I've watched a lot of videos on the CS-L to help me get the most I can from this module. This video is not only the most comprehensive and your explanations the most detailed, but it's done in a way that makes it easy to follow and digest. By far the best breakdown of this module out there. Hoping you keep posting more videos like this!
I wish you would continue making videos because this is one of the best overviews i have seen! This just finally allowed me to make my choice on getting this over brenso for first complex osc thank you
Hey! Yeah, me too. I've been through a bunch these past couple years, but things're way better these days, so there might be more content like this in the future!
Thank you so much! Regarding making more videos: I will, but my life (and my approach to sound) has really changed a LOT in the past 2 years (like many of us). As a result I probably won't be doing more Eurorack videos in the forseeable future.
UPDATE: Hey everyone. I haven't posted Eurorack videos in a while and that's because I've made a shift in my production to only utilizing DAW tools. At a certain stage I realized I outgrew my Eurorack tools for the purposes of making my own personal brand of sound, and I moved on from it for now. Maybe someday in the future I'll get back to it. Of course I kept all my favourite modules :) I'll make tutorials and track breakdowns for stuff that'll be coming out in the near future. Trust me, it's gonna be great :)
I love this video and I will absolutely come back to it. I understand if your endeavors have taken you "inside the box", but I've sub your channel and look forward to whatever you have to offer. but if you want to make more euro videos like this I won't complain.
me likes your presentation style and content. finally someone who invests more time into creating musically pleasing patches with modules, than just giving it the straight kick snare + major triad arpeggio noddling. actually these kinds of presentation have done the market more damage than good, because they make the average non-music interested consumer believe that this is what you get from it.instead of it being an extension of your technical musical knowledge. and if you know how to produce music, you wouldn't dare do such a boring presentation. and for that understanding and time investment, you have my full on Kudos!
I've had a load of bookmarks saved in order to try and get to grips with my new CS-L now my new rack is built - this vid alone gave me the ahah! moment - thankx
CLARIFICATION: When I mentioned artifacts in the Character section, what I was meaning is the harmonics added *in addition* to the natural waveshape's harmonics. As you can see in 8:31 when I switch from Triangle to Saw, you can see that the natural Saw-core sawtooth wave has those odd harmonics that're naturally in the triangle wave, in addition to the even harmonics of the sawtooth. Those even harmonics exist in the triangle as well, as you can see before the switch. That's the result of the saw-core oscillator.
Really an awesome run-thru of this beast oscillator. I liked your Odessa breakdown too, it sold me on it in fact! Have had my ear on this one since it came out.... only hesitating because I have a Brenso already, which is pretty badass as well... fun stuff, I love it
Hey guys! Some new insights from my experiments into sound design. If you look at about 32:38 ish when I'm moving the sync ratio, you will notice some peculiar behavior. Listen in - this should be the interaction between a sinewave and a squarewave - what are all these quick little sawlike zaps doing there? And then I show the example beforehand and say "these are artifacts from bouncing between the two points" - that's me being unaware of what was truly happening. Don't lose focus, listen in, it'd be good to teach yourself what these sound like! You see, in any form of hardsynced FM, whether the analog lin/exp + hardsync or the digital phase modulation patch, when you change the ratio in a continuous fashion, you will encounter discontinuations in the waveform! These are positions where the oscillator's cycle is hard-reset at a non-0 point, creating a straight line to 0, or in more creative terms, the thing that gives *the sawtooth waveform* its character. Yes! Hard waveform discontinuations sound sawlike! As sound designers working with complex waveforms, we can try to find many ways to avoid discontinuations while syncing or PMing (digital FM), when unwanted. The main idea is to soften the edges of the wave window by lowpassing the modulator in a PM patch, or fading out the frame in a Sync patch (can be done by ringmodding with a third oscillator, or in Vital just editing the waveshape... Vital is goode synthe 👍🏻). These methods add their own artifacts to the sound, so you kinda have to pick your poison when molding and shaping a waveform. Anyway, yes, I will continue rambling if I don't stop here. Just felt like adding some more useful knowledge. I am not the same sound designer I was when I made this video, and I won't be the same a year down the line, as natural. so it's important to me to keep things up to date. See ya, and check out my latest music on Soundcloud, Spotify, and my latest track Flowstate out now with Artlist Originals!
Awesome! Thanks so much for this. Just picked one up myself. For the life of me, how do you utilize the two sync inputs (labeled 40 & 41 in the manual).
You plug a signal with a rising edge (sawtooth, squarewave would be good choices) into it, and see how the oscillators hard or soft sync to the input signal, depending on which you use. Oscillator A (top) hard-syncs. Oscillator B (bottom) soft-syncs. To know the difference you can go to the Sync section in this video 09:03. Thank you!
Excellent points and examples. May I ask the maker of those knobs? I was looking at Davies on Mouser but they didn't have anything like these. And what is the shaft size? You rock, thanks. 😁
@@domiloik I changed the pitch knobs for 2 reasons. 1 is I wanted a color difference for visual clarity & to impart my color scheme onto it. Reason 2 is that the original knobs have a small top and a wide skirt. This caused me to unintentionally move the coarse pitch at times, and the smaller head made for inaccuracy in tuning it because it's not big enough for minute shifts. So a knob with 0 skirt and a bigger head solved that for me. No skirt cleared up UI space and bigger head made for more convenient tuning. For the rest of the knobs I felt that black caps were more visually pleasing to me with the Cš-L's amazing black PCB panel. Glad you enjoyed the video! More coming soon.
