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PATCH 1 -
Collide oscillator
STEP 1
Sequencer
into VCO
For this patch, I'm using an external note sequencer.
Collide has a full blown FM oscillator built-in that can be used
separately from the rest. So ignoring everything else, we'll start using it.
The point of this patch is to get to know its possibilities and limitations.
About those limitations: an obvious one is that it only outputs sine/
cosine waves. There is no triangle/square/sawtooth output.
PATCH NOTES
Joranalogue
COLLIDE 4
Full video on
YouTube
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Summary of Contents for APE COLLIDE 4
- Page 1 The point of this patch is to get to know its possibilities and limitations. About those limitations: an obvious one is that it only outputs sine/ cosine waves. There is no triangle/square/sawtooth output. PATCH NOTES Joranalogue COLLIDE 4 Full video on YouTube...
- Page 2 3. Increase or decrease symmetry. You’ll hear the pitch go up. You can Joranalogue now tune your oscillator this way, and use fine pitch to correct. COLLIDE 4 The Osc.Exp.FM knob now controls the depth of the modulation. Full video on...
- Page 3 FM signal to go up and down quickly at the start of each note. Keep this shorter than the sound of the notes - you’ll hear a PATCH NOTES crunchy start before the note settles onto its pitch. Joranalogue COLLIDE 4 Full video on YouTube...
- Page 4 If you’re using an ADSR, then the length of the attack is a nice parameter to modulate in this way. Some notes will sound sharper and some softer. PATCH NOTES Joranalogue COLLIDE 4 Full video on YouTube...
- Page 5 • Shakmat Archer’s Rig for hats • Skull & Circuits Metal-O-Tron II for more metalwork • Threetom Mixing Flask as a mixer for everything percussion • Joranalogue Contour 1 for the envelopes PATCH NOTES Joranalogue COLLIDE 4 Full video on YouTube...
- Page 6 Collide’s input section Collide 4 has two signal inputs: IN- and IN+. I used IN+ for all these patches, but IN- would sound the same for regular audio signals. The fun starts when you use both, because the two will be subtracted.
- Page 7 For this patch, we’re sending in a mix of three sources. There’s a sample of bells and a melody played on Plaits’ resonator mode. The third source is the MONITOR output of Collide 4. This output allows you to listen to the result of only the input section, i.e. until after the filter gain.
- Page 8 In LFO mode, it is similar to a sine wave but unpredictable both in frequency and amplitude. That makes it great to add movement to patches. Other modules used in this patch: • Threetom Mixing Flask as the feedback mixer PATCH NOTES Joranalogue COLLIDE 4 Full video on YouTube...
- Page 9 STEP 1 Setting up the ping Collide 4’s ping input activates a separate part of the circuit that generates a nice transient. It sounds percussive when used as-is, but once you start playing with the filter parameters, you’ll find there are many ways to shape the sound.
- Page 10 Modulation & finishing touches This is a very basic patch to set up, but it sounds really good. I’m adding modulation from Orbit 3 again, as well as a reverby delay. PATCH NOTES Joranalogue COLLIDE 4 Full video on YouTube...
- Page 11 You can apply a similar phase shift to the output of the band pass filter. To do this, set the rightmost switch to Δ90°. As a result, you get signals X and Y. Collide 4 has two ring modulators. One PATCH NOTES multiplies I with X, the other Q with Y.
- Page 12 It’s a great sound to start processing, so I send it into IN+. I’m also using it to FM the built-in oscillator. This sounds nice as long as you use the same notes for both Sibilla and Collide’s oscillator. PATCH NOTES Joranalogue COLLIDE 4 Full video on YouTube...
- Page 13 STEP 3 Mid-side It’s interesting to listen to the different outputs of Collide 4 at this stage. Here’s an overview: • MONITOR: Sibilla’s output processed by the band pass filter • I, Q: the built-in oscillator, FMed by Sibilla •...
- Page 14 • Joranalogue Contour 1 for the envelopes (not shown, but with a VCA on I and X’ before the midside) • Joranalogue Cycle 5, unreleased at time of publication, for the treble PATCH NOTES notes, with another VCA and Contour 1 Joranalogue COLLIDE 4 Full video on YouTube...
- Page 15 Lock-in amplifiers Why do lock-in amplifiers have precisely this architecture that we saw with the Collide 4? To answer that, we need to look at the applications they are used in. These are typically situations where you know which kind of signal you want to detect, but the signal is buried in noise.
- Page 16 (e.g. sine and cosine), they weaken each other. PATCH NOTES KLAVIS GRAINITY That’s why most systems are dual-phase lock-in amplifiers, and that’s also what Joranalogue is reproducing with the Collide 4. The oscillator outputs a sine and a cosine. Full video on YouTube...
- Page 17 KLAVIS GRAINITY A phase of a signal can be represented by an angle. This is what the polar conversion of Collide 4 does. The MAG output is the other component and represents the magnitude, or the amplitude, of the Full video on detected signal.
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