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Comments
Agreed on the parameter controls per step on the Volca Drum - that's a huge deal, particularly for pitch sequencing. I saw Cuckoo doing this somewhere in his hour-long video, but I don't believe it was auditioning the notes as you modified the step. Still, it's just a 16-step sequence, so I assume you could just run it and listen for the changes.
The Volca series is great, but it's often these little things missing from the individual machines that make a huge difference in their musical functionality. The Teenage Engineering Pocket Operator series is like the inverse of the Volcas in that regard...extremely niche sound content and limited connectivity, but made surprisingly useful by some great UI decisions and features like step-parameter editing and sequence chaining.
Speaking of which, I've never really been a fan of the way Volcas handle pattern chaining. I didn't see how it works here, but I assume it's the same deal where you need to copy/paste them into sequential order with the pattern numbers and then run through that. You would think with the LCD screen, you could just hold a button and input a series of pattern numbers that read out on the screen, similar to how the PO's do it. But I guess I haven't come across the parts of the tutorial dealing with sequencing yet, so maybe I am wrong...
I really hope you can make some quality generative ambient bleeps and bloops with the modular.
Richard Devine has posted some generative stuff with the new modular, count me in the group that's not really impressed with what I've heard so far though. To be fair, I didn't exactly think my 0-Coast was all that amazing sounding either when I had it, though it had a bit more solid low end,
Mind to post a link to the content?
One of the (many) great things about the Volcas is their ability to change patterns on the fly, and the change is quantized to a step, very jam friendly indeed. This works so well on the Volca Sample, because any looping/decaying samples are allowed to carry on sounding into the next pattern, until a new trigger occurs on that particular track. Plus, the new pattern might have radically different motion sequences recorded into it, which can wrench the looping/decaying sample into unexpected weirdness. Masses of fun... if you like that sort of thing.
From what i can gather from the YouTube vids, the Volca Drum will handle on the fly pattern changes in a similar way. Throw Step Jump and Mutes into the mix and you've got a recipe for some fantastic jamming fun and it easily overcomes the limitations of a 16 step sequence. It's the sort of thing i wish the Pocket Operators could do...
Korg, take my money...
As for the Volca Modular, i think Korg should be thanked and applauded. Before this, you had to spend a fair amount of cash before you realise that modular synthesis is just a long-winded way of making bad noise. Now you can discover this on the cheap!!
I'm joking of course...
You could run Euro voltages in if you attenuate, but you'd have to offset the output voltages. It's not a trivial task.
ive sold all my volcas except for the Kick which i still love. while the modular seems nice and fun i really like the sound the drum is making and will probably pick that up as soon as we get it in australia.
This is the kind of thing that's fun to create on your own but terribly unenjoyable to listen to when someone else does it.
Sometimes I feel I'm there's not enough hippie in me for west coast synthesis. Most, but not all, times really.
There is some very non-bleep-bloop West Coast synthesis. I think it can be a lot more versatile than people realize. If you haven't checked out Alessandro Cortini, he might be worth a listen:
I think I'm on the same page as you guys. I don't have the expertise that Morton Subotnick, Suzanne Ciani, Charles Cohen, etc. have with Buchla synths and so am reluctant to drop the serious coin for a real Buchla; but I've always wanted to get more into the West-coast synthesis approach, being a fan of the music of those aforementioned giants of that approach. Sometimes I think East-coast (eg. Moog) is a path so well-trodden that if I hop on it and stay on it too long, I'll end up just copying people and have less of a chance of doing something original.
I'm working my way actually towards the Ripplemaker section of the "Modular Synthesis for IOS" course. Between that app and Volca Modular, my Buchla jones will probably be satisfied.
Wait. There’s a Modular Synthesis for iOS course?
Definitely good, thanks.
Both these new Volcas look appealing to me, however I’m not sure about dealing with the no MIDI in on the Modular, because I kind of need a keyboard, and don’t have anything with CV. I’d definitely consider the new digital drum one, but I already have a Volca Beats, and maybe having those two on drums and then only having VKeys and VBass isn’t going to be quite enough balance for me. I don’t go crazy with drums, usually a few parts is enough for me.
I think I both like and hate the Volcas all at the same time. They are neat and portable, but even hooking up 3 of them ends up in some crazy complicated mess. Then I’m stuck with 16 steps or needing to use more gear. It’s neat to get away from using the iPad screen, but I feel like I need to use an iPad just to have a decent sequencer going. Of course, I could just sequence with my Novation Circuit, but then I need to use an iPad or a few different MIDI Merge/Thrus just to get it so a keyboard can get notes into/out of the Circuit and also play the Volcas live at the same time.
There are currently a number of artists that are Buchla-based but making music very different from what most people (me included) traditionally associate with Buchla. There is even a synth pop due (Reed and Caroline) that use Buchla exclusively.
Anyway, if you don't know Alessandro Cortini's work, check it out. He is pretty awesome.
Yup. Been working through the Model 15 portion and will soon arrive at the Ripplemaker part.
I don't get any money if you buy the course btw
https://subjectsound.com/modular-sound-design-ios
Huh!
Is it valuable? Worth the $?
IMO, yeah, even just the Model 15 part was worth the 20 Euro I paid. There was a lot of stuff that I wouldn't have figured out on my own - a disadvantage of not being born a genius or with extraordinary work ethic I guess.
Is there a Cortini album that's a particular standout? I've got Risveglio on right now and really digging it.
@oat_phipps : I am pretty new to his work. That 11108 tune is the first I heard and got me hooked. His Forse series is cool. They are pretty ambient and textural albums. Almost the opposite of what one associates with West Coast synth music.
They don't rock the way that 11108 does. I like the ep he did as blondoldfreak which has a standout track "Everything ends here". There is a live performance of it done as a duet with Don Buchla that you can find on YouTube.
I'll check out Risveglio. Haven't heard it yet.
@oat_phipps : thanks for the Risveglio tip. It's awesome.
From what I've heard in the vids, I'd agree with Brambos that the range of sounds seems a bit limited.
For me personally, it's not weird enough - if I'm going to make a racket like in the above vid, then there needs to be more depth and interest in the abstract sounds being produced, otherwise it's just a painful, tinny racket to listen to.
I think if you're going to do this type of stuff then you have to splash the cash on the proper gear, otherwise it's a bit like entering a Grand Prix in your nan's Fiesta. Fun, but...
Yeah, I picked it at random , but after listening to his other albums most of the night, it's easily been the best. Turns out I had heard him before because he did 'Immediate Horizon' with Lawrence English, whose album 'Cruel Optimism' I really like (English also collaborated with William Basinski, another fav).
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Unfortunately, that goes for most hardware synths. Here's lookin at you Korg Minilogue (I didn't expect the world from it, just to cool my lust for an OB-6, but now I exclusively use it as a MIDI controller for iOS synths).
At least the guitar world is a bit more affordable.
Not weird enough?
It definitely has the right pieces to make a weird puzzle.
Sometimes on my O Coast I feel like I am bending time, this has the right elements to do the same.
No, not for me - at least not from the demos I've seen. Interesting - yes, fun - definitely. But from what I've seen it fails on the two things I personally need from a synth - either an option to use it as a proper 'go to' synth for bass, leads, pads etc. Or a really bonkers sound mangler that creates interesting and complex soundscapes. I've yet to see an example where it does either of these things at the level of quality or interest I'd want for recording.
I don't want to get into a long arguement with people on the forum who love it, because I can see why some people would. It's just not for me. It's too small and fiddly for my banana bunch fingers, and I can get very similar stuff from apps on my iPad.
Saying all that I'm only going on what I've seen in the current videos, so some new one's could crop up that make a complete mockery of what I've just said.
Just listened to an interview with Cortini on my daily commute (part of the Resident Advisor podcast series). Risveglio uses only a Roland MC-202 and a TB-303 (and maybe some effects pedals) -- with no overdubbing. He recorded it (and Sonno its predecessor which is just MC-202) while on tour (with NIN?) to relax/unwind after gigs. He apparently made the recordings for himself without an intention to release them as records. I gather that the Forse series was also recorded as single-takes without overdubbing
CDM published an interesting review:
http://cdm.link/2019/01/review-volca-modular-takes-on-creative-synthesis-in-a-small-package/
Excellent. If I didn’t want it before ....
After thinking both would be quite nice to have, I’m going to have to pass on the modular.
It really does nothing for me.