I also found it interesting to take a look at the o_C user manual, something I hadn’t previously gotten round to, which STS has used as the point of departure for his Audulus modules. 1Īs before I found it useful to take a look at the Voltage Control Lab video demonstrating these functions. Today a look at STS’s Neo-Riemannian Chord Transform – another Audulus clone based on a section of the ornament & crime Eurorack module. But this is just personal taste… View/Reply on Twitter I did digital implementations, but they can’t beat the ‘organic behaviour’ of the analog versions. It is definitively more alive and surprising due to the slight instabilities in the analog circuitry. Imho a rungler circuit works best in an analog electronics implementation. So, very much unlike the analog Quantussy, I think that the sequence of events created by the software Quantussy may be able to repeat exactly.įollowing on that, Rob Hordijk’s thoughts on the differences between digital and analogue implementations of these kinds of cicuits: One very interesting feature of an Audulus patch is that it will start off playing in the exact state in which it was saved. Explore that project with the Quantisise Tag.A little side-note on the Turing/Quantussy/Rungler Audulus implementations: Something that I did notice while playing around with STS’s Copier and Turing Machine was that patches would open in exactly the same state as last, something that Richard Brewster also draws attention to in the post on his Audulus Quantussy. So fascinated was I by this design that I built the Quantisise, which is a six module analog emulation, that is fully patchable. The user controls consist of a three way range switch for each oscillator, a global initial frequency knob, and a global ‘chaos’ knob, which sets the modulation depth for all the cross modulations. I am not sure what the mathematical correspondence would be, but it can be fractal like. The beauty of this arrangement of five is that the cross modulations spiral around, resulting in unpredictable, but somewhat repeating patterns. Here’s the picture of it in the Audulus emulation. The Triangle wave of the first is sampled by the next, and then passed on to the CV input of the following one. Picture five of these, arranged in a ring, with each Triangle output patched to the Castle input of the next, and also the Castle output patched to the CV in of the next. So you can think of this as having a CV input, an oscillator output (triangle wave), a Castle input and a Castle output. The other sample and hold takes an external input and provides an output (Peter calls this the Castle). That is, every cycle, the oscillator can change its frequency, based on a sampled control voltage. One sample and hold is internally hooked to the frequency CV input of the oscillator. Each oscillator clocks two sample and holds. The Quantussy allows the cluster to be cross connected in many different ways, but the most interesting one is where the five are in a ring. Here, I want to focus on one main idea: that of a cycle of five cross-modulating oscillators. I wrote a full post about that schematic. I started digging into the Quantussy internals by studying the Cocoquantus schematic diagram. And this led me to build emulations of it. It does not use random functions! But, since it uses analog components with slight variations over time, temperature, etc., it is not fully deterministic. The Quantussy supports exactly this kind of exploration. The work of creating such sounds entails discovering, often by trial and error, the right combination of control and sound generating modules, and adjustments of their many parameters. I have an interest in generative music, automatically generated sounds that have the potential to seem as if they were intentionally composed, but in actuality are in some sense accidental, but not simply random. However, the applications can go far beyond that use! Generative Applications The purpose of the Quantussy is primarily to provide modulations for the two digital delays (COCO) in the Cocoquantus. The Quantussy petals can also run at audio frequencies, as well as “Balcium” frequencies, depending on a toggle switch. Running at low frequencies, the Quantussy is intended to provide ample modulations for the various functions of the COCOs, through inputs “FLIP”, “SKIP”, and “SP.AF”, or “Speed Affect”. The Quantussy is thus both based on five (5), but four(4)… and its name also refers to Quantum Physics through its unique “double quantizing” of angular momentum. The Quantussy is a five (5) petaled flower, each petal with oscirator, that creates a rhythm, that triggers quantizations of the movements of the other four oscirators. Quantussy is the name Peter Blasser gave to the cluster of five oscillators in his Cocoquantus.
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