora's box, if you prefer that.
This is one of the greatest movies ever, it is deep in my head. Everytime i have string sound on one of my synths, i play Angelo Badalamentis opening theme of this movie and get transported...
Badalamenti writes really themes that haunt you.
Season 3 next year
Hurrah
Pure Geniuses. I had unbelievable chills when i heard this the first time, watching Blue Velvet
the giant scares the shit out of me
When i watch Thomas Lehn on VCS3, i enjoy how he simultaneously uses one hand to rotate different knobs and another hand to change pin matrix. Sure, he plays noise antimusic, but it's expressive one and he uses instrument well. Wish we could do that on iVCS3.