Bing, Dong Dong, Cling, Rumble, Derp Derp, Twang.

Makenoise Pressure Points Sequencer

Recently there was a post on The Muff Wigglers (the Facebook version of Muffwiggler) that asked the community of modular synthesizer enthusiasts, “Since the explosion of modular and boutique clones and the like, why do most of the music simply suck? For example, bing, poop, dong dong, cling, sample and hold, shudder shudder, rumble, bong, derp derp, twang. Thoughts?”

The person asking this opened a firestorm of protest for generalizing that this type of music is somehow inferior or that it inherently sucks. The problem is that there are amazing examples of modular synth music out there that are now considered classics and contemporary musicians that are inspiring tens of thousands of us. On the other hand, there has been a relative explosion of interest in the tools that are available for Eurorack and learning this craft. With this recent uptake in the field, there are a lot more people who are exploring how these instruments work. This is where the problem rears its head.

Learning how to make sound is the first step in approaching the idea of someday making music with one of these complex configurations of synthesis modules. Many of us are approaching this endeavor with absolutely no musical training, and that’s okay, as this has always been the path of rock and roll and DIY culture. This guy who challenged a community to respond ultimately drew more than 1000 comments with the majority condemning him for using such heavy-handed draconian language that was mostly interpreted as being flaming troll bait.

For anybody who has been close to the music industry or aspired to be a serious musician they know that most people are not born aficionados at picking up an instrument and owning its breadth of potential. Nor can we humans practice or exist in a vacuum and so we must make ourselves vulnerable by asking others for their input. Most synthesists will be the first to admit that their experimentation approaches the sound of blaring car alarms or cats meowing in various states of pain and ecstasy. While this may well be true it doesn’t do anyone any good to listen to or read abject cruelty. This kind of bullying does not inspire people to perform better or learn more, but it does often encourage people towards avoidance. Not to say that anyone should be treated like a snowflake, and yes I can admit that we all benefit from criticism, but it’s a measure of civility and patience to offer valid critiques and constructive observations to help the novice find their way.

At 54 years old, I don’t really give a squat whether people hate what I’m posting here; I’ll probably cringe when I listen to it in some months or years into the future myself. A big difference is this will never have anything to do with my career as it’s nothing more than a hobby; for others, it’s part of a dream. Maybe there was a benefit in the 1960s of practicing the electric guitar in the basement alone because no one else could hear our hammering the instrument to death, but that was then, and we are now living in the age of social media where content can be shared across disparate networks in a moment. Tolerance might be a skill that some of us should focus on acquiring more of rather than whipping an acid tongue of loathing against the unsuspecting.

Today’s patch of Bing Dong Dong was constructed using the following modules: Ultra Random Analog by Steady State Fate (SSF), Makenoise Pressure Points, Brains, Wogglebug, and Tempi, the Intellijel Planar, Varigate 8+ by Malekko, a Synthtech E950/951 combo, Spectrum and Aperture from WMD, an Ultrafold from WMD and SSF, Levit8 from Erogenous Tones, and finally the Dual Looping Delay from 4MS.

Hypatia Launched Today – TimefireVR

Virtual Reality world Hypatia

Three years ago my friend Jeffrey Rassás put together my first working capital, and we founded TimefireVR: a bunch of intrepid artists and developers starting on an endeavor to build a multi-player massive online social virtual reality application. We have now finally arrived at the day that it is being made available to the world. At midnight, our team launched the VR city of Hypatia. Over the years, many people have worked on this, and many are still striving to make it even better and will hopefully continue to do so for years into the future.

My ambition was to create a non-violent explorer who would go the extra mile to break down the geographic and economic barriers afflicting a large swath of all populations around our globe. It has been my belief that when we humans have the opportunity to play, explore, and extend our curiosity with others, we become better citizens of Earth, and more importantly, we become better persons to ourselves.

The original idea was born in 1994 while I was living in Frankfurt, Germany, with the working title “Zones.” Back then, many of us thought VR was about to be the next big thing, turned out that the next big thing would be the internet. Zones were to be an environment influenced by Berlin and Frankfurt where transmogrifying insectoids would morph in and out of reality as they explored a world of art that would deliver them into the surreal. Today, our VR city is named Hypatia in honor of the first known female intellectual. The avatars are scaled back for now and are known as “Hoverbots.” The environment initially borrows architectural influences from Amsterdam, while being immersed in an alternative universe should certainly qualify as being surreal. So maybe I’ve achieved a few of those objectives from all those years ago.

It took 23 years until the performance of computers, the speed of the internet, and the capability of headsets began to deliver the quality necessary to make VR viable, though, to me, it feels like it took nearly a lifetime. Now that it’s here, I’m amazed that I’ve had the incredible opportunity to participate in this groundbreaking paradigm shift in how we view reality and the virtual one we are creating.

What has been created here in Hypatia is not a simple game, not by a long shot. It is the culmination of an acquisition of knowledge that started with ideas of invention and exploration I had as a small child, leading me to discover the evolution of the mind of humanity as seen through the philosophical filter of Aristotle and Friedrich Nietzsche to the sociology of Jean Baudrillard and Jürgen Habermas. Growing up in Los Angeles, living in Europe, and learning about the proto-city of Çatalhöyük played their parts in how my perception would lay the foundation of a virtual city meant to be a cultural and educational epicenter of the future. I’ve stood in the living room of the James Ensor House in Ostend, Belgium, and listened to Mozart’s music on the streets of Salzburg in Austria. I’ve visited Eisenach, Germany, where Bach was born, and I walked through the Wartburg, where Martin Luther translated the bible. From World War II Japanese internment camps in the California desert to the Yellowstone Caldera over to the streets of Manhattan, I’ve studied who and what we are and how we have moved through history and shaped our cultures.

Whether rafting the Colorado River like John Wesley Powell or launching a rocket to deliver the first humans to the moon, there is an imperative for people to go out in search of the extraordinary. Unfortunately, not all of us can be so lucky. Virtual Reality can change that and afford humanity the opportunity to have a surrogate experience that allows us to touch the impossible. Hypatia is but a first step in helping teach the language of this new art and reality. Reduced to its very basics, the reality is nothing more than a configuration of energetic particles that form the basis and material that drive the perception of the universe around us. In VR we are on the verge of harnessing the placement of light and illusion of matter in a setting that soon will be indistinguishable from what we know to be reality. So, in a sense, we are creating a new universe that we can explore, where our real universe is too large for us to venture beyond our solar system.

All of this is important to me as I find that the discovery of novelty and a healthy relationship to learning intrinsically complex things essentially make up a fountain of youth. We are children once because we do not yet have a broad foundation of knowledge regarding the world around us. Our best moments of learning are found in play. We learn language with the help of family and friends who dote on us as infants, encourage our unintelligible sounds, and reward us with love and amazement. We extend our developing skills by the exploration of what is immediately around us, such as when parents fill the crib with toys, stuffed animals, a mobile, and musical devices. Then, it’s off to find the house before wandering into the backyard and then the park. Every step of the way, we are playing and venturing further out, and no one asks that we do more than that. We are not graded to talk, we do not receive marks for achieving an efficiency of play with our teddy bear. We do not pay children to go to make sandcastles or fire them when they do not win at hide-n-seek.

This age of innocence and exponential learning comes crashing to a halt as soon as we find out that our teachers are allowed to be disappointed with us and worse. They embarrass us and tell our parents that we are failures in their eyes; even our peers are allowed to wreak havoc on our developing sense of self by ridiculing us for not being as fast, as pretty, as smart, as tough, or as rich. After all of this social conditioning, we want well-balanced adults who are prepared to enter the workforce and not be burdened by mental illness, alcoholism, violent tendencies, or laziness. Our system is broken, yet while it’s wearing the Emperor’s New Clothes, many think it’s better than the alternative of the Emperor not wearing any clothes at all.

Someone has to step up and offer something different. While no one person or group is likely to have a universal answer that will solve the predicament that we as a society and global population are in, it is obvious we are in need of greater imagination and the ability to adapt to complexity. We must strive to discover alternatives to an education process that is not inspiring the generations to dream of going to the figurative moon.

If we cannot dream without fear of failure or laugh at the absurd that makes us challenge our perception of what is possible then I feel that we are heading into a cultural dark age. A large problem I have with that is that I cannot believe the opportunity that all of us have right before us here and now. We have greater access to knowledge than at any other time in human history, including even the recent history of just 20 years ago. We have access to tools that allow people with limited skills to develop a vocation by simply seeing it out and applying themselves. Music from across history is available immediately, as are billions of minutes of on-demand video that can share nearly any information or teach almost every topic known to us. Unless we are able to embrace what is difficult as we get older, stagnation can only harm our self-respect and the economic opportunity that we might have otherwise carved out for ourselves.

But who wants to try something difficult if it means we can get bad marks, be embarrassed by our peers, or find ourselves destitute because we were fired for not achieving the goals others have set for us? Play is just as important for the two-year-old as it is for the 12 and 72-year-old. Hypatia is a place where play takes center stage. Developing the city of Hypatia and inviting people in, we have witnessed over and over again people of all ages fall into amazement, followed by fits of joyous laughter and disbelief that they are exploring a magical place where it appears that all things are possible.

Over the years, investors asked me who our target market was, and they wanted specific answers, but they rarely asked for or wanted a truthful answer: our target market is not solely 12-17-year-olds. Our market is humanity from all walks of life, all religions, all colors, genders, orientations, or levels of intellectual and economic success. I understand this is too broad for most people to wrap their heads around; after all, they stopped dreaming big once they were pulled from the sandbox and dropped in front of a book about equations and rules of grammar.

Just as anyone reading this can see, I voluntarily conformed to the rules of spelling and was able to use common words to convey my thoughts in order for me to remain in the social fabric of cohesion. If left to my playful self, I can learn anything and enjoy staying within the shared rules that govern our ideas for civility that allow us to interact with one another. Hypatia is my attempt to create a playground where the sandbox of potential is forever within our grasp, allowing us to dip out of our competitive reality and re-energize our playful selves. One in which we are able to climb any monkey bars, go down the longest slide ever, swing until we spin around the bar, or build sandcastles of such epic proportions they would certainly lead us into magical underworld dimensions or stretch into the sky so far we might be able to touch Jupiter. We must dream of play and play to offer ourselves dreams worthy of inspiring our waking selves, so this life need not be of drudgery and fear of failure, anger, or violence.

It’s time for us to evolve. It’s time to take a step into the unknown and reclaim the pioneering spirit of our species that was never afraid to cross a desert, climb a mountain, travel an ocean, or risk everything to visit the bottom of the sea or the surface of the moon. Virtual reality may be the place where we all start to understand it is our place in this universe to explore, document, and share our discoveries so we might once again have stories of amazing adventures to tell each other around the campfire. Hypatia is my contribution to the story of the people of our Earth.

Firmware

Ornament and Crime Eurorack Module

One of the pleasures of Eurorack synthesis for me is firmware updates. With them comes the opportunity not only for greater stability but added functionality. Ornament & Crime is an open-source platform that has grown from a single function to 13 amazingly intricate and sublime routines. One of the developers who has contributed much to the Ornament & Crime module is Timmy Churches, apparently from Australia who on speaking about it had this to say, “O&C isn’t a traditional product designed, manufactured, and sold by a single entity — it’s a post-capitalist artifact of the after-hours sharing economy, and thus mash-ups and overly complex pastiches are to be expected.”

With this in mind, it is obvious to me that we will be seeing ever more complex modules coming out of this sharing economy. This portends exciting times for our future in that those of us bitten by this Eurorack bug will forever be finding deeper modules made the more so by community involvement with extending functionality using open-source platforms.

I have a special affinity for my modules that do employ firmware updates as there is also the possibility of alternative firmware versions that can radically alter the functionality of the device. Case in point is many modules from Mutable Instruments that support “Parasites.” These parasites often but not always leave the original firmware mostly intact and tack on some new functions that make the module far more valuable to their owners.

On the other hand, there exists the opportunity to get a module to market sooner if the maker can start distribution of the hardware platform early and then involve the community to help shape the overall function. To that end, we have modules such as the Orthogonal Devices ER-301 and the Winter Modular Eloquencer that were put into artists’ hands early allowing testers to feedback with the developers to fine-tune things and respond to community requests for ease of use or added functionality.

Today was the day that the crew behind Ornament & Crime released version 1.3.0 of this module’s firmware now it’s time to open up the 47 pages of dense documentation to learn what’s new and how to use it. Big thanks to Patrick Dowling (aka PLD), Max Stadler (aka mxmxmx), and Tim Churches (aka Bennelong.bicyclist) for their dedication to this project and for making one of the great contributions to Eurorack synthesis.

Deeper Technical Stuff

PCB closeup of the Ultra Random Analog

Like Terence McKenna once said, “The further you go the bigger it gets.” If you begin your own exploration of the world of modular synthesis you will learn that you have likely bitten off more than you want to chew. Case in point, tuning, and calibration. After upgrading firmware there is often a requirement that the module must be re-calibrated. This is typically done by sending a 1 volt and a 3 volt signal to the device that signifies particular notes such as C2 and C4.

On the other hand, there is my Ultra Random Analog (URA) from Steady State Fate which is a random voltage generator. While following a tutorial for it I just couldn’t get the same effect out of it in the same way, as what was being shown in the video. At the time it would have been easily explained that I simply wasn’t understanding much of what I was trying to learn. Over on Muffwiggler, I found a conversation about other units that weren’t calibrated correctly and it read like this was exactly my problem. I did the best I could but was very uncertain about what I was doing.

Fast forward some months and now armed with a better bit of knowledge I can tell that my URA is still not calibrated correctly. I first need to remove the module from the rig but leave it plugged in as it will need power to it in order for me to make the required adjustments. To do this I’m lucky enough to have an oscilloscope from Mordax called the DATA, it’s a great Eurorack module everyone should own. There are three things that require calibration on the URA a clock that sets a gating frequency and two noise sources that should fall between particular voltage levels. The clock for the gate is calibrated by listening and choosing a timing that works best for the owner of the module. The other two calibrations are a bit more involved.

This is where the oscilloscope comes in. I have to send a particular signal out of the URA into the oscilloscope that is set to sample the incoming signal at 10ms and measure the voltage from +10 volt to -10 volt. From the first output, I need to adjust the left pot (the little round things) you see above on the sides of the chip. I have to be careful to not turn too far as these are fragile and easily damaged. I’m looking to set them so they are producing brief peaks of +10V and -10V on the oscilloscope. When I’m done with the first pot I move the cable to the other jack and start measuring its signal. Somehow I missed this part of calibration on the first pass those months ago, as the second channel is off by a mile. By the way, while the miniature screwdriver is touching the pot the signal is being skewed so you make a small adjustment and remove the screwdriver to get a clean measure and then go back to it again until you get the range tuned in.

Fortunately, this isn’t a common thing that has to be done on many modules, but having the tools and determination to get it done lets me know a little bit more about this complex hobby that has me feeling like a mad scientist from time to time. I think the writing is on the wall that somewhere in the not-too-distant future I’ll be soldering my own synths so when a module needs a simple repair I’ll have the confidence to do that too.

Cold Rig

The Cold Eurorack Monster Rig

No blinky lights, no patch cables, no electricity. The rig is cold. An emergency at our office required me to forego Sunday morning playtime; then, about an hour after getting to the office, the electricity went out for a large part of our neighborhood. As I’ve pointed out in a previous post, this is an ADDAC Monster case with 10A of power on both the +12V and -12V rails. The case is 197hp/21U and full, while I have another 783hp of cases that are slowly being filled up too. After seeing Colin Benders’ new rig he’s having built by Jan Willem Hagenbeek of Ginko Synthese, I’m getting itchy fingers to discover the ergonomics he’s about to explore!

First Lesson With The ER-101

Orthogonal Devices ER-101

It started with the ER-301 Sound Computer/Sampler on the way to dinner last year. I’d read about it and how Brian from Orthogonal Devices is known for incredibly well-thought-out modules. When I got my ER-301 a month later with no manual and one rapid-fire demo video from the creator himself, it was nearly incomprehensible. What was clear was the craftsmanship and attention to detail. Becoming more and more familiar with my modules, I knew that I’d want another sequencer or two or three to help round out my rig. The problem was that the ER-101 Sequencer from Orthogonal had been sold out for months.

Then, just a few weeks ago, somebody on Muffwiggler posted he was eager to sell his ER-101/102 combo for an incredible price; I snatched them up right away. It’s now two weeks since I received them in excellent shape; I updated the firmware and waited for a moment to either find a great tutorial or finally give in and read the combined 64 pages of documentation. A familiar name showed up: “Daisuk” he shared the following video a few years ago, and it was super helpful: https://vimeo.com/101873468 

So, after a very busy day testing various levels in my company’s VR product titled Hypatia, which we released to some lucky people yesterday who are getting a sneak peek before we put it up for sale next week, I almost reluctantly got to it so I could do my best in keeping up with the “Patch Of The Day!” Tonight’s entry features my first-ever work with the ER-101, sending a gate signal to the Mutable Instruments Elements, a control voltage feeding the 1V/Oct jack, and then another five CVs modulating various parameters on the Elements.