Audible patch examples & explanatory patch notes for the Erica Synths Black System III, created by Andris Indāns - also known as Gas Of Latvia.
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A multi-layer drone patch from one Oscillator, whose SINE and SAW signals are processed by the Multimode VCF and Stereo Delay while its PULSE and SUB signals are processed by the LPG and Black Hole DSP. The amplitude of the SINE and SAW signals in the VCA is modulated by the Black EG G-delay signal and the VCF frequency by the Joystick RND signal, while the amplitude of the PULSE and SUB signals and the Black LPG frequency and Decay are modulated by the Black Modulator’s Sample&Hold signal. In addition, the inverted signal of the Black EG modulates the VCF resonance, while the direct signal triggers the LPG. The Black Modulator is synchronized with the Joystick RND signal for obtaining variable durations of modulations. The Modulator PULSE signal is used to trigger the Stereo Delay TAP function, while the SAW signal modulates the Stereo Delay MIX level. Additionally, the BlackHole DSP dry/wet level is modulated by the Joystick RND signal.
Percussive textures with two synchronized Black VCO SINE signals, each processed with its own filter and effect and strongly modulated by Black CV Tools, whose modulation sources are the Black Modulator and Black EG signals. The pitch and the duration of the modulations are controlled and modulated by the Joystick in RND mode by modulating the Black VCO Pitch with the x signal and by modulating the frequency of the Black Modulator with the Y signal. The frequency of the Black VCF is modulated by the Sample&Hold signal and the resonance is modulated by the Black VCO Pulse signal.
A drone patch from the SINE signals of two cross-modulated Black VCOs, which are first sent each to its own Black Hole DSP channel, but then processed each by its own filter and finally passed through the Stereo Delay. The pitch is controlled by the Joystick and the modulations are made by the Black Modulator and EG signals.
Another advanced example of what can be obtained from two Black VCO SINE signals, each processed by its own filter and effects processor and heavily modulated with Black CV Tools' various signals. Joystick SINE signals together with Black Modulator sample&hold and SAW signals are used as CV TOOLS modulation sources. The pitch of the sound is determined by the Joystick's second pair with SINE signals.
In this patch, Black CV TOOLS is used for audio signal processing. The signals of all three Oscillators are connected to the inputs of CV Tools and then the MIN and MAX output signals are sent each to its own filter and effects processor. The remaining CV Tools output signals serve as modulator filters. Effects processor parameters as well as the Wavetable VCO Wave CV are modulated by Black Modulator signals. Joystick signals control the VCO pitch and synchronize the Black Modulator.
Self-playing patch for experimental soundscapes and effects. The signals from both analog VCOsare mixed in the Black Quad VCA and modulated with the Black CV Tools signals converted fromthe sample&hold and Black EG input signals. The signals of one VCO are sent to the MultimodeVCF and further to one input channel of Black Stereo DELAY, while the signals of the other VCOsound through Black LPG and are further connected to the other DELAY channel, creating asound with a pronounced stereo effect, which is finally merged into the Black Hole DSP. The pitchis controlled by the Black Joystick, whose X signal is connected to the 1v/oct input of one VCO,while its FM input is modulated by the Black Modulator, and Y signal is connected to the FMinput of the other VCO, while its 1v/oct input is controlled by the first VCO. Multimode VCFCutoff frequency is modulated with sample&hold, and Resonance with EG G-delay signal. BlackLPG is triggered by sample&hold signal, frequency is modulated by CV Tools, and Decay iscontrolled by EG inverted signal. The LPG EG output signal triggers the Delay Hold function, whilethe Delay Time is modulated by the sample&hold signal, which is passed through the VCA as anattenuator. The Black EG GATE is triggered by a pulse signal from the Black Modulator, thefrequency of which accordingly determines the overall tempo of the modulations
Patch for creating randomly evolving noise rhythms. The white noise audio signal is sent to theVCA, where it is modulated by sample&hold, and then it is passed through the Multimode VCF,whose Low-pass and Band-pass output signals are each connected to its own Black Stereo DELAYinput, creating a stereo effect. Multimode VCF Cutoff frequency is modulated by BlackModulator Saw signal, while resonance is modulated by sample&hold. On the other hand, theCrushed Noise audio signal is mixed at VCA with the Black VCO SUB signal and modulated withthe same VCO saw signal and then sent to the Black LPG, which is connected to the Black HoleDSP. The second Black VCO, whose frequency is controlled by the first VCO, is used only as amodulation source for Black LPG and Black Hole DSP. The frequency and FM of the first VCO aremodulated by the Joystick signals in rnd mode and the sine signal of this VCO synchronizes thefrequency of the Black Modulator. Stereo Delay HOLD, ADD, TIME and Feedback parameters areheavily modulated with Black Modulator signals
In this example, in which the Black System III is made to hiss not only like a snake but also tosound like various insects, the audio signals are White Noise and Crushed Noise, which aremixed in the Quad VCA and separately modulated by the Black VCO and EG and then sent to theMultimode VCF, whose Band-pass output signal is connected to the Black Stereo Delay, while theHigh-pass signal is sent to the Black LPG, thus forming a band-pass signal in a series of connected filters in a chain, which sounds through the Black Hole DSP. In this example, the synchronized and intermodulated Oscillators serve only as modulators in combination with the BlackModulator and Black EG. VCO and Modulator frequencies are modulated by Joystick signals in rnd mode
In this connection, the signals of all three Black System VCO's + Crushed Noise serve as audiosignals and their modulators. One portion of the signals passed through the Multimode VCF andStereo DELAY consists of the first VCO SINE signal, modulated at the Quad VCA by the WavetableVCO SUB signal, and mixed with the Wavetable VCO fundamental signal, which is in turnmodulated by sample&hold. The second portion sounds through Black LPG and Black Hole DSPand consists of the first Black VCO SAW signal, which is modulated at the Quad VCA by thesecond Black VCO SINE signal and Crushed Noise, which is modulated by sample&hold. TheJoystick controls the frequencies of the first Black VCO and Wavetable VCO, both Black VCOs aremutually modulated, and in combination with the Black Modulator, modulate the parameters ofboth filters, Stereo Delay and Black Hole DSP.
Electric-like sounds are obtained with separately modulated single VCO signals and white noise,whose Quad VCA mix is sent to a Multimode VCF, whose band-pass and high-pass output signalsare each connected to its own Black Stereo Delay channel, thus creating a stereo effect, which isfinally leaked at Black Hole DSP. In parallel, Crushed Noise is heard through the Black LPG, theoutput of which is used to modulate the VCO SINE signal in the Quad VCA. Joystick signals in sinemode modulate Black VCO and Black Modulator frequencies. In addition, the VCO FM input ismodulated by the sine signal of the second VCO. The Black Modulator triggers the Black LPG andEG, which further modulates the cutoff frequencies of both filters, one with the direct signal,and the other with the inverted signal. sample&hold split signals modulate Multimode VCFResonance, Black LPG Decay, and Black Hole Crush parameters.
A patch for creating experimental sound textures, effects, and rhythms with cross-modulated oscillators and White Noise processed with heavily modulated effects modules. Tonal and timbral changes are made with the Black Joystick, which controls VCO1 Pitch and VCO2 FM modulation level in sine mode. The sine signals of both Oscillators are sent to the Black VCA, where they are modulated by the Triangle signals of the same VCO's, then their mix goes to the Multimode VCF, whose LP output is connected to the Black Hole DSP, while the Band Pass signal is sent to the first input of the Black Stereo Delay. The VCO2 Saw signal and White Noise are mixed in the VCA and sent to the Black LPG whose output is connected to the other Black Stereo Delay input. The tempo of the sound is determined by the Black Modulator, which triggers the Stereo Delay TAP function and also modulates the Multimode VCF Cutoff Frequency and Black Hole DSP parameters.
A rich, multi-layered synth voice from a single oscillator. The Black VCO2 saw and sub-signals are mixed in the Black VCA, which is modulated by the Sequencer Gate and sent to the Multimode VCF and further to the Black Stereo Delay. The Multimode VCF Cutoff Frequency is modulated by the triangle signal of the same VCO, which is mixed in the VCA with the Gate signal of the Sequencer. The VCO pulse signal is connected to the Black LPG and further sent to the Black Hole DSP, whose CV input is modulated by the VCO sine signal, while the Decay level is controlled by the sum of the Black Modulator sapmple&hold signal and the Gate signal of the Sequencer. The Black Modulator saw signal is passed through the second VCA as an attenuator and serves as a modulator for the Black Hole DSP.
Another example of a rich synth voice with a single Oscillator. The Black VCO sine signal in the Black VCA is triggered by the Sequencer Gate and sent to the Black LPG and then to the Black Stereo Delay, while the VCO sub-signal in the VCA is modulated by the Black Envelope Generator and goes through the Multimode VCF and on to the Black Hole DSP. VCO1 FM IN is modulated by the VCO2 sine signal (increasing modulation level makes the sound sharper), while the VCO2 FM level is modulated by the Black LPG EG output signal. Black LPG CV input is modulated by the VCO1 saw signal, while the Multimode VCF is modulated by the inverted signal of the Black EG (for Cutoff frequency) and G-delay signal (for resonance level). The Multimode VCF Band-pass signal is passed through VCA2 as an attenuator and used as a modulator for Black Hole DSP Parameter3, while its Parameter1 and Crunch level are modulated by the Black Modulator sample&hold and saw signals.
A patch for creating rhythmic sound textures. The sine signal of both Black VCOs is connected to the Black Quad VCA, where they are copied to another adjacent channel so that each can be modulated by two different modulation sources: VCO1 sine signal is modulated by the Black Modulator triangle signal, and the VCO2 sub-signal, while the VCO2 sine signal is modulated by sample&hold and VCO1 triangle signal. The pitch of both Oscillators is controlled by the Joystick, while the FM level of VCO1 is modulated by the Black EG. The tempo is determined by the Black Modulator Frequency with a pulse signal triggering the Black LPG and Black Stereo Delay Tap functions, but with a sample&hold signal modulating the Frequency of both Filters, as well as the Black LPG Decay level. The Multimode VCF Resonance level is modulated by Pink Noise.
The Black Wavetable VCO signals are mixed in the Quad VCA, where their amplitude is generated by the Black EG, and then processed by the Multimode VCF, whose Cutoff frequency is modulated by the Black EG’s inverted signal. The Multimode VCF Hi-pass signal is connected in serial to the Black LPG and then to the first channel of the Black Stereo Delay, while the Band-pass signal through VCA2, which is modulated by the Black Modulator saw signal, is sent to the second channel of the Stereo Delay, thus obtaining a stereo effect. Meanwhile, the Multimode VCF Low-pass signal goes through the Black Hole DSP. The Wavetable VCO is modulated by the Joystick sine signals (1v/oct and CV IN) and the Black Modulator triangle signal (Wave CV). Another Joystick channel in rnd mode is used to modulate the effects modules. The Black Modulator sample&hold signal is split and serves as a modulator for the Black LPG frequency and Decay level; Stereo Delay feedback level as well as a random trigger for the Black LPG. Multimode VCF resonance level is modulated by the Black LPG EG signal, which in turn is triggered by the Black LPG G-delay signal.
Two distinct sound layers with a one voice sequence. The bass comes from the Black Wavetable VCO SUB signal through the Black LPG, while the high and “bell-y” sound layer is sourced from the direct signal of the Black Wavetable VCO, which is first processed by the Black Stereo Delay, then sent to the Multimode VCF and finally, meets the Bass signal in the Black Quad VCA, where it is mixed and further processed by the Black Hole DSP. A separate, additional layer for the upper sound layer is formed by the Multimode VCF’s Highpass signal, which is separately connected directly to channel 3 of the Output mixer, whose panorama is modulated by the Black Modulator SAW signal. Both filters are mutually united by frequency modulation from the Multimode VCF to the Black LPG CV IN. The sequencer's GATE signal is split and sent to the Bass layer amplitude shaping in the VCA, the Black LPG trigger in and the Black Modulator tempo control. The amplitude modulation of the upper sound layer is performed by the Black Modulator sample&hold signal. The DECAY CV of the Black LPG bass signal is modulated by the TRI signal of the Black Modulator, while the frequency and resonance of the Multimode VCF are modulated by the direct and inverted signals of the Black EG. Additional sound modulation consists of the Black EG G-delay signal, which modulates the frequency of the Black VCO SINE signal, which then further modulates the Black Wavetable VCO’s Wave CV.
A drone patch for two synced Black VCO's and Crushed Noise from Black Modulator. Oscillator signals are mixed in the Black Quad VCA and sent to the Multimode VCF, whose Bandpass signal is then processed by the Black Hole DSP, while the Highpass signal is sent to the Black Stereo Delay. The Crushed Noise signal is passed through the Black LPG and used as a Frequency Modulator in the first Black VCO, while the pitch of the second VCO is controlled by the Black EG signal, which uses the VCA as an attenuator. The Black EG’s inverted signal modulates the Black Hole DSP parameter3 while its parameter2 is modulated by the Black Modulator’s SAW signal. Finally, the resonant level of the Multimode VCF is modulated by the TRI signal of the Black Modulator.
A patch for ambient drone textures. The signals from the two synchronized Black VCOs are mixed in the Black Quad VCA and sent to the Black Hole DSP, the outputs of which are connected to each filter and finally, the filter signals are processed by the Black Stereo Delay. The Black Modulator Sample and Hold signal is split and modulates the frequencies of both filters as well as VCO1 SAW CV and Black Hole Parameter2 CV. Black Modulator TRI and SAW signals modulate Black Hole Parameters 1&2, while the Pulse signal serves as a Black EG Gate, which modulates the Multimode VCF Resonance level. The Joystick-controlled VCO2 SINE signal amplitude modulation in the VCA adds additional movement to the sound. Also, additional spatiality in the sound is given by the Multimode VCF Bandpass signal, which is connected directly to the 3rd channel of the Output mixer, whose Panorama is modulated by the VCF High pass signal.
A Cello Voice achieved with the Black System for Horror Movie soundtracks. The sine signals of both Black VCOs are connected each through its own filter, the outputs of which are connected to a Black Hole DSP channel each, the outputs of which are connected to the STEREO DELAY. Tonal changes are played by the Black Modulator Sample&Hold signal connected in series to both VCOs. In addition, VCO2 is modulated by the triangle signal of VCO1. The duration of the tones is formed by the Black EG, modulating the Cutoff CV of both filters with the normal and inverted output signals. The nuances of the sound are created by the relationship between the pitches of the two VCOs as well as the level of Sample&Hold and VCO intermodulations.
A multi-layer Drone patch, whose signal source is a Black Wavetable VCO, the two outputs of which are each connected to its own filter and effects processor. The movement of the sound is mainly made up of the Black EG, whose direct and inverted signals each modulate their own filter signal amplitude in the Black Quad VCA. The main Black EG signal additionally modulates the Black LPG frequency and the Black Hole DSP Parameter2. On the other hand, Black Hole CRUSH and DRY/WET levels are modulated with Multimode VCF Bandpass and Highpass signals. The Black Joystick Random mode signals are used to modulate the Multimode VCF cutoff frequency and the Black Wavetable VCO Wave CV, as well as the Add function in the Black Stereo Delay.
A Cello Voice achieved with the Black System for Horror Movie soundtracks. The sine signals of both Black VCOs are connected each through its own filter, the outputs of which are connected to a Black Hole DSP channel each, the outputs of which are connected to the STEREO DELAY. Tonal changes are played by the Black Modulator Sample&Hold signal connected in series to both VCOs. In addition, VCO2 is modulated by the triangle signal of VCO1. The duration of the tones is formed by the Black EG, modulating the Cutoff CV of both filters with the normal and inverted output signals. The nuances of the sound are created by the relationship between the pitches of the two VCOs as well as the level of Sample&Hold and VCO intermodulations.
An advanced synth voice, which consists of 2 layers - the sine signal of the first VCO passed directly through the Black Hole DSP forms the soft and clean layer, while the sub signal is connected to the VCA mixed with the sine and sub signals of the second VCO and further processed with the Black LPG and Stereo Delay to form a sharp and pulsating layer, which is controlled by the Gate signal of the Sequencer connected to the VCA. The Black Hole DSP dry/wet level is modulated by the VCO2 saw signal while the VCO1 saw signal controls the Black Modulator. Both saw signal levels are controlled by the Joystick and with a higher level a synthetic, distorted sound effect is achieved by increasing the volume of the DSP wet level. The Black LPG is modulated by the Black Modulator Sample&hold signal while its Decay cv is modulated by the Black EG. On the other hand, Black EG's inverse signal serves as a modulator for VCO2. The sequencer clock is split to synchronize the tempo of the Modulator, LPG trigger and Stereo Delay Tap.
Synthetic percussion rhythms are played by the Modulator's Sample&Hold signal on both Filters. It is split to serve as the input signal for the Black LPG and to parallel modulate the Cutoff level of both Filters as well as the Stereo Delay mix level. The audio signal chain starts with the Black LPG connected to the Stereo Delay, one output of which goes to the Multimode VCF and the other output – to the Black Hole DSP and Mixer. The Multimode VCF band-pass signal is connected to the second Black Hole DSP input, while the low-pass signal is connected directly to the 3rd channel of the output mixer and its panorama is modulated by the Modulator's sine signal. The tempo is synchronized with the Modulator's pulse signal which is connected to the Black EG and further through the G-delay output to the Black LPG Trigger input. Additionally, the Black LPG EG signal modulates the Stereo Delay Feedback level.
A pulsating bass patch for two synchronized VCOs and Filters modulated by Sample&Hold. The signal chain of VCO1 goes through Multimode VCF - VCA - Black Hole DSP, while VCO2 goes through VCA - LPG - Stereo Delay. The Sample&Hold signal is split to modulate the amplitude of Oscillator signals in the VCA and also serves as a modulation source for CV Tools. The other modulation source in CV Tools comes from the Modulator sine signal, while the result from the SCL output modulates the Multimode VCF Cutoff level. The Black LPG cutoff and decay levels are modulated by the Black EG. VCO2 is modulated by the Multimode VCF Bandpass signal. The character of pulsations is changeable with CV Tools and Filter modulation levels.
A sound FX patch with a radically modulated Oscillator, Filter and Effects processors. VCO1 sine, saw and sub signals are mixed in the VCA and sent to the Multimode VCF, its Band-pass output is connected to the Black Hole DSP and its high-pass output – to the Stereo Delay. VCO2 serves as a modulator for VCO1 and the Filter Cutoff level. VCO2 Pitch is controlled by the CV Tools SCL-A signal and VCF Resonance level – by the SCL-B signal. The CV Tools modulation sources are the Modulator Sample&Hold and Triangle signals as well as the Black EG. The Black Hole DSP parameters are modulated by the Modulator saw, Black EG invert and G-delay signals. The Stereo Delay Time and Mix CV are modulated by CV Tools and Tap-tempo is triggered by the Modulator pulse signal. CV Tools also serves as a modulator for Oscillator saw and sub signal levels in the VCA.
Techno without a sequencer, made up of kick and bass/fx sound layers with advanced cross-modulations. The Kick comes from an analog VCO, modulated by the LPG EG signal in the 1V / OCT input and further triggered in the VCA by the Envelope Generator. The kick then enters the VCF which is modulated by the Envelope Generator’s inverted output and is finally sent to the Black Hole DSP and Outputs. The bass/fx layer consists of a second analog VCO together with a Wavetable VCO and Crushed Noise, which are mixed in the second VCA and then sent to the LPG - STEREO DELAY - Outputs. The bass VCO is synchronized and modulated by the Kick VCO as well as the VCF HP and Modulator Triangle signals. The Wavetable VCO is also synchronized with the Kick VCO with a SUB signal in the 1V / OCT input and its WAVE CV is modulated by a Bass analog VCO. The Wavetable VCO signal in the VCA is modulated by the MODULATOR S&H signal. Bass syncopations are generated by the Envelope Generator’s G-Delay output signal through the VCO 1V/OCT input, which also triggers the STEREO DELAY’s TAP function. The LPG triggers and modulates the MODULATOR SAW and S&H signals.
The bass drum comes from analog VCOs in an FM circuit and their pitch is controlled by the joystick. Their audio signals are mixed in the VCA and triggered with the Sequencer’s GATE signal through the Envelope Generator. The bass drum is then sent to the LPG, which is also triggered by the Sequencer's GATE and modulated by the CV signal. Additionally, the LPG DECAY is modulated by the MODULATOR S&H signal. The LPG output is connected to the BLACK HOLE DSP and Outputs. The percussion layer comes from the WAVETABLE VCO and WHITE NOISE, mixed in the second VCA and triggered by the second SEQUENCER channel’s GATE. The Percussion mixed signal is sent to the VCF, its cutoff frequency is also modulated by the SEQ second channel’s GATE, but its Resonance is modulated by the MODULATOR SAW signal. Finally, the percussion is sent to the STEREO DELAY, whose TIME CV is modulated by the LPG EG signal. The WAVETABLE VCO pitch and WAVE CV are controlled by the JOYSTICK’s second channel in random mode. The first VCO SAW signal is modulated by the SEQUENCER second channel CV signal and it is separately connected to the VCA where it is triggered by the SEQEUNCER third channel GATE signal and then goes to the third channel of the OUTPUT module whose panorama is modulated by the first VCO SINE signal.
An advanced Percussion patch with wide and multi-layered sound options. It is formed by both analog VCOs in the FM circuit, the pitch of which is controlled by the JOYSTICK. The percussion is triggered by the SEQUENCER through the Envelope Generator by modulating the VCA, in which the VCO signals are mixed with White Noise. The signal from the VCA is forwarded to the VCF, whose Band Pass output is connected to LPG and sent to the Black Hole DSP, while the High Pass output is connected to the STEREO DELAY, resulting in one lower and one higher sound layer with different sound characteristics. The VCF Cutoff frequency is modulated by the MODULATOR S&H signal. The LPG is triggered and modulated by the ENVELOPE GENERATOR’s both output signals. The STEREO DELAY HOLD function is triggered by the ENVELOPE GENERATOR G-DELAY output through the VCA as an attenuator and in addition, this VCA channel is modulated by the MODULATOR TRI signal. The STEREO DELAY ADD function is triggered by the MODULATOR SAW signal, while the TAP function is triggered by SEQUENCER CLK output.
This patch is built primarily on Sample & Hold as a source for modulations and triggers. The sound source is an analog VCO, the frequency of which is modulated by the WAVETABLE VCO, which in turn is modulated by the Sample & Hold and Triangle signals of the MODULATOR. Audio from the VCO SINE signal goes to the serial LPG and VCF but then splits to the BLACK HOLE DSP from VCF Band Pass output and STEREO DELAY from the High Pass output. The pitch of the VCO and Cutoff frequency of the VCF are controlled by the JOYSTICK. The CV level of the LPG is modulated by Sample & Hold. The STEREO DELAY TIME CV level is modulated by another copy of the Sample & Hold signal through the VCA as an attenuator, while the HOLD and ADD functions are triggered by the MODULATOR SAW and PULSE signals.
A Patch for playing with the BLACKHOLE DSP’s 24th algorithm "Drone Bank". The parameter frequencies are tuned to a chord and each output is sent to its own filter, the output signals of which are finally connected to both channels of STEREO DELAY. The DSP parameters are modulated by VCO signals, while the second VCO modulates the first FM level as well as the VCF Cutoff frequency and resonance. The LPG CV level is modulated by the MODULATOR S&H signal. The Black Hole DSP DRY / WET level is modulated by the MODULATOR SAW signal through the VCA as an attenuator.
The sound source is VCO2, whose FM level is modulated by VCO1 and pitch controlled by JOYSTICK. VCO pulse signal via VCA first channel connected to VCF and further to STEREO DELAY - OUTPUTS. VCO SUB signal via VCA second channell connected to LPG and further to BLACK HOLE DSP-OUTPUTS. Specific random Bass pulsation is generated by CV TOOLS, whose modulation sources are the MODULATOR S&H signal in combination with the PULSE signal on the A channel and the ENVELOPE GENERATOR Inverted output on the B channel. The ENVELOPE GENERATOR is triggered by CV TOOLS SCL A signal, and then via the VCA modulates the signal level of the VCO SUB signal. VCO PULSE signal level via the VCA modulated by CV TOOLS MAX output signal. VCF (With VCO SUB signal) Cutoff frequency modulated by CV TOOLS SCL B signal, and Resonance by MIX A signal. LPG (with VCO PULSE signal) CV IN modulated by CV TOOLS MIN signal. Different random pulsations of the VCO SUB and PULSE signals can be obtained by adjusting the CV TOOLS SCL and OFFSET levels in both channels.
Patch with advanced Sample & Hold utilization for jazzy style modulations. Audio circuit: VCO1 - VCA1 - VCF - BLACK HOLE DSP left input - STEREO DELAY - OUTPUT / VCO2 - VCA2 - LPG - BLACK HOLE DSP right input - STEREO DELAY - OUTPUT. VCO1 frequency modulated by VCO2 SINE signal, both VCO's pitch controlled by JOYSTICK. S&H is sent to CV TOOLS via the SPLIT module as a modulation source and also directly modulates the VCF Cutoff frequency. Additional CV TOOLS modulation sources are MODULATOR SAW and PULSE signals, and Envelope Generator outputs, obtaining complex modulation signals that modulate the VCF Resonance CV; VCO2 SAW CV and BLACK HOLE parameters. LPG CV level modulated by MODULATOR TRI signal. The STEREO DELAY TIME CV level modulation by G-DELAY output of ENVELOPE GENERATOR creates an interesting effect. Tone changes affect the relationship between various VCO signals by mixing them with the VCA.
WHITE NOISE via an extremely modulated STEREO DELAY, which each audio output connected to its own filter, whose signals then meet at the BLACK HOLE DSP. The main modulation source is Sample & Hold, which is sent via the SPLIT module to the STEREO DELAY TIME CV and REVERSE function inputs, as well as the BLACK HOLE DSP Parameter3 input. In addition, the MODULATOR PULSE signal triggers the STEREO DELAY ADD function, The TRI signal triggers the HOLD function, while the SAW signal modulates the Feedback CV. The Cutoff frequencies of both filters are modulated with JOYSTICK in Random mode.
MODULATOR S&H signal modulates WAVETABE VCO pitch, then WAVETABLE OUTPUT signal modulates analog VCO pitch. The VCO SAW signal through the VCF and STEREO DELAY forms a bass pulsation layer. The VCO SINE signal through the LPG and BLACK HOLE DSP forms the drone layer. MODULATOR S&H signal via the SPLIT module also modulates VCF Cutoff frequency and VCO SAW CV level. VCF Resonance level modulated by MODULATOR TRI signal; WAVETABLE VCO WAVE CV level modulated by MODULATOR SAW signal. LPG CV IN modulated by WAVETABLE VCO SUB output. STEREO DELAY TAP function triggered by MODULATOR PULSE signal.
Both outputs of the WAVETABLE VCO are connected to STEREO DELAY, whose outputs are each forwarded to their own filter and at the end meet at the BLACK HOLE DSP. WAVETABLE VCO pitch controlled by JOYSTICK, and WAVE CV modulated by CV TOOLS. VCF Cutoff Frequency and Resonance and LPG CV IN are also modulated with CV TOOLS, whose modulation sources are Sample & Hold in combination with Envelope Generator output signals. STEREO DELAY TIME CV modulated by MODULATOR PULSE signal via VCA as attenuator; Feedback level modulated by SAW signal, but MIX level modulated by CV TOOLS MAX signal. BLACK HOLE DSP Parameter1 modulated by CV TOOLS MIX B signal; Parameter2 modulated by MODULATOR TRI signal.
Two cross-modulated Black VCOs, each connected to its own filter and effects processor: VCO1 - VCF - STEREO DELAY - Outputs; VCO2 - LPG - BLACK HOLE DSP2 - Outputs. The VCO pitch is controlled with the Joystick. LPG CVIN and VCF Cutoff level are modulated with CV TOOLS, whose modulation sources are the Modulator S&H signal and Envelope Generator with a long loop time setting. VCF Resonance level is modulated by the Envelope Generator’s Inverted Output; Black Hole DSP Crush CV is modulated by the Modulator’s SAW signal.
A Feedback loop between the VCF and Black Hole DSP, further processed by the Stereo Delay. Sound variations are controlled by the Joystick in SINE mode, whose outputs modulate the VCF Cutoff and Resonance levels, as well as the Black Hole DSP Crush level.
The only sound source for this circuit is Crushed Noise, processed by filters and effects and controlled by the Joystick. The Crushed Noise is first sent to the Multimode VCF, all outputs of which are connected and mixed in the VCA. After that, the VCF LP signal goes to the Black Hole DSP and produces a low drone sound, while the BP and HP signals are sent to the LPG and Stereo Delay, forming a percussive layer. One Joystick channel triggers and modulates the LPG to form the rhythmic structure of the percussive layer. In addition, the Second Joystick channel is used to trigger the Stereo Delay HOLD and ADD functions as well as to modulate the Feedback level. The third Joystick channel is used to modulate the Black Hole DSP parameters. The Modulator S&H signal in The SPLIT module is divided into VCF Cutoff; LPG Decay and Black Hole DSP Crush CV inputs, while the SAW signal is sent to the LPG MODE CV input. The VCF Resonance level is modulated with the Envelope Generator, which is triggered and synchronized with the Modulator PULSE signal. An interesting effect is the modulation of the Stereo Delay TIME CV with the Envelope Generator G-DELAY signal simultaneously with the triggering of the TAP function from the LPG EG output.
Both signals of the Wavetable VCO along with White Noise are connected and mixed into the VCA and their amplitude is rhythmically modulated by the Joystick's third channel signals in Random mode. In addition, the Joystick GATE signal is split via the SPLIT module and synchronizes the Modulator. The Wavetable VCO pitch is controlled by the Joystick, while the WAVE CV is modulated by the Modulator’s SAW signal. Wavetable signals from the VCA are then sent to the LPG and Black Hole DSP, while White Noise goes to the Multimode VCF and Stereo Delay. The VCF Cutoff level and LPG CV are modulated by the Joystick GATE signal, while the LPG triggers the Modulator PULSE signal. Stereo Delay TIME CV level is modulated by the Modulator S&H signal, the HOLD function is triggered by the Modulator TRI signal, while the ADD function is triggered by LPG EG OUT.
The percussive wood sound effect is created by the resonant VCF and Black Hole DSP delay. The rhythmic structure consists of a Modulator S&H signal, which is connected to the VCF input via a VCA as a pulse and also modulates the VCF Cutoff frequency. In addition, the VCA is modulated by the Envelope Generator’s Inverted signal, while the EG is triggered by the Modulator PULSE signal. Black Hole DSP Parameter3 is modulated by the Modulator’s TRI signal. Modulator RATE variations are formed by the Joystick GATE signal in random mode, connected to the SYNC input of Modulator.
The Bassline sound source is a self-modulated VCO, which is additionally modulated by a second VCO. VCO SINE, TRI, & SAW signals are sent via the VCA to the LPG and Multimode VCF in serial connection. The Multimode VCF BP output is then sent to the Stereo Delay and then to the Outputs, while the LP output modulates the VCO PWMCV level. In parallel, the VCO PULSE signal is sent through the other VCA to the Black Hole DSP and then to the Outputs. Both the VCA as well as the Multimode VCF and LPG are modulated by different CV TOOLS output signals, the modulation sources of which are the output signals of the Modulator S&H, EG, and the LPG module. The modulator SAW signal modulates the VCO2 SAWCV level, while the TRI signal triggers the LPG. The Stereo Delay TAP function is triggered by the G Delay output of EG module and Crunch level of The Black Hole DSP is modulated by the TRI signal of VCO2. The Bassline Pitch is controlled by a Joystick whose output is connected to the VCO2 1V / OCT input.
With this patch, I recorded the full track "Transmission" by Gas Of Latvia. The first channel of the Sequencer is controlling the Kick drum, which is formed by the Black VCO, connected via the VCA to the LPG. The LPG output signal is then sent through the SPLIT module to the Black Hole DSP - Outputs and back to the VCA, where it is mixed with the VCO signals and Pink Noise. The Sequencer’s GATE signal triggers the Envelope Generator whose output signals modulate the VCA and the VCF Resonance level. The Sequencer's second channel controls the melodic synth-voice, formed by the Wavetable VCO, which is sent to the Multimode VCF via the VCA, where it is mixed with the White Noise signal and feedback signal back from the VCF BP output. The VCF HP output goes to the Stereo Delay and then to the Outputs, while the LP output is connected directly to channel 3 of the Output module and its stereo-panorama is modulated by the Modulator SAW signal. The Wavetable VCO WAVE CV and the Multimode VCF Cutoff level are modulated by the Modulator’s S&H signal through CV TOOLS. The sequencer’s second channel GATE signal via CV TOOLS modulates the Wavetable VCO level in the VCA as well as the LPG DECAY CV and Black Hole DSP Crunch CV levels. The GATE signal of the third channel of the sequencer triggers the White Noise level through the VCA to form a percussion layer. The Stereo Delay’s HOLD & ADD functions are triggered by the Modulator TRI & PULSE signals, while the TAP function is triggered by the LPG EG output signal.
An advanced FM synth voice from both analog VCO's. The sequencer's CV signal controls the first VCO, whose SINE output signal synchronizes the second VCO's pitch. Both VCO audio signals are connected to the VCA, then go each to their own filter and effects module. The second VCO signal in the VCA is mixed with White Noise and Multimode VCF BP signals, which form a feedback loop. The GATE signal of the Sequencer is split via the SPLIT module and triggers the LPG and EG modules. The EG outputs modulate the VCA and LPG CV inputs, while the LPG EG output modulates the Parameter level of the Black Hole DSP. The multimode VCF Cutoff frequency is modulated via the VCA as an attenuator by the S&H signal of the Modulator, but the Resonance level is modulated by the SUB signal of VCO2. The first VCO FM input is modulated by the SAW output signal, but the SAW CV input is modulated by the TRI signal of the Modulator. The Black Hole DSP Crunch CV level is modulated by the SAW signal of the Modulator. The Stereo Delay ADD function is triggered by the VCO2’s PULSE signal through the VCA as an attenuator, while the TAP function is triggered by the Sequencer's Channel 2 GATE signal.
The three sequencer channels each play their own Oscillator, while the fourth triggers the VCA with a White Noise signal. The Wavetable VCO signals are sent through the VCA to the Black Hole DSP, one output of which goes to the Output module, while the other splits at the SPLIT module to the Output module and back to the VCA input, thus forming a feedback loop. The GATE signal of the sequencer triggers the VCA. The SAW signal of the first analog VCO is connected to the second VCA, where it is mixed with the White Noise signal and sent to the Multimode VCF, whose HP signal is connected back to the VCA to form a feedback loop, but the LP signal goes to one of the Stereo Delay inputs. The second VCO SUB signal is sent through the VCA channel 4 to the LPG and the second Stereo Delay input, while the TRI signal goes straight to the Output module. The LPG is triggered by the GATE signal of the Sequencer’s 3d channel, while the LPG EG output signal triggers the VCA’s channel 4. The GATE signal of channel 2 of the sequencer triggers the EG input, while the VCA and Multimode VCF cutoff are modulated by the EG outputs. The Modulator Pulse signal modulates the Wavetable VCO CV level, the TRI signal modulates the first analog VCO SAW CV level and the SAW and S&H signals serve as modulation sources for the CV TOOLS module, whose various output signals modulate the Wavetable VCO WAVE CV, the second VCO FMIN and PWMCV as well as the LPG DECAY CV.
A joystick-controlled circuit for varying rhythmic sound textures. Inter-modulated analog VCOs are used as sound sources, each connected to its own filter and effects module. The first VCO is connected to the Multimode VCF via the VCA, its LP output is also connected to the VCA, thus mixing the feedback into the common signal mix. The VCF BP output is connected to the Stereo Delay and then Output, while the HP output is connected directly to the Output module. The VCA is modulated by the 4th joystick channel in random mode. The second VCO is connected to the LPG module via the second VCA, the output signal of which goes to the Black Hole DSP and then to the Outputs. The LPG is triggered and modulated by the Joystick’s 3d channel in random mode. The LPG EG output signal modulates the Stereo Delay mix level. The second VCA’s amplitude modulation is performed by the Modulator’s S&H signal. The modulator SAW and TRI signals are connected to the VCO SAW and PWM CV inputs, while the PULSE signal triggers the Stereo Delay TAP function. Changes to the modulator rate are made by the EG output signal connected to the CV input. Joystick Channel 1 signals control the pitch of both VCOs, while Channel 2 signals in random mode modulate the Multimode VCF’s cutoff and resonance.
An experimental Patch for sound FX and textures using all 3 VCOs. The WAVETABLE VCO’s sub-signal is sent back to the WAVETABLE VCO 1V / OCT input via the SPLIT module, as well as the first VCO 1V / OCT input and the DSP crush CV input. The WAVETABLE VCO’s normal output is connected to the MULTIMODE VCF and STEREO DELAY. The first VCO triangle signal is sent to the LPG and further to the DSP. Both VCOs are modulated by the VCF low-pass and high-pass signals via the FM inputs. VCF cutoff and resonance modulate VCO1 saw and sub signals. The LPG CV level is modulated by the first VCO’s pulse signal, the decay level with the MODULATOR’s triangle signal and triggered by the MODULATOR’s pulse signal. The first parameter of the DSP is modulated by the VCO1 sine signal and the second parameter - by the LPG EG signal. The DELAY time CV level is modulated by the second VCO’s triangle signal through the VCA as an attenuator while the HOLD; ADD & REVERSE functions trigger the VCO2 saw, pulse and sub signals. The WAVETABLE VCO wave CV level is modulated by the MODULATOR’s sample & hold signal.
A patch for guitar signal processing with BSIII filters and effects. The first external audio input serves as the GATE source for the ENVELOPE GENERATOR which further modulates the amplitude of the second external audio input in the VCA. The second external audio signal is connected to the SPLIT module, further distributed to the VCO FM, LPG trigger, and VCA inputs. The VCA signal then enters the Multimode VCF and DSP with the second external audio signal. The first VCO sine signal is also connected to the VCA, which then goes to the LPG and DELAY. The first VCO sub-signal modulates the LPG CV input. The second VCO is synchronized with the first and its saw signal modulates the level of the first parameter of the DSP. Both VCOs are controlled by the JOYSTICK via 1V / OCT. VCF cutoff is modulated by the MODULATOR’s saw signal, but the resonance is modulated by the WAVETABLE VCO’s sub signal. The DSP’s second parameter level is modulated by the MODULATOR’s sample & hold signal.
A synth voice from 2 synchronized and self-modulated VCOs, the signals of which are mixed in the VCA, the first one going to the filters connected in serial and DELAY, and the second one - to the DSP. The SEQUENCER CV signal via the SPLIT module is distributed to the first VCO 1V/OCT; MODULATOR CV; DSP dry/wet, and VCA CV3 (second VCO sine signal amplitude modulation) inputs. The GATE signal of the SEQUENCER is connected to the ENVELOPE GENERATOR, further modulating the LPG and VCA CV4 (second VCO saw signal amplitude), as well as triggering the LPG through the EG G-delay output. The SEQUENCER’s clock output is connected to the MODULATOR’s clock input and synchronizes the modulation rate. The MODULATOR’s saw signal modulates the first VCO PWM; the triangle signal modulates the DSP parameter 2 level while the sample & hold signal modulates the amplitude of the first VCO saw signal through the VCA CV2 input. VCF cutoff and resonance are controlled by the JOYSTICK. The output of the LPG Envelope Generator is used as the modulation source for the other VCO PWM.
An experimental Patch for rhythmic sound textures and sound effects with a metallic sound character. The sound is based on a heavily self-modulating VCO, the SINE signal of which is connected to the MULTIMODE VCF, whose band-pass output is connected to Output channel 3, but the low-pass signal goes to the DSP - STEREO DELAY - Outputs 1 & 2. JOYSTICK in random mode is connected to the VCO’s FM and PWM CV inputs as well as the MODULATOR’s CV input for sound rhythm modulation. The MODULATOR’s saw signal modulates DSP parameter 2 level, triangle signa,l VCF resonance CV, pulse signal triggers and the DELAY TAP function, but the sample & hold signal is sent to the VCO’s 1V / OCT via the SPLIT module; the VCF cutoff CV and DSP parameter 1 CV. DSP parameter 3 modulates the VCO saw signal. The second VCO is used to modulate the LPG CV and OUTPUT 3 panorama. The DELAY time CV is modulated by the VCO pulse signal, which is passed through the VCA as an attenuator.
A synth voice with 2 synchronized VCOs whose FM modulation is controlled by JOYSTICK. The VCO signals are mixed into the VCA and each is forwarded to its own filter. The Multimode VCF band-pass output is connected to the DELAY and the LPG output goes to DSP. The GATE signal of the sequencer is connected to the Envelope Generator, further modulating the VCF cutoff and resonance, while the EG G-delay signal triggers the DELAY ADD function. The VCO pulse signal is connected to the PLG CV input as a modulation source.
A simple, but effective Bass patch with a self-modulated VCO through a VCF and DELAY. The feedback circuit consists of a VCF band pass signal, which is mixed with the VCO signal in the VCA and connected back into the VCF input. Filter modulation is generated by CV TOOLS with MODULATOR triangle and sample&hold signals as modulation sources. Tempo variations are provided by the JOYSTICK gate signal in random mode connected to the MODULATOR CV input.
The result obtained in the feedback technique largely depends on the inputs and outputs as well as the returned sound portion nuanced volume ratios. This example is for a drone and sound fx feedback sound. The outputs of both Filters are each connected to their own DSP channel. One DSP output is connected to the SPLIT module and is further distributed back to the inputs of both filters, as well as one DELAY input and the 3rd input of the output module. The second DSP output is connected directly to the second DELAY input and the DELAY is connected to the 4th stereo channel of the Output module. The multimode VCF band pass signal is connected to the VCO 1V / OCT input, while the VCO sine signal modulates the LPG through the CV input. The JOYSTICK’s 1st channel modulates the VCO through the FM input and the Multimode VCF cutoff frequency. The second JOYSTICK channel in random mode modulates the DSP parameters. The saw signal of the MODULATOR modulates the pan of the 3rd channel of the Output module, while the sample&hold signal modulates the Multimode VCF resonance.
A percussion patch consisting of 2 feedback loops – one via the Multimode VCF, the other – via the DSP in combination with the LPG and STEREO DELAY. The multimode VCF band-pass output is connected to its own input, while the high-pass output is connected to the first DSP input and the low-pass output is sent to the LPG input, the output of which is then connected to the STEREO DELAY. The first DSP output is transferred back to the second input of the DSP via the SPLIT module and directly to the first input of channel 4 of the Output module. The second DSP output is connected directly to the second input of channel 4 of the Output Module. The Multimode VCF cutoff frequency is modulated by the MODULATOR saw signal, but the sample&hold signal serves as a modulation source for CV TOOLS, whose various outputs (see drawing) are connected to the DSP’s crush cv; VCF resonance cv; LPG trigger, decay cv, and cv inputs (the latter - through the VCA as an attenuator). The tempo variations of the MODULATOR are controlled by the JOYSTICK gate output in random mode connected to the MODULATOR CV input. DELAY ADD and TAP functions are triggered by the LPG envelope generator and MODULATOR pulse outputs.
A feedback patch that sounds like a flute with effects. The feedback loop consists of a chain of filters, connected in serial and a Delay, the output of which through the SPLIT module is sent back to the VCF input and to the DSP for post-processing. The sound of the filters is controlled by JOYSTICK, which is connected to the VCF cutoff CV and LPG CV inputs. VCF resonance and DELAY time CV are modulated by MODULATOR triangle and sample & hold signals. Carefully adjust the volume ratio of the feedback loop and the DELAY feedback level.
In this example, the Feedback loop is implemented through CV TOOLS. Both filters are each connected to their own DSP input channel, which is then connected to the STEREO DELAY, whose outputs go to CV TOOLS and are then further split back to the filter inputs and Output module inputs (see picture). The sound of the filters is controlled with the JOYSTICK.
By using external audio signals as modulation sources, it is possible to create an automated bass and effect accompaniment for drums. In this example, the Amen break audio signal modulates the WAVETABLE VCO and LPG frequency, but the tempo through the SEQUENCER MIDI in goes to the clock out and SPLIT module, triggers the LPG and the REVERSE function of the STEREO DELAY, opens the GATE of the ENVELOPE GENERATOR and synchronizes the MODULATOR rate. Signals from the WAVETABLE VCO are mixed in the QUAD VCA and sent to STEREO DELAY, with each of the DELAY outputs connected to its own filter (creating a stereo effect), the signals of which finally meet in the BLACK HOLE DSP. The modulations in this circuit mainly consist of the MODULATOR SAMPLE & HOLD signal, which with the ENVELOPE GENERATOR is connected to the CV TOOLS, together is modified in various ways and is sent to the MULTIMODE VCF, LPG TRIGGER, DELAY FEEDBACK CV and BLACK HOLE CRUSH level inputs. In parallel, the SAW signal of the MODULATOR modulates the VCO WAVE CV. In Addition, The STEREO DELAY HOLD function is controlled by the EG G-DELAY signal, while the ADD function is operated by the JOYSTICK GATE signal in random mode. In this Patch, the DELAY effect is different in the sound structure and can be used as a sound variation by turning the DELAY mix level.
In this example, one of the stereo audio channels is sent through both filters connected in serial to filters (MULTMODE VCF as a high-pass and LPG as a low-pass filter) and the STEREO DELAY. In parallel, the MULTIMODE VCF low-pass output is connected to the BLACK HOLE DSP for a richer sound timbre. The second external audio channel serves as a control voltage for modulations, connected via the SPLIT module to the LPG CV and trigger inputs and the STEREO DELAY time CV (QUAD VCA used as attenuator and turning the level can significantly change sound). It also synchronizes the tempo of the MODULATOR, whose various signals are connected to CV TOOLS as modulation sources, further modulating the STEREO DELAY, MULTIMODE VCF, and LPG decay CV (see drawing). GLITCH effects on the audio signal are mainly generated by the controlled random switching of the STEREO DELAY HOLD, ADD and REVERSE functions, as well as the heavily modulated filters.
A patch in which external audio signals through the QUAD VCA are modulated with both synchronized VCOs (each with its own channel of stereo audio), creating FM and ringmodulator-type effects controlled by a SEQUENCER CV. The modulated audio signals are then sent each to its own filter, the outputs of which meet in the BLACK HOLE DSP and the STEREO DELAY connected in serial. The MULTIMODE VCF low-pass signal is used as the gate signal which is transmitted to the LPG CV, MODULATOR CV, and STEREO DELAY TAP inputs via the SPLIT module to synchronize the circuit with the pulsation rate of the external audio signal. Additionally, it modulates the BlACK HOLE DSP crunch level. The MODULATOR TRI, SAW, and S&H signals control the MULTIMODE VCF and VCO SAW level modulation, as well as the STEREO DELAY ADD function on and off with a PULSE signal. The LPG CV IN is modulated by the first VCO SAW signal. Both VCO frequencies are additionally modulated via the FM inputs with the JOYSTICK’s first channel, while the other channel modulates the BLACK HOLE DSP parameters.
A tremolo and ring modulation effect where the audio signal controls a VCO that performs frequency modulation of the audio signal. One stereo audio signal channel is connected to the VCO 1V/oct and MODULATOR CV inputs via the SPLIT module, thus controlling both the modulation frequency for the amplitude of the other audio channel in the QUAD VCA module and the master tempo. In addition to the QUAD VCA, a Crushed Noise signal is added to enrich the sound texture. The modulated audio signal is then sent to a series of connected filters and effects (MULTIMODE VCF high-pass - LPG - BLACK HOLE DSP - STEREO DELAY - OUTPUTS). The VCO is additionally modulated by the MODULATOR (FM input) and the ENVELOPE GENERATOR (saw cv). The VCO tri and saw outputs modulate the BLACK HOLE DSP, the sub output - LPG CV in, and the pulse signal triggers the add function of the STEREO DELAY. The MULTIMODE VCF is modulated by the MODULATOR S&H (cutoff) and EG (resonance).
An experimental circuit in which the external audio signal (field recording in this example) is modulated by a combination of JOYSTICK, MODULATOR, and CV TOOLS. Both stereo audio signal channels and CRUSHED NOISE are connected to the QUAD VCA, and each is modulated with a different CV TOOLS output signal (see drawing). Then one audio channel is sent to the LPG and STEREO DELAY, but a mix from the other channel and CRUSHED NOISE – to the MULTIMODE VCF and the BLACK HOLE DSP. The first channel of the JOYSTICK controls the MULTIMODE VCF cutoff and the master tempo of the modulations via the SPLIT module by connecting to the MODULATOR clock input, ENVELOPE GENERATOR gate input, and LPG trigger input, as well as modulating the dry/wet level of the BLACK HOLE DSP. The second JOYSTICK channel controls the BLACK HOLE DSP parameters. The LPG CV and Decay level are modulated by CV TOOLS and the BLACK HOLE DSP parameter1 level is modulated by the LPG EG output.
An experimental, retro-futuristic drum machine without a sequencer. The main percussive sound source is CRUSHED NOISE through a heavily modulated VCA, Filters, STEREO DELAY, and BLACK HOLE DSP. In the QUAD VCA it is mixed with a VCO SUB signal for a bass sound layer, this is mix is then connected to the VCF and then to the BLACK HOLE DSP - OUTPUT. In parallel, the VCF LP signal is sent through the LPG to the STEREO DELAY - OUTPUT. VCO pitch & FM are controlled by the JOYSTICK. The MULTIMODE VCF is modulated by the S&H signal of the MODULATOR; the LPG is modulated by the ENVELOPE GENERATOR. The MODULATOR PULSE & SAW signals go to the ENVELOPE GENERATOR and the HOLD function of the STEREO DELAY as gates. MODULATOR TRI & S&H signals are sent to CV TOOLS inputs, then distributed to the CV input of the VCA; the MIX CV input of STEREO DELAY and various modulation inputs of the BLACK HOLE DSP (see picture). the DRY/WET level of the BLACK HOLE DSP is modulated by the EG output of the LPG.
A Wavetable VCO synth voice in which the SUB OUT signal serves as the main tone, but the main output - as a swirling overtone. The SUB OUT signal is passed through the VCA, then connected to the LPG and BLACK HOLE DSP - OUTPUT, but the main OUT is mixed with the CRUSHED NOISE signal in the VCA which then goes to the MULTIMODE VCF and STEREO DELAY - OUTPUT. The SEQUENCER GATE signal through the SPLIT module is distributed to the ENVELOPE GENERATOR, the CV input of the VCA for modulation of the WAVETABLE SUBOUT signal, and the SYNC input of MODULATOR. The VCO WAVE CV is modulated and its BANKS are retriggered by the TRI & PULSE signals of the MODULATOR. Swirling FX create an analog VCO, the pitch of which is modulated by the SAW signal of the MODULATOR while the SINE signal modulates the amplitude of the WAVETABLE VCO signal in the VCA. In addition, the analog VCO SAW & PULSE signals retrigger the ADD & REVERSE functions of the STEREO DELAY. The MULTIMODE VCF (with the swirling WAVETABLE VCO OUT signal and CRUSHED NOISE) is modulated by the ENVELOPE GENERATOR INVOUT (CUTOFF) and the S&H signal of the MODULATOR (RESONANCE). The CRUSHED NOISE signal amplitude in the VCA is modulated by the EG. The STEREO DELAY tempo is controlled by the SEQUENCER CLOCK OUT.
An experimental patch for rhythmic noise textures and sound FX without any VCO’s. Especially suitable for didgeridoo-style pulsating bass sounds. The main sound source is the self-resonating STEREO DELAY (the feedback level must be turned until resonance begins). One output of the STEREO DELAY is connected to the MULTIMODE VCF, the second output – to the LPG. Both filters are each connected to their own BLACK HOLE DSP input and their different modulation results in a stereo effect. In addition, the HP output of the MULTIMODE VCF is directly connected to the third input of the OUTPUT module for a high-frequency sound layer, the stereo modulation of which consists of a Joystick RND signal connected to the PAN CV input. 3 Joystick channels control the pitch, timbre, and rhythm of the sound. The second channel (in Joystick mode) controls STEREO DELAY time (pitch) and the BLACK HOLE DRY/WET level; the third channel (in RND mode) modulates the resonance of the MULTIMODE VCF, PARAMETER1 of BLACK HOLE DSP, and synchronizes the rate of the MODULATOR through the JOYSTICK GATE output to CVIN. Then the MODULATOR S&H signal is distributed through the SPLIT module to the VCF CUTOFF input, PARAMETER2 input of the DSP, the DECAY CV input of the LPG, and the GATE input of the ENVELOPE GENERATOR. In addition, the LPG is triggered by PULSE signal, but the HOLD function of STEREO DELAY - by the TRIANGLE signal of the MODULATOR. The ADD function of the STEREO DELAY is controlled by the EG OUT signal of the LPG. The ENVELOPE GENERATOR SENDS modulation signals to the CVIN of the LPG and PARAMETER3 CV of the BLACK HOLE DSP.
A synth voice from both analog VCO’s, filters and Quad VCA with a special addition from Joystick-controlled Stereo Delay. VCO1 saw & sub signals are mixed in the MIX module and go through the Multimode VCF and QUAD VCA to STEREO DELAY - OUTPUT. VCO2 SINE, TRI, SAW & PULSE signals are mixed in the second QUAD VCA and go through the LPG and are then mixed with the VCO1 signal in the first Quad VCA. SEQUENCER CV is connected to the first VCO, the SINE signal of which goes to the second VCO’s input. Also, the second VCO is synced by the first VCO via the PULSE signal, but the First VCO is modulated by the second VCO through the SUB-FMIN connection. Both Oscillators are additionally modulated with Joystick CH1 & 2 (see picture). The SEQUENCER GATE signal is distributed at the SPLIT module to the first VCA (it modulates the amplitude of both VCO-Filters signals), the LPG TRIGGER input, and the Envelope Generator’s GATE input. The VCF is modulated by EG (CUTOFF) and the Joystick’s X3 output in RND mode (RESONANCE). Joystick Y3 and GATE3 signals control the STEREO DELAY HOLD function and MIX level. An additional DELAY ADD function is controlled by the MODULATOR PULSE signal. LPG DECAY level is modulated by the MODULATOR S&H signal. The MODULATOR is synced with SEQUENCER tempo through the CLOCK output.
A patch for variable rhythm sound textures with kick drum FX. The only voice is a WAVETABLE VCO which is controlled and modulated by a combination of the JOYSTICK (RND mode) and MODULATOR signals through CV TOOLS (see picture). The WAVETABLE output goes through the LPG to the BLACK HOLE DSP - OUTPUT, but the SUB OUT is connected to the MULTIMODE VCF, then to STEREO DELAY - OUTPUT. The rhythm rate is controlled by the Joystick GATE signal, which is sent via the SPLIT module to the MODULATOR SYNC input, the LPG TRIGGER input and the STEREO DELAY ADD input. Pitch is controlled by MODULATOR SINE, S&H, and PULSE signals through the CV TOOLS SCLA output, but the character of the voice is modulated by the Joystick’s X (WAVE CV of WAVETABLE VCO) and Y (VCF CUTOFF) outputs. In addition, the DECAY level of the LPG and the HOLD function of the STEREO DELAY is also controlled by CV TOOLS.
This month we present 7 patch sheets for the Matrix Mixer used together with the Black System III.
The Black System III, when expanded with the Matrix Mixer, allows for a diverse sound palette and many more modulation options. The Matrix Mixer allows for changing between radically different patches quickly and easily, providing one with many new possibilities. Since the Black System III has many more patch points than the Matrix Mixer, the focus in these examples will be on the two analog Black VCO2’s with all of their waveform outputs and most of their modulation inputs connected to the Matrix Mixer. The signals of the oscillators can be combined and modulated via the Matrix Mixer by sending them to two of the inputs on the Quad VCA2. Each of the two VCA outputs is patched to its own filter, which are further patched each to its own effects processor (Multimode VCF - Black Stereo Delay; Black LPG - Black Hole DSP) and output. The Black Sequencer’s CV1 output is patched to the VCO’s 1V/oct input and its clock output is patched to the Black Modulator’s CV IN. The SAW, PULSE, S&H and WHITE NOISE signals of the Black Modulator as well as the output of the Black EG are also patched into the Matrix Mixer allowing for diverse combinations of modulation sources. The Black Sequencer’s GATE OUT is patched into the Matrix Mixer, allowing for simultaneous triggering of the EG, VCA and filters. Additionally to the VCO inputs, the Matrix Mixer’s outputs are patched to the CV inputs of the VCA, the inputs of both Filters and the Black EG’s GATE. These 7 Matrix Mixer patches illustrate how interesting a single monophonic sequence can sound on two VCO’s using the diverse audio and CV signal combinations the Matrix Mixer allows for.
With a CRUSHED NOISE controlled WAVETABLE VCO, both oscillator audio outputs are sent each to its own filter and effects processor. WAVECV is modulated by the MAX signal from CV TOOLS (S&H signal from the BLACK MODULATOR and BLACK EG INVOUT as modulation sources). MULTIMODE VCF cutoff frequency and resonance are modulated by SCLA & SCLB signals from CV TOOLS and the DECAY level of the BLACK LPG - by the MIXA signal. BLACK HOLE DSP PARAM1 is modulated by the TRI signal of the BLACK MODULATOR. The feedback level of the STEREO DELAY is modulated by the BLACK EG. The BLACK LPG is triggered by the PULSE signal of the Black Modulator. The Joystick in RND mode controls the HOLD, ADD and REVERSE functions of the STEREO DELAY.
A drone instrument with both BLACK VCO’s as sound sources, controlled by the JOYSTICK. Oscillator signals are mixed in the QUAD VCA and sent for processing to the BLACK HOLE DSP and STEREO DELAY. The FM inputs of both Oscillators are modulated by signals from two separate JOYSTICK channels. The second outputs of the same channels are used to modulate the BLACK HOLE DSP PARAM1 & 2, while PARAM3 is modulated by the third JOYSTICK channel. The BLACK HOLE DSP dry/wet level and CRUSH CV modulate signals from CV TOOLS (SAW & S&H signals from BLACK MODULATOR as modulation sources). CV TOOLS signals also modulate the STEREO DELAY MIX and Feedback levels. The STEREO DELAY TAP input is triggered by a PULSE signal from the BLACK MODULATOR.
The primary sound source for this experimental circuit is the self-resonant STEREO DELAY with maximum feedback. Both DELAY outputs are each connected to their own filter, the signals of which are further processed by the BLACK HOLE DSP2. The Joystick plays a big role in this connection. First, one of its channels in Joystick mode modulates the TIME CV of the STEREO DELAY, the other channel in the RND MODE controls the ADD, TAP, and HOLD inputs, and the third channel's GATE output controls the REVERSE input of the STEREO DELAY. The other two outputs of the third channel of the JOYSTICK modulate the frequencies of both filters. The BLACK HOLE DSP PARAM CV and CRUSH CV inputs are modulated by signals from CV TOOLS, whose modulation sources are TRI and Sample&Hold signals from the BLACK MODULATOR.
A patch for creating pulsating sound textures. It has two main sound layers - both Black VCO’s via the Black LPG and Black Hole DSP as base drone and the Wavetable VCO via the Multimode VCF and Stereo Delay as a solo voice. The pitch of the Oscillators is controlled by Sample & Hold from the Black Modulator via the Quad VCA as an attenuator. The Pulse output of one Black VCO is connected to the other Black VCO FMIN, while the SUB output signal modulates the Black LPG frequency. The BLACK MODULATOR pulse signal is used as the clock source in this circuit, which is divided via the SPLIT module and sent to the BLACK EG, STEREO DELAY TAP IN and QUAD VCA, to which both BLACK VCOs are connected. Next, the BLACK EG DELAY signal triggers the BLACK LPG, while the CV outputs modulate the BLACK WAVETABLE CVIN and WAVE CV. The second QUAD VCA, to which the WAVETABLE VCO signals are connected, is modulated by the SAW signal from the BLACK MODULATOR. The MULTIMODE VCF frequency is modulated by the BLACK MODULATOR triangle signal. All modulation rates can be controlled with the Joystick connected to the BLACK MODULATOR SYNC and CVIN inputs.
A patch for industrial and noise acts. Central to this circuit is the CV TOOLS module, whose inputs are connected to audio signals from the BLACK VCO and CRUSHED NOISE as well as the Sample & Hold signal. Further, the audio signal from the CV TOOLS SCLA output goes to the MULTIMODE VCF and STEREO DELAY, while the MIN and MIXB output signals modulate the cutoff frequency and resonance level of the MULTIMODE VCF. CV TOOLS signals from MIXA and MAX outputs modulate STEREO DELAY TIME and the BLACK HOLE DSP CRUSH CV. The BLACK HOLE DSP processes the second sound layer coming from the BLACK VCO SUB output via the BLACK LPG. The BLACK LPG is triggered and modulated by PULSE, TRI & SAW signals from the BLACK MODULATOR. With the JOYSTICK, you can control the pitch of the BLACK VCO.
With the Black System III you can also play dance music with a complete set of basic instruments: drums (kick, snare, hi-hat), bass, and lead synths. Bass (sequenced from channel 1 of the Black Sequencer) comes from the first Black VCO, whose SAW and Sub output signals are mixed into the Quad VCA and then sent to the Black LPG and the first input of the Black Output. The black LPG is triggered and modulated from the Gate and Mod outputs of the Sequencer. The Kick (sequenced from CH2 of the Sequencer) plays a second Black VCO, whose Sine and Sub signals are mixed separately in the Quad VCA and sent to the Multimode VCF and the second input of the Black Output. The multimode VCF Cutoff frequency is triggered by the Gate signal of the Sequencer via the Black EG. The resonance of the VCF is modulated by the Sample&Hold signal of the Black Modulator. The snare drum (sequenced from CH3) uses Crushed Noise from the Black Modulator, which is connected via the Quad VCA to the Stereo Delay and the third input of the Output module. The Quad VCA is triggered by the Gate signal of the Sequencer. For Stereo FX - Input3 Pan CV of the Output module is modulated by the Joystick in RND mode. The lead synth (sequenced from CH4) comes from the Black Wavetable VCO through the VCA to the Black Hole DSP and Input 4 of the Output module. The Wave CV of the Wavetable VCO is modulated by the Mod and Quad VCA triggered by Gate signals of the Sequencer. The hi-hat uses a White Noise signal from the Black Modulator, which is triggered via the VCA by the Pulse signal from the Black Modulator and which is connected to the Black Hole DSP together with the Lead Synth. The Black Modulator is synced by the clock output of the Sequencer.
A patch for two voice-sequenced compositions. The First voice (Sequencer CH1, bass part) plays TRI, SAW, PULSE, and SUB signals from the First Black VCO, which are mixed in the Quad VCA and then go through the Black LPG to the Black Hole DSP. The Black LPG is modulated by the MOD signal of Sequencer CH1; Parameter1 of the Black Hole DSP is modulated by CV TOOLS (Black Modulator TRI and S&H as modulation sources). The gate signal from Sequencer CH1 splits and acts as a trigger for the Black LPG, Modulator and EG. The second voice (Sequencer CH2, lead part) plays SINE and SAW signals from the second Black VCO and Crushed Noise, all mixed in the second Quad VCA (triggered by the GATE output of Sequencer CH2) and forwarded to the Multimode VCF and Black Stereo Delay. The Multimode VCF cutoff is modulated by MOD2, the resonance – by the Black EG. The Stereo Delay is synced with the GATE3 signal, but the ADD function is triggered by CV Tools. For timbral changes, play with the levels of both Quad VCA’s.
In this Patch, the Joystick in SINE mode (except CH1 in RND mode) is used as the source of all sounds. The audio signals of Joystick CH1 and CH2 are mixed in the first Quad VCA and then go through the Multimode VCF to the Black Hole DSP. The VCF Cutoff frequency is modulated by the SCL A signal of CV Tools (Black EG & Modulator as modulation sources). The Black Hole DSP Parameter3 is modulated by the SAW signal of the Modulator and the CRUSH Level is modulated by CV Tools. The audio signals of Joystick CH3 X3 and CH4 are mixed in the second Quad VCA and then connected to the Stereo Delay. Joystick signals X3 & X4 in the VCA are modulated by the MIN signal and the Y3 with MIX B signal of CV Tools. The Joystick’s Y4 output is connected to the Black LPG (modulated by the SCL B signal of CV Tools) and then goes to the IN3 of the Output module. The Black EG and Stereo Delay are synced from the Pulse signal of the Modulator as a clock source. By playing the Joystick and recording its movements, you can get a timbre-rich and multi-layered polyphonic sound.
Another variation of a circuit for rhythmically irregular noise textures and sound FX with the Wavetable VCO and Pink Noise as sound sources and a split Sample&Hold as the main modulation source. Both outputs of the Wavetable VCO and Pink Noise are connected to the Quad VCA, where the SUB OUT is modulated by the Black EG and the main output and Pink Noise - by Sample&Hold. The mixed signal goes in serial through the Black LPG and the Multimode VCF to the Black Hole DSP. In parallel, the Multimode VCF High Pass output is connected separately to the Output module IN3 and the Band Pass output – to the Stereo Delay and Output IN1&2. The Black LPG and Multimode VCF are modulated by various signals of both Black VCO’s. The Black LPG is triggered by the G Delay output of the Black EG, which is triggered by Sample&Hold. The Stereo Delay is synced from the PULSE signal of the Black Modulator and its TIME CV is modulated by CV Tools. The Wavetable VCO WAVE CV is modulated by SCL A signal of CV Tools, and CV IN is modulated by the SAW signal of the Black Modulator. The Black Hole DRY/WET and CRUSH levels are also modulated by CV Tools. Sample&Hold together with the Black Modulator Triangle signal and Black EG are used as modulation sources in CV Tools. The Second Black VCO’s pitch is controlled by the TRI signal of the first Black VCO, and the Black Modulator is synced from the SUB output by the first VCO. That way, by changing the pitch of the first Black VCO and the rate of the Black Modulator, it is possible to obtain radical changes in the sound.
A Joystick-playable, experimental circuit for rhythmically irregular noise textures and sound FX. Both the Black VCO and Crushed Noise were used as heavily modulated voices. The first VCO’s Sine, Tri, Saw, and Sub signals are connected to one Black Quad VCA for a wide range of timbre and rhythmic variations, separately modulated by various signals of CV Tools (Black Modulator and EG as modulation sources). Then the first VCO mix from the VCA is sent to the Multimode VCF (modulated by Joystick CH3 in RND mode) and the Black Hole DSP (modulated by CV Tools and Joystick CH1 in RND mode). The gate output of Joystick CH3 is used as a trigger for the Black EG and Modulator. The second VCO’s Sine and Sub signals as well as the Noise Crush are connected to the other VCA, which is modulated by Joystick CH4 in RND mode (X4 for VCO, Y4 for Noise Crush and the Gate signal is connected to SYNC input of VCO2). Then the VCA mixed signal goes through the Black LPG (triggered by Black EG G Delay output and modulated by CV Tools) to the Black Stereo Delay. VCO2’s Pitch is controlled by Joystick CH2 in Sine mode, VCO1’s SAW CV is modulated by the SAW signal of VCO2.
The circuit is based on the Black Hole DSP2 patch 17 "Havoc Chorus", which is fed with signals from channel one of the Joystick in SINE mode and modulated and triggered with channel 3 in RND mode. By turning the Havoc Chorus feedback setting (Parameter1) to self-resonate and modulating the rate (param2) and width (param3) with Joystick manipulations, we obtain metallic sound effects. In addition, DSP2 CRUSH and DRY/WET levels are modulated from the CV TOOLS SCL outputs (Black EG and Black Modulator S&H + TRI as modulation sources, both triggered from the Joystick RND channel Gate output). The DSP2 signal is further connected to the Black Stereo Delay whose TIME and Feedback levels are modulated with signals from the CV Tools Mix A and MIN outputs.
All four Black Sequencer channels play four voices - 3 oscillators + Crushed Noise as a percussive element. Channel 1 for a pad sound from the Wavetable VCO through the VCA and the Black Hole DSP2 to output channel 4. The gate output of Sequencer CH1 is the main trigger for modulation sources - the Black EG and the Black Modulator. The VCA level of the Wavetable VCO signal is modulated by the Black EG. The Sequencer Channel 2 for a lead synth sound (pulse with modulation) from first Black VCO2 through the VCA, Multimode VCF and Black Stereo Delay to output channels 1 and 2. The VCA level of the Black VCO signal is modulated by the CH2 gate signal of the sequencer; the VCF cutoff frequency is modulated by the S&H signal from the Black Modulator and the Resonance level is modulated by the CV TOOLS SCL A signal (Black EG and Black Modulator SAW signals as modulation sources). The Sequencer channel 3 creates a bassline from the second Black VCO2 through the VCA and Black LPG to output channel 3. The VCA mixes SAW and SUB signals from VCO as well as white noise from Black Modulator, whose level is modulated by the Black LPG EG signal. The LPG is triggered and modulated by the CH3 Gate of the sequencer and MOD signals. Channel 4 of the sequencer creates hi-hat percussion from the Crushed Noise signal of the Black Modulator, which is mixed with a solo synth sound from the Black VCO2 in the VCA and further also passes through the Multimode VCF to Stereo delay and output channels 1 and 2.
The Potential of the Black System’s sequencer, sound synthesis, modulation options, and effects processors can also be used for creating an advanced drum machine patch. The kick (sequencer channel 1) comes from synced Black VCO's through the Multimode VCF & VCA to output channel 3. The VCA level and Cutoff frequency of the VCF are modulated by the Black EG, triggered from the CH1 gate output of the sequencer. The second tunable percussive element (triggered by the CH4 gate of the sequencer) comes from the Wavetable VCO through the VCA and then mixed with the Kick sound. For glitchy sound character, the CV IN level of the Wavetable VCO is modulated by the MOD level of Sequencer CH4 and the WAVE CV level is modulated by the Black EG INV OUT signal. The Hi-hat sound comes from the Black Modulator White Noise through the Black LPG to the Stereo Delay and Output channel 3. Sequencer CH2 gate signal through the SPLIT module triggers the LPG, Black Modulator, and TAP Tempo of the Stereo Delay. The TIME CV level of the Delay is modulated by the EG OUT of the LPG. Pink Noise through the VCA (triggered by the gate signal of sequencer Channel 3) and the Black Hole DSP to the Output mixer channel four are used as a snare sound. The DSP parameters are modulated by CV TOOLS (Black Modulator and EG as modulation sources).
A patch for pseudo-orchestral style experimental soundtracks, sound textures, and effects that can be played with the Joystick. The patch sound consists of 2 main layers – a drone sound from the Wavetable VCO through the Black LPG and the Black Hole DSP to Output channel 4 and a hi-tuned percussion sound from the Crushed Noise output of the Black Modulator through the VCA, Multimode VCF, a second VCA and the Stereo Delay to Output channels 1&2. The Pitch of the Wavetable VCO is controlled by the Joystick in SINE mode, the rhythm of the percussion and modulations is controlled by Joystick channel 3 in RND mode, where the Gate output splits and triggers the VCA level of the percussion sounds, the Black EG, the Black Modulator. This is also used together with the Black EG as a modulation source in CV TOOLS. Frequency and Resonance of the Multimode VCF and Decay time of the Black LPG are modulated by MIN, MIX A, and SCL A signals from CV TOOLS. The LPG is triggered by the G DELAY output of the Black EG. The Noise Crush signal is additionally modulated by TRI signal of the Black Modulator in the first VCA. Parameter 2 of the Black Hole DSP is modulated by the X3 Output of the Joystick, but Parameter 3 is modulated by the EG OUT of the Black LPG.
A Multilayered synth sound from only one Wavetable VCO with both of its outputs seperatly processed and modulated. The Main Output of the Wavetable VCO goes through the Multimode VCF and the Black Hole DSP to Output channel 4. The SUB output is connected to the Black LPG, Stereo Delay, and goes to Output channels 1&2. The Sequencer sends pitch information to the Wavetable VCO, a gate signal to the Black EG, and a MOD signal to the CV IN of the Black LPG. The Clock Output of the Sequencer splits and triggers the LPG, Modulator, and TAP Tempo of the Stereo Delay. The WAVE CV of the Wavetable VCO is modulated by the SCL A signal of CV TOOLS (Black EG and Modulator as modulation sources). The Frequency and Resonance of the Multimode VCF, the Decay time of the Black LPG, and Parameter 3 of the Black Hole DSP are modulated by the MIN, MIX A, MIX B, and MAX signals from CV TOOLS.
The circuit consists of 2 strongly modulated voices - a Black Wavetable VCO and a synchronized Black VCO2 chord. Signals of both the output and sub output of the Wavetable VCO voice are mixed in one of the Quad VCA’s and sent to the Multimode VCF, then the Blackhole DSP and Output 4. The Black VCO signals are mixed in the second Quad VCA and sent to the Black LPG, then the Black Stereo Delay and outputs 1 and 2. The pitch of both voices is controlled by channel 1 of the Joystick in default mode: X-axis - Wavetable VCO1; Y-axis - Black VCO. Channel 3 of the Joystick in random mode modulates the Wavetable VCO wave CV and the Multimode VCF cutoff frequency. The Joystick Channel 3 gate output is connected to the SPLIT module and further distributed synchronizes triggers for the Black Modulator, Black LPG and Black Stereo Delay tap tempo. Black CV Tools play an essential role in this connection. S&H and TRI signals from the Black Modulator and the EG output of the Black LPG are connected to channel A as modulation sources. The Black LPG CV IN is modulated by SCL A; Black Hole DSP Parameters 1 & 2 are modulated by MIN and MIX and the CV IN of the Wavetable OSC by the MAX output of CV Tools. Finally, the decay of the Black LPG is modulated by the SAW output of the Black Modulator. Even crazier modulations can be achieved by modulating the Black VCO SAW & Pulse signals, as well as the resonance of the Multimode VCF.
In this experimental circuit for random rhythmic textures, all 3 Black System noise signals are used as sound sources. They are mixed into the Quad VCA and further split: WHITE NOISE & PINK NOISE are sent to the Multimode VCF and then to the Black Hole DSP while CRUSHED NOISE is connected to the Black LPG and then to the Black Stereo Delay. Tempo and rhythmic modulations of the noise signals are mainly controlled by a single Joystick channel in RND mode in the Quad VCA: the X axis controls the gate for WHITE NOISE and the Y axis - for PINK & CRUSHED NOISE . The GATE output of the Joystick splits and triggers the Black Modulator, Black EG and TAP tempo of the Stereo Delay. The second Joystick channel in RND mode (optional) controls the HOLD, ADD & REVERSE functions of the Stereo Delay. CV Tools provide additional modulation of the filters (Cutoff Frequency and Resonance of the Multimode VCF by SCLA & MIXA; CV IN of the LPG by SCLB) and the Black Hole DSP (PARAM2&3 by MIN&MAX). CV Tools modulation sources are the EG output and the Black Modulator S&H signal in channel A; EG INVOUT and TRI signal of the Black Modulator in channel B. At the same time the CV IN of the Black Modulator is modulated by the MIXB signal of CV Tools and the Black LPG is triggered by the GDELAY signal of the Black EG.
A four-voice patch for drones, sound textures and live improvisations with the Joystick. All 4 voices are controlled by the first 2 Joystick channels in SINE Mode: X1 and X2 are Joystick sine signals passed through the Stereo Delay, while Y1 and Y2 signals are connected to the FM INs of the Black VCO oscillators whose SIN signals are each connected to its own filter, mixed with the Quad VCA and finally connected to the Black Hole DSP. Channel 3 of the Joystick is in RND mode and modulates the Black Hole DSP PARAM 2 & 3, while the GATE output is connected to the SPLIT module and triggers the Black Modulator and EG. The CV Tools module allows for additional modulation of the filters (Cutoff Frequency and Resonance of the Multimode VCF by MIX A & MAX; CV IN of the LPG by SCLB) and the Black Hole DSP (PARAM1 by MIXB and CRUSH by SCLA). CV Tools modulation sources are the EG output and the Black Modulator S&H signal in channel A; EG INVOUT and the TRI signal of the Black Modulator in channel B.
