Hey gang,
loooong-ass-time!
When I started out making electronic music I had a strictly hardware setup.
Then I crossed into the 100% software zone (focusing on arrangements and mixing). Now I’m either sequencing from the computer and multi-tracking the output of my synths and stuff or just sequencing with the Monomachine.
I’ve been brainstorming for a long time about synthesis in general and I’ve found some new fields on the Monomachine (this thing keeps expanding!)
Here’s a couple of nice things:
Using the Arp at high-speeds and only making it retrigger the filter, then assigning offsets to the notes/steps, makes the filter change while the synths go through it. Neat.
Filter TRACKING!!!
A lot of people complained about the Monomachine being thin+digital.
But the thing is, I just realized this a couple of days ago;
my newly acquired DSI MEK has Transpose set to -24 (-2x octaves) by default. Which REALLY affects the filter tracking.
I applied this to the Monomachine; transpose the track -12 or -24 and play a bit higher on the keyboard (with filter tracking ON) and the filter width starts acting around 03:00 instead of 11:00’o’clock
This changed the overall sound of the Monomachine!
Also, playing with a friend’s MS-20 mini gave me a new vision on the filter in the Monomachine, set the width pretty tight and pump the HQ up and also the LQ it sort of works like the Korg filter with hi-pass and lo-pass at the same time…
Now here’s the best:
After using soft-synths to figure out what I really love in synthesis I found that I like Hard-Sync A LOT.
Looking at the Monomachine and remembering some synth-engines do have a Sync function, I decided to try making a Two-Oscillator synth:
Track 1 (any synth you like): -Please try transposing it
Filter tracking OFF (and just use the filter to shape the wave, nothing else)
Trigger Track 2. Output BUS CD
Track 2 (any synth with Sync): and put the sync mode on PRCH (Previous Channel/Track). Same with the filter, this is supposed to be a raw oscillator. Transpose this one also.
Trigger Track 3. Output BUS CD
Track 3 The Filter: This could be a THRU track (if you don’t want any effects. Dynamics/Compressor is pretty nice to shape the waves a bit more. Input BUS CD. Output AB
Start working the filter and then try Transposing the “Filter Track” you’ll start hearing the different character in the filter resonance and cutoff as soon as you transpose it.
Slam the ARP on the filter track (making it only trigger the filter)
then use the offset to modulate the tracking!
Two oscillator synth!!
De-tune Tracks 1 and 2 (using the Tune on the Synth Page)
This gave me a huge new view on the Monomachine!
You can use as many oscillators as you want and one filter track…
Also, Distortion behaves wildly when you have another Track filtering the “oscillators”.
Another discovery:
The Main Output knob….
I know most people don’t think about it and put it in an all-time position.
But thinking about the Op-Amps/Transformers/Output stage + the internal DSP Distortion+Levels I realized that it’s sort of like a 0 position in the middle, with clock-wise adjustments being + on top of that.
Keep it below the ‘line’ and it’ll be - values = more headroom. Use an external preamp to bring it back up and it will be a different sound!
That’s it for now you old farts!
-Geir Helgi