Chris Stack, maker of the Experimental Synth series (and formerly of Moog Music), is back with new ideas for what to do with some great gear. Analog and digital meet here: everything from Nanoloop running on an Android handheld to the mighty Moog Taurus 3 pedal make appearances. That means that you ought to be able to glean some ideas from Chris’ sounds whatever your tastes and whatever your gear collection. -PK

The Moog Taurus 3 springs from a very iconic lineage. Because of that rich history, it’s easy to type-cast it and not fully explore the full sonic potential it presents. The inclusion of volume, pitch, filter and gate control voltage inputs, coupled with a MIDI-syncable arpeggiator can take it far outside its usual low-end drone duties. This video just scratches the surface of what is possible. Its purpose is to encourage you to “step outside”.

The first example shows the Taurus 3 filter being modulated by a Make Noise René: a very fun analog step sequencer with some interesting Cartesian (X & Y clock) capabilities. The CV inputs on the Taurus 3 make it a great add-on for modular synthesis set-ups and there are an almost unlimited number of interesting things you can connect to them. The René is definitely at the exotic end of the spectrum but it is still extremely useful. It’s great to have that extra level of control available at hand level too. Ed.: See the René in action below. I was fortunate enough to see this at our little meet-up in Austin during South by Southwest.

Due to personal preference, I tend to use things like the René to control filter cutoff instead of pitch. I enjoy the ability to play the notes while synchronized filter events occur. It gives a pleasing (at least to me) mix of tight-sequenced and loose-live feel.

The second example takes things even farther afield. I first discovered the Android app Nanoloop in a recent CDM article. Its useful features and sleek user interface made it an instant favorite.

Here I used one of my favorite production tricks: processing the Droid audio through a Moog MF-101 (Moogerfooger) low pass filter. In addition to nicely warming up the Droid, it also created a control voltage (CV) proportional to the volume of the input audio. In other words, the CV mirrored the volume envelope of the beat Nanoloop created.

This is an incredibly powerful tool. When that CV controls something interesting… say that filter on a Taurus 3, some very interesting synchronizations occur, all completely in the analog realm. When the Droid outputs a loud kick, the CV output on the Moogerfooger goes high and the Taurus 3 filter opens wide. As soon as the kick sound is over, the CV goes low and the filter shuts. Mid-volume sounds open the filter midway. These are not discrete steps. The CV hugs the volume contour of the input audio and outputs a nicely wiggly, but tightly synchronized analog control signal.

This is conceptually very similar to side-chaining and the great thing about it is that the filter modulations created will follow any changes in the rhythm. Sudden shift in tempo coupled with a time signature change to 11/8… no problem! I haven’t tested it but this should also work with a live drummer. Of course, there is no rule that says you have to connect the CV to a filter input. You could connect it to volume or if you’re feeling really avant-garde, to pitch.

This technique works best with when the beat is not too busy and has some definite dynamic peaks and valleys. A bit of gain adjusting and tweaking of the base filter cutoff frequency on the target synth (the Taurus 3 in this case) are sometimes needed, but the unique results more than make up for this little bit of work. Higher resonance settings on the target synth will make the filter modulations more noticeable. If you have a synth with CV inputs but without MIDI, this is a great way to get it dancing to your beat.

The last example shows a somewhat basic MIDI-synced arpeggiator application. By using your foot to transpose the arpeggiation, you can create quite a sophisticated soundscape while your hands are free for other musical mayhem.

All of these applications are fairly basic. Imagine doing any of them while using the Taurus 3’s USB connectivity to simultaneously control Ableton Live, or while it is part of a monster MIDI stack…

Lastly, remember to wear sensible shoes.

But wait — there’s more! Some more techniques from Chris show off similar ideas.

Continuing the sequencing ideas here, a look at what happens as you combine Theremins, step sequencers, and filters:

…or mix multiple control voltages for creating tempo-synced effects, via the Moog CP-251 control processor:

And, of course, if you do get some synths, you have to have a party:

Find Chris on YouTube:
http://www.youtube.com/user/experimentalsynth

…or Facebook:
http://www.facebook.com/experimentalsynth

Lots going on, so if you’ve got questions, fire away here!

For one candidate to challenge the reigning BOSS Loop Station line, there’s rival VOX. While they’re both loopers with some things to stomp on, the designs are quite different. The BOSS units can store up to three hours and 99 phrases; the VOX VDL1 stores two loops with a total recorded time of 90 seconds. Nor do you get the utility of the BOSS’ USB storage transfer. And the Vox is mono, whereas the BOSS is stereo.

In place of those features, the VDL1 focuses more on live looping and effects:

• Live effects: Pedal/Wah (Clean/Comp/Crunch/Overdrive/Distortion), Mod (Chorus 1/Chorus 2/Flanger/Phaser/Tremolo), Bass (Electric 1-4/Synth 1/ Synth 2), Acoustic (four models). Pitch, stutter, EQ, delay, reverb, “sci-fi.”
• Loop effects: volume, crossfade, reverse, “loop in loop” (no idea on that one), pitch, speed, scrube, stutter, mod, filter, delay.
• Master limiter.
• Mono input jack, mic in (no phantom power)
• Undo and redo in overdubbing.
• Infinite layers.

In other words, looping is about all these two approaches have in common. BOSS makes what’s really a looping sampler with stereo recording, tons of storage, and connectivity via USB, all in a mobile form factor. VOX makes a bigger box that’s mono, uses only enough sample length as you’d need in a live performance, and does effects. The BOSS is a stereo looping sampler; the VOX a mono multi-effects looper.

I have to say, in terms of what I’d want to play with or hear someone else play with, I prefer the BOSS’ focus on sampling to another box with loads of built-in effects. But the fact that you can choose between two boxes says that you as the musician really get to choose what you want in looping in the first place.

And in an industry in which you often have to choose between two pieces of gear that are nearly identical, here are two pieces of gear that are totally different, but each appear to be pretty good at being what they are. Kudos on that to both BOSS (Roland) and VOX (Korg).

I’m curious to hear your take.

http://www.voxamps.com/us/pedals/vdl1/ [Note: Vox's site was very much up and down at press time]

Today is set to be an orgy of computer music-y, Abletronic, drum machine-loaded, Max-patching news, so let’s throw one out to the guitarists. IK Multimedia has two new announcements today that are actually quite cool. The StealthPedal is a Wah pedal that’s actually an audio interface, sort of like a James Bond pen that’s also a gun. And IK also landed the only official Fender-endorsed software amp emulation.

Here’s a quick look at the specs. By the way, I’ve consulted everyone I know (especially as I’m not a guitarist), and basically what we’ve come up with is that a whole bunch of the guitar emulations out there (Apple, IK, NI, and Waves) are pretty damned good. Apple recently upgraded their own guitar emulations, meaning even what you get in GarageBand ‘09 is a big leap forward (and I have it on good authority that they sound terrific). NI has a guitar announcement coming later today, too. I’d choose based on taste, basically; each has a unique personality.

AmpliTube Fender

• 12 Fender guitar amps (Twin Reverb, ‘59 Bassman LTD, Super-Sonic, Metalhead)
• 12 matching cabinets
• 9 microphones
• 6 stomp effects, 6 rack effects (tape echo, Fender reverb, fuzz/wah, triangle flanger, wah, the works)
• Digital tuner, stomp pedal board, amp head, cabinet plus mic, rack effects. (Here’s one point of differentiation: NI, for instance, has more toys here; IK plays it a little more conventionally; that’s a matter of taste.)
• SpeedTrainer, RiffWorks T4 recording included
• “Certified” by Fender
• US$229.99 for the full set, or get the LE (4 amps, 5 cabinets, 2 stomp, 2 mic, 2 rack FX) with the StealthPlug USB audio interface for US$139.99
• Available late February

It’s a pretty stunning deal if you’re a Fender fan.

http://www.amplitube.com/fender

Stealth Pedal

• Looks like a wah pedal – same form factor
• Works as a controller (it’s basically an assignable expression pedal)
• Comes with a double foot switch, and you can optionally add a second expression pedal via a foot input
• Also a USB audio interface (24-bit, 44.1/48)
• “Low-noise” input stage
• Headphone out, volume control, LEDs for use as a tuner or level indicator
• ASIO PC, Core Audio Mac drivers
• Software bundle
• US$269.99
• Available late April

This looks just incredibly functional for someone wanting something compact. There have been controller/audio interface bundles before from IK, NI, and others, but this you can throw easily in your case.

http://www.stealthpedal.com