@@PantherModern_la it’s the harmonàig quantiser into the Saïch quad oscillator. I designed the aradh filter to complete that set as my paraphonic synth voice :)
Honestly I’ve watched this video several times and I still don’t understand how to use the lubadh as a delay in v2, and how you set up the delay time. Would you care explaining? You mention the manual but I looked through the entire v2 manual and it doesn’t mention delay or delay times. There’s multi tap mode but that doesn’t seem to be working as delay.
A delay is just a loop that is continually recording. The traditional "feedback" parameter which gives the repeating echo effect is a result of how much or little past material remains after each loop. The Lubadh is inspired by tape loops. Think: copycap echo or space echo. In those devices there is a loop of tape running through a record head and successive play head(s). If the recording level completely replaces the audio then a fixed time delay will result. If the record level is a degree of sound-on-sound recording then past material will be heard in addition to the newly recorded material. Delay time is a factor of two parameters: speed and length. Length being the length of actual tape, and the speed being the rate at which it cycles through the record/play head loop. Faster the speed, shorter the delay time. And of course, shorter the loop... shorter the loop! On the Lubadh, DUB level (as defined by the TIME pot's secondary parameter) will define the level of sound-on-sound/feedback/echo. The first capture on a deck will define the "length of tape". This can then be shortened/trimmed by the LENGTH control. The Lubadh is essentially a delay effect platform. It can be configured into pretty much any type of delay! Which means it can produce flange and chorus. Larger scale delays can stretch to multi tap reversed, octave tuned, shimmer, pitch-shifting. It can also be clocked in a number of ways. There is a dedicated tap-tempo following clocked mode which adapts the playback speed to an external clock. Simpler clocking can be achieved by triggering the loop point reset. This is much the same as hard sync of an oscillator. If you have any specific questions, please don't hesitate to reach out to the support team. info@instruomodular.com
@@normdurkin6425 the pedal is part of a module (the larachd). The full patch is built around using the button box for controlling and timing the drum loop. It simply gave me bigger buttons to press vs small, buried in patch cables, on-module buttons :)
@@normdurkin6425 This is the full performance of that patch: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TePSkRkZ8cs.htmlsi=kcogbVeYvF3tqg3H The Larachd pedal voice was just one bit of the performance patch.
Hmmm having problems with the Granular delay patch. For some reason, unlike Jason, when I patch the trigger out into the capture input and already have capture active like he does, the trigger is resetting the playhead as well as the record head (it basically goes back to blipping on and off with the trigger, whereas capture remains active with his). Am I doing something wrong? Am I missing something?
It's been a minute since I patched this 😅 If you send the support team an enquiry they'll be able to track down any quirks going on. You can open a support ticket through the contact form on the website, or email direct at info@instruomodular.com
@@instruo Thanks for coming back so quickly. I actually did a factory reset and now it's working as in the video. Assuming something on my preset 4 was not quite right. but thanks for the quick response :)
I am debating on arbhar and cs-l and i cant fricking choose. I don’t have an analogue or comp osc in general in my system but i mainly use my rack as an fx processor for guitar. Still like to jam out with sequencing vcos so help me choose instruo lol.
The [1]f is providing a positive DC offset which is being applied to the Arbhar’s MOD CV input jack (on the CV expander). It will be in a mono preset featuring reverb as the MOD parameter. Positive CV offset applies reverb to the signals at the output. Negative CV does the same but removes any dry content and can operate as a “freezing” reverb
That’s a sweet neat little trick! I own a Ts-L for a while now and never thought of patching it like this. And it works like a charm on my my Zephyr too 😊 🙏
Some great tones in here. I like how you both shared the patch and an idea of how to control the timbre in a musical way with this particular patch. Thanks for sharing!
Hi Instruo lovelies. Any chance we're gunna get those lovely samples that came with the V2 for download. Like the sample library that was made available for the Lunbadh v2.0. Plz.
We're all hands on deck with hardware development. But we'll get to VCV stuff at some point ;) All the plugins are still fully compatible as x64 via rosetta 2. I still teach with them with no compatibility issues :)
My personal set up is Polyend Tracker into Midi to CV into the three voices into the filters/LGs/VCA into mixers into effects and Lubadh and Arbhar end of chain. I put the voices in one rack so I have them all within reach as the sequence is playing.
That's very much the plan!! Now that it has much better optimised, dedicated space it will feature more and more in what we create. And eventually we'll be inviting some artists in to work with it :)
@@mpingo91 for now they are still fully compatible and efficient running on Apple silicon via rosetta2. All developers are hands on deck with hardware development at present but we’ll get to software support at some point :) I teach using the VCV suite, and I use M1 macs, so I have personal incentive to maintain them ;) It’s a case of juggling projects at present.
@@Jin-Hu Good question! I'm currently running V2.4.1 macOS x64 It's been totally stable for me on a 2021 M1 MAX machine. The trick will be to install the x64 version vs the arm64 version. I would guess that the .pkg will be a universal macOS installer which will have both x64 and arm64 in it. There's bound to be a way to install the x64 build for use through rosetta2. This is why I like analogue gear! 🤣
Is there a plan to port the VCV modules to be able to run natively on ARM-based Macs? I’m running the ARM64 version of VCV, and the Instruo collection isn’t available.
@@ummmjames for now they are still fully compatible and running efficiently on Apple silicon via rosetta2. All developers are hands on deck with hardware development at present but we’ll get to software support at some point :) I teach using the VCV suite, and I use M1 macs, so I have personal incentive to maintain them ;) It’s a case of juggling projects at present.
For those looking to use tágh to follow a live drummer, Ben from Instruō kindly did some tests for me. The tágh does follow the tempo well but it wasn't able to keep the downbeat in time with the kick drum. It's probably most useful as an in-tempo random generator (including pulses) rather than as a clock for the rest of a system. The test used a low-pass filter on a drum loop to isolate the kick drum: kick drum > envelope follower > comparator > gate out clocking the tágh.
A first fundamental approach is exactly as you describe: with filtering and envelope following a particular impulse (kick). The tagh looks for a modular clock signal. So deriving that steady BPM clock signal is ultimately the missing piece of the puzzle here. I designed the tempo follower pretty much with the use case you describe in mind. The primary factor will be regularity. The tap tempo following algorithm doesn't account for missed beats. Meaning that if in 4 bars of 4/4, missing a beat would cause the follower to try to adapt to half time, 2/4 over the duration of 1 beat, which will cause it to fluctuate and lag. How dramatically this will occur will depend on the overall tempo. Precise tempo following from a variable complex audio source (live drums) was never my intent for the tagh on its own, as this is already much better done natively within ableton and other software applications. Adapting to a tempo-variable, consistent clock is what the tagh does very well :) I actively patch and play with a modular system in conjunction with acoustic drums. (I have some videos in the works showing some of the methods I've been exploring) There are always limitations with tempo following. Ableton is by far the best consumer implementation :) Please do keep us updated on any solutions you find moving forward!
@@instruo MI Marbles has so far been the best friend for following a live drummer. I sent a file with Marbles following a loop to Ben, so you can check it out if you want to compare. Marbles was generally more consistent than tágh, and much better at landing on the beat, but unlike tágh it stops when the incoming clock stops. Marbles also tends to do wild clock multiplications when the incoming pattern changes (though it does usually manage to land back on the beat). Marbles will remember the sequence of incoming pulses, so as long as the pattern stays consistent it will follow really well. Marbles will also anticipate tempo changes if the gate length is a function of tempo. Ben did the tágh test for me so I can't be sure of all of the variables. I'm in Brazil so it's near impossible to get my hands on a tágh to do the comparison myself. Thanks for sharing your thinking! I'd love to see some videos with your thoughts and experiments working with live drums.
