Random Sampler | Mutable Instruments – Marbles (random Sampler) *in Depth Eurorack Demo Tutorial*


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Mutable Instruments - Marbles (random Sampler) *in Depth Eurorack Demo Tutorial*


[Music] so hello and welcome to this video on marbles from eatable instruments let’s check out what’s to come in the video [Music] [Applause] [Music] our marbles is a random sampler sampler in the sense of sample and hold CV not to sampler as in an MPC SB $1200 order your samplers although it can do some cool stuff our audio rates both with internal sources and external sources but sample is in sample and hold CV marbles is split into two sides we have a tea section which is the timing bear section this creates a clock on t2 which is always emerged version or at least in the green mode emerged version of t1 and t2 which is a coin toss and you can play around with the probability a little bit like branches from mutable instruments second mod does some random divisions and multiplications on t1 and t3 but t2 will remain that clock signal now that red mod is very much like grids this plays a series of linear drum based patterns following common rhythms you would find on a kick and a snare so patching t2 to say a hi-hat t1 to a bear strim and T free to a snare it’s a quick way of getting beats it’s also a nice way of working with common beat based rhythms for resetting sequences it’s in sync on analog Ella for clocking various other events in a modular system we have a Y output which is always a smooth fluctuating output tied to the writ that the units running out you see faster change a slower change but it’s not stepped it never hangs it never holds just to fluctuate in random voltage we then have an X generator with an X 1/2 and free output x2 is clocked from T 2 x1 quat from T 1 and X 3 o’clock from T 3 unless we plug in an external clock and we can also externally clock the T side we can play around with the spread and probability distribution of these random voltages we can bias these voltages which isn’t as simple as adding an offset voltage it actually biases the decision making in the module so it will take a pattern and just lower that it will actually rebuy us the kind of brain of the module to buy us new lower voltages or higher voltages spread them by us a very playable and interactive the step control will take our outputs from an unwanted through to add in occasional sloughs and glides to these voltages through linear slewed random too wonky more glide in cv beyond twelve o’clock this will actually quantize these outputs to a chromatic scale by default then to a major scale although we can change scales and we will do later in the video it will then start stripping notes out of that scale taking a C major and giving us a C major seven by default if you don’t change the scale going through to C and G root of v and octaves of those notes and fruits octaves the DejaVu section works very much like a music film modular cherry machine we can enable the looping and lock in for either the T side the Exide one or the other or both or neither with these enabled and there’s a view at 12 o’clock these flash to tell us nothing’s going to change we can adjust the length of the loop in pattern from 1 to 16 steps we can start to inject random into the pattern by coming off of 12 o’clock and we can increase the chances of randomly skipping around within the pattern beyond 12 o’clock and it’s great if you want to lock one set of CV values but have different rhythms trigger them with continuously variable patterns from the T section we also have a jittery clock which was of internal and external clocks to add jitter that mimics humanized style functions and swing and shuffle and groove and life within a pattern right through to mark chaotic can a ratcheting up and down patterns that slow down and catch up with each other that are more chaotic in nature we’ve got seven outputs two clock ins 7 cv inputs it’s super playable this is a really comprehensive module for random both gates and CV buff steps are slewed so be sure to check out the index and the video description to go through all the different parts of this video and you can skip around and go straight to what you want let’s get stuck into some patches so here we’re going to look at the tea generator this produce random gets by first generating a jittery master clock which is always output on t2 and this is derived from two streams of random gates which are output on t1 and t3 in this first mod the green mud upon the selection here a coin is tossed at every pulse of t2 to decide whether that pulse is passed to t1 or t3 and the bias controls the fairness of the coin toss so let’s just turn on a higher sound triggered by t2 so you can hear the clock super simple now the bias controls the weighting of this random coin toss now with this all the way to the left and make sure you’re listening stereo hand left you will hear the sound triggered and as I move that bias we can hear is not triggered as frequently now if I move this to the right and unmute my sound panned right another noise sauce now if I lose the clock and put my two noise sources panned left and right on T 1 and T 3 in terms of what’s triggering them you can hear we get the same rhythm split with this coin toss based probability much like branches for mutable instruments which is a great little module now I’ve run noise through VCS using adsr envelopes listen to that sustained period and watch these traces on the Modocs theater they’re not all the same gate length same for the other side a few just triggering drums this would have matter but key point for me to point out now I have some drums they’ll affect super dirty plot sound going through the Baron Samedi from animal factory amplification which is a distortion let’s play out with the whole thing and we’ll move on to the next mod [Music] so in this orange team odd t1 and t3 are generated by respectively multiplying and dividing the t2 clock by a random ratio now the bias knob turning fully clockwise or counterclockwise will reach more extreme ratios of multiplications and divisions so muting everything I have a kick that’s just a divide four of the t2 clock output that’s there just to give us time give us a sense of the rhythm and the temple I have a hi-hat which is the T 2 o’clock and it divided by 8 for the clap so that’s my back in beat gives us some perspective of temple and feel this is the t1 output panned left and the T free output and right now with both of those up this will start to give us different division and multiplication ratios we can aim or multiplication to t1 going over to the left on the bias ma division on the right and then the opposite way the bias over to the right okay I’ll sauce a little cool Skip’s ratchets little bursts and drags against the beats let’s bring in the over sounds [Music] now just subtle settings there’s lots of cool rhythms and interplay jitter of course brings in that jittery clock we can lock this with the daijobu lock in both the random seeded jitter and the rhythm from those divisions and multiplications we could just use one outputs have just some odd logarithms as part of beats and then cv the bias or turn the knob on bias like a drum fill [Music] do the same on the other side now with seven outputs on marbles it’d be silly not to patch some of them back in on themselves let’s use the smooth fluctuate in a random voltage to influence this bias let’s take one of the stepped random voltages and influence the clocks jitter [Music] and of course like most modular things especially with the jitter some attenuation of your CV values so in this third and final T mod the red mud the triggers alternate between t1 and t3 following the same kind of regularity as kick and snare drum patterns t2 is still our clock now there’s those randomly ragging around interesting noisy little high outs in stereo our first explain what they are this is the T – clock trigger implants which is next to marbles and I have the three-step random voltages controlling tomber at morph and harmonics and I’m taking the fluctuating smooth Y output into the pitch of parts and that’s this bended modulated noise and hi-hat liked on they are hearing muting that for a second here’s the kick and snare by us in the middle pretty simple pattern and these are often called linear beasts in terms of teaching drums where your bass drum snare drum and hi-hat don’t play on top of each other so this kick and snare won’t hit together he’s flicking between the t1 and the t3 outputs let’s bring those Heights back in just turn them down a bit now I can also take this white output which have split the smooth fluctuating voltage into bias to get changing a kick and snare patterns let’s lose the house spin the house back let’s lock a loop so that’s now locked if we set DejaVu just off of that twelve position it’s going to let more random information in both on the Exide which is modulated hats and to this bias [Music] and influence the jitter even when that’s locked and also play around with the loop length so that’s the red mud for the t generator so this patch beautiful as it is if I do say so myself purely for our listening pleasure feel like I’m announcing some sort of bubble bath radio time relaxation CD or something this patch is purely there to illustrate this ex section and let’s just listen for a minute before we move on to specific videos for each part of this X section before we move on I should say if you are a patreon supporter there’s an extended version of this and also a patch breakdown going through the mix in the effects and all the sound sources let’s get into over videos looking at this X section so let’s take a more in-depth look at this right-hand side the X section my voice just quickly is plots this is going through some delay and reverb because why not it’s not about the sound from the plots but let’s check out the features of this X section I have the t2 output the main clock triggering my sounds and the voltage from X to [Music] which is triggered in terms of its sampling random voltages is triggered by that t2 clock and this is what you’re hearing first we’ll look at the step control and this starts with in not two volt output what can either go not to five while it’s orange on minus 5 to +5 and sent to its output range will stick not 2 to 4 now under the steps control at 12 o’clock it will generate a typical sample-and-hold style step completely on quantized if we turn this counterclockwise it will start to generate smoother edges and then random linear segments right through to just smooth random curves so I’m going to pull the trigger and check it out again some glide on some of the steps [Music] [Music] – just random curviness starting to turn this to the right however will increasingly quantize this to a scale and then progressively strip the scale of it’s not until just at the root not remains and I’ll put some images on screen by default this is a C major scale so in the mid position this is Infante eyes around one o’clock this is quantizing the potential outputs to a chromatic scale which is just all semitones available about two o’clock [Music] this becomes a C major scale three o’clock this will just give a c e g b and c like a c major seven and for the stranger things funds going to around four o’clock we’ve just got root and fifth c and a G and then the octaves of those turned out fall this will just do optics will stick [Music] with that major star sound for now now getting to the scales a little bit later in the video so first look at the probability distribution width and shape which is this spread control now turning this counter clockwise from 12 the voltages are increasingly concentrated around the center of this range right down to just actually putting out a constant voltage you can hear those voltages aren’t moving very far from that central point and at 12 o┬┤clock these follow a bell curve they’re more likely to occur near the center but they will be able to reach the extremes in terms the potential range of voltages moving this to two o’clock is completely equal probability as to what potential voltage will come out plus this point the extreme values become more likely we’re more likely to get the extreme lows our highs and in this orange mode that’s going to be closer to zero volts closer to 5 volts it almost sounds like string skipping on guitar where you’ve got a low part and a high part and we’re skipping a range of potential values to reach those extremes fully clockwise only the minimum and maximum voltages are possible which turn x1 x2 and x3 into random gears and we’ll look at another patch of this later so just to recap Center voltage all the way to the left that’s going to be 2.5 volts when I’m in the not-too 5 volt range increasingly they’re going to spread around that point until we reach a probability distribution is a bell curve we’re more likely to get center frequencies but we can reach the extremes two o’clock completely equal probability in terms of the range that these voltages may hit pass that more likely to hit the extremes and not be a kind of center frequency and total random gets just lower hi binary logic on or off full control the bias control will skew the distribution towards the low or high voltages and think of this as a probabilistic equivalent of an offset it doesn’t actually shift the voltage up and down like adding an offset but biases the decision-making in the module to the bottom or top of the voltage range so we’re we’re talking about center frequency this bias cannot set that and then that’s the probability you will move from that this wide-open we can still buy us the potential decision-making [Music] the x12 and free are clocked by T one two and three unless we clock this externally we conceivably influence the steps and this quantized in we can get two different scales which I’ll film a separate part of the video far we can see V the spread and we can also see V the bias and we also have a green orange and red mud for this X side of the module like we do the T side for the gears I’m on the using one output here but just to walk through this quickly the green mud means all tunnels will follow the settings on the control panel they’ll follow the same step a setting in the orange mud X to the center output will follow up the control panel setting while X 1 and free will take opposite values such steps is turned clockwise X 1 and X 3 would be smooth well X 2 is quantized to the root nut and it’s octaves and I’ll just show you that quickly so these should now be smooth which we can hear in the green mud [Music] they’re all sharing the same step control in the red mod X 1 follows the control panel setting X 3 reacts in the opposite direction and X 2 will always stay in the middle a stepped unbiased bell curve it’s just the way of getting three different types of voltages from those free x outputs so here let’s take a look at this top DejaVu section you can currently hear some drums this is taking the t2 output which is always the clock dividing it by 2 for this hi-hat divided by 4 for the kick dividing it by 8 for the snare those are important I just kind of set in the Pierce and tempo we didn’t have plots coming out into a delay and reverb again the sound want to important here so far why not get some backs on it I’ll had the sound of it I’m gonna look at locking above the rhythmic side and the CV generation side and influencing these random loops even when they’re locked we can still use the spread to control probability distribution bias to kind of bias that decision-making in the probability of higher log voltages and still quantize step skew slew these voltages so let’s just get something locked at first and foremost because there’s no external clock t3 is clocking changes on x3 this is going into the data so you can see the voltages and that’s my vote plots of information currently just one quantized stepped sample and hold style modulation and I’m triggering the sound with the t3 output that is telling x3 when to change so jump back in let’s lock up off at the rhythmic side and at the cv generation side so that’s now fully locked I’m not gonna change any settings except the bae javo to start with now whenever the module needs to make a random choice for instance deciding on jitter to apply to the next tick of its clock I want to generate a new random voltage for one of the X outlaws queries this DejaVu section and the DejaVu section even recycles previously generated random choices or samples fresh random data from a hardware random sauce ie noise I would imagine from 7 o’clock to 12 o’clock on DejaVu this is the probability goes from 0 down at 7 o’clock lowest setting have been completely random up to the value of Warren a completely locked loop at 12 o’clock so much like a music thing modular Turing machine anywhere in between this will let summer new random information in and completely random to none at all let’s try and get this now quite basically varying by just setting deja vu say 11 o’clock roughly o’clock again now we have a length control great for live performance let’s get a shorter loop four steps and again bring the DejaVu back from 12 to let’s summon new random information in this will happen for both the T and the X sections as their buttons are on [Music] now I can have one non or both of them on these are poor fun so I quite like this rhythm that if i unlock this X section X will just freely move randomly again but my rhythm is now locked and tight lock this again still got the longer loops let’s get a new loop completely now I’m going to leave the X section locked and unlock the T section it’s incredibly musical very gestural and having these quantizer steps meant for some great generative melodies [Music] so now these are locked I can make some changes such as adding jitter even though my rhythms and my CV out lots [Music] just a bit wonky I can influence this so for example the quantizing start to add these linear sloughs control the spread of this random data like a bias the probability of these changes in voltages you can hear musically that same phrase is kind of biasing its way through the potential values that this is compiling to we can still train that probability spread it’s gonna keep that same phrasing back see change the pattern by us kind of offsets the musical pattern [Music] now so far DejaVu has even been completely random all the way to zero which kind of seven o’clock on that clock face in opposition through to one a locked loop at 12 o’clock an at 12 o’clock that is stuck in the loop when they’re stuck in the loop we can see that these buttons will flap [Music] there’s your indication you are completely locked but from 12 o’clock towards 5 o’clock the full position on the knob the probability of randomly jumping within the loop goes from 0 to 1 so check that out so it’s random but with the information that was already in there it’s not letting new random in is random the shifting around the values already locked let’s try this with a different pattern [Music] we could let new random information in go into the left and now jump around this loop by taking DejaVu to the right [Music] we’ve got these seven outputs to work with really cool I should also say we have a CV input for the DejaVu so if this locked it’s quite cool OOP let’s patch the Y output into DejaVu so the smooth fluctuating random of the Y output is influencing this completely locked position letting in new random information and then locking through two of randomly shifting around what’s locked past twelve o’clock here we’re looking at the Y generator and is simply just an output here I haven’t gone into the Modoc theater splitting it out to control the time of a he delay that’s this chip I hear again dragged around I’m also splitting it into the Tom Brown the moth of plucks but the Y generator by default is a smooth full range and that full range is minus 5 to +5 volts random sauce that is clocked at 1/16 of the rate of x2 we can modify those settings by holding in the buttons and just in the rate from a 65 to one with the spread bias and steps while a button is being held Y output is never affected by the DejaVu and the button we will press to do that would be this button up here stated as M in the money which is great by the way you should check out the manual when you finish watching this video this is influenced by the writ so as you would expect because it’s a divisor of the t tu quoque [Applause] but smooth fluctuating random doesn’t step doesn’t hold just endlessly moves around and we’ve got this driven clipped the started reverberant drawn just so you can hear the output and the why output I would say is my favorite thing to actually patch back into itself it’s a great source for self patching as a myself patching that we could do is to take say the x2 output I patched that into the writ control to adjust this Y output [Applause] so in this patch let’s check out creating random gears because that green mod on the T side that does work like musical instruments branches coin-tossing between t1 and t3 while t2 remains the clock the orange mod then works in terms of adding a random divisors and multipliers and create new rhythms on t1 and t3 and the red mod is like grids kind of by immutable instruments in the weights t1 and t3 towards kick and snare drum rhythms we don’t get kind of true random gears but we can very easily do that on the X side which is for CV by turning the spread which is the probability distribution of full we’ll only get the highest or lowest values this will be set by the output range green not to 2 volts orange not to 5 volts and red minus 5 to +5 volts I’m gonna stick Orange so I have a hi-hat which has been triggered by t2 and the rhythm of t2 the clock is shown on data this is simply a kind of metronome for us to work against now x2 is coming out into the data and that’s this blue trace spread up full this will only ever be its highest or its lowest value and notice the length of time it’s on an office changing this isn’t a random trigger it’s a random get with varying gate length so by patching noise into a VCA and using this to trigger an adsr envelope where that sustained period is part of the control let’s check out the random get controlling some noise now because we get bias for this cv section we can influence the probability not actually offsetting the voltages the probability of this being the high or a low voltage the spread will only let it be his highest or its lowest voltage bias all the way down it’s always going to be its lowest voltage which is off by us up it’s always going to be high now when we’re not using an external clock it’s important to remember that T 1 T 2 and T 3 o’clock the respective sample in this sample and hold style output on X 1 X 2 and X 3 I’m using X 1 and X 3 to control 2 over sounds these are just controlling VC is letting the two outputs from plots through X 1 controls the sound panned hard left X 3 controls a sound panned hard right so let’s take a quick listen to those now because I’m in this green mod where we’re coin-tossing and the bias is all the way to the left as you’ve seen earlier in this video this is outputting all of its rhythm from t 1 so x ones firing exit free isn’t let’s turn this up now because these are bias that’s going to work across all of those outputs let’s bring the noise back in sueldo they’re all related to this t2 clock x1 and x3 controlling the stereo plots oscillator output actually influenced by the different rhythms that were getting so if I was to go to the orange mod we’re getting different rhythms triggering these now random gears now go into the green mode and patching over so that t1 is always firing I could just patch that across to the clock input and now all free X outputs share a common clock and they’re going to fire on and off randomly and I can bias these [Music] here I have a split of the Y output which is the yellow trace on data I’m going to put that in the bias and we can see on dear to the kind of correlation between X 2’s output the blue trace and the Y position and whether that’s waiting towards means highest value against that is active its lowest value a get that is off so that’s how we can create free random gifts with a shared clock or bike walking from the T section out of this X CV best section spread up full means we only get the highest or the lowest value set by the output button now I’ve already gone through the step outputs in this video and how that we can take wealth slewed values through to one quantized sampling hold two chromatic quantization to major scale by default and cutting notice how that major scale room v and just octaves let’s just get a loop now can actually change what that scale is and by default we get six different scales now we hold the output select button that controls the range of the output and if that’s blinking slowly we get two major scale when it’s green – scale when it’s orange and a pentatonic scale when it’s red if that’s blinking much faster you get two gamelan hel OGG scale orange blinking much faster rather than green is a rag Bhairav colleges have said this wrong and a fast blinking red LED is a rag tree so well that’s locked let’s check out some of the different mods so hold this for two seconds slow green blink major slow orange minor hold that again it goes back out of the mod itself let’s go slow red and tonic now fast green then gamelan scale lock it just stop pressing things with it goes out the mod and lock that faster orange the rag Bhairav faster red the rag tree gotta major minor and that’s how you shift through the preset scales you can program a scale which I’m not going to do here but quickly walk you through it you connect a CV and get output from a keyboard or MIDI interface to the spread and clock inputs hold the external processing button which is this one which will process an external in as opposed to internal sources you hold that for two seconds the LEDs are both with the scale button blink and indicate the active scale you play a little jump in any scale that you want to program 50 notes or more is the recommended length press this button again when you’re done and the module will actually analyze your little jam and keys and no sir you’ve played to measure how frequently each knot occurs and the least frequent notes will appear to be first eliminated when the steps turned because we can eliminate from the scale remember and the most frequently played notes will be the last ones to remain when the steps are full really clever and intelligent where to work musical information that you give to the module it is as the manual stairs also possible at that third step where I said to play a little jam in the scale you want to program to just play a scale in ascending order instead of a long melody and in this case the modules not going to know any relative importance for each nor and it will just gradually carve out notes from the scale until you reach that higher step setting where octaves remain so here we’re going to look at using marbles at audio rates and in this particular patch some kind of strange not that strange for all of its tons there’s some more unique and strange tones so we’re gonna take the clock speed up to the Redmon the fastest mode and let’s crank this up I’m going through a filter so the output of marble t1 currently is the green trace up top and the output of my filter is the blue trace at the bottom the filters wide open so you’re know nothing exactly what’s coming out there’s going to be a square wave out of this get output [Music] because I’m in the green mud I can coin toss t1 to t2 start losing some of those gates in this audio stream t2 is always just gonna be my clock filter this square wave for your filter well because we can lock this we can get some more irregular patterns in these gears but still get more stable oscillator sounds like that that’s quite cool the rear Tim Cook will track one volt per octave let’s patch that in got a sequence playing straight into the rear have an envelope going to my filter so I’m going to lower the cutoff and bring up the envelope modulation [Music] now bring in that there’s our vous to the left that we seen will let new random information in so quite a bit a jitter and instability [Music] let’s try that why’d you turn the biased will back up a little bit [Music] we can also use the jitter to add instability I’m gonna take the rear control out filter cutoff up full you can hear that jitter jitter there over a lock pattern [Music] got some really cool way of shipping let’s patch a moving step sequence in Sujit sir what proactive back into the ribs that’s really cool I’m gonna drop the filter down again modulate the filter another thing we could do with this is to the Exide it’s a module editor locking that [Applause] spread and bias is a new influence a modulation of jitter given a different tools it’s a really great gnarly pulse wave type tones to be had we’ve still got the always square clock from t2 influenced by jitter though I’m T free which in this coin toss best mod the green mode of operation for the T best side we could use this as a stereo pair or a little accent that we run through different processing separate to t1 but also mix t2 in as well now we could take the X outputs as audio just kill my modulation now because this is random it’s effectively giving us a kind of downsampled noise locking this it’s gonna give us some sort of time we’re noisier but again you could blend this and be quite creative with this output [Applause] let’s take that noise into my mixer as well just mute in the other channel this is x2 you’re currently listening to bring in the over sound from the T side going through the filter I filter modulation back in so some great sounds to be had by mixing these outputs and running this unit an audio Reds so in this part of the video we’re gonna segue in nicely into looking at working with external voltages but the Segway being we’re gonna work audio race first now I’ve heard this at audio rates as a kind of strange oscillator well very standard square wave oscillates with that clock but also adding in jitter and regularity into that pull stream to create new tones which sounded grid here and currently marbles is entirely muted I have a sound going into the spread input there when we turn this on we’ll be sampling external voltages instead of the internal sources so here’s my input sound and that’s coming from plots a rather unique wave that’s the top green waveform and here’s that sound not going through marbles at all just for reference [Music] now I have this at its highest writ and I’ve got a little bit of offset going into that rear as well just to push it a little bit higher here’s that sound going through marbles again the dry sounds and frou marbles now the step control is going to work like a filter to one side and a bitrate reducer to the other filter because it will be slowing these values and so it gets this kind of floppy version you can hear this kind of filtering and as we come to the right-hand side in a lower rate kind of sample and hold CV style mud on the log Ritz we were actually going from on quantized stepped random to chromatically quantized and then a scale majored by default then removing notes from the scale just plain route fifths and octaves and then just octaves so if you imagine this is the bit depth of the potential audio stream we go from quite high range it’s actually seeing that bit rate reduction on the wave farm and here in those overtones sampling rates are clock rate is going to be like her down sampling like sample rate reducer that doesn’t sound exactly like a bitrate reducer and a sample rate reducer but that’s effectively what’s happening because of that Daisy our view section though we can actually sample this wave so if I said there’s a ver look full and I just hit X that’s captured a 16 cycle long version of this I could pull this out so let’s get a sample in there no more input is going to up my clock rate by adding an offset and still play around with this kind of bit-depth [Music] filtering bias doesn’t do a massive amount for audio step has a little bit of control but guinness my new really Farrar do we can cut down the amount of steps in this loop and get some unique terms now I could add a volt per octave to this rating pool and I’ve got this kind of strange sampled waveform because we’re getting filtering [Music] a bit debt reduction let’s have an envelope to that almost like we’re using a filter going to add in some harmonics as we go up filter some out as you go back down [Music] [Applause] [Music] so can i see sample in audio rate waves Susan again kinda strange bit depth and sample rate reduction he’s got a really unique sound to it sampling those wares play around with the loop length of the steps in this DJ vu locked looping pattern influence that with the step control which we can modulate and that volt per octave playing rate control let’s move on to using external voltages at lower res so for this part of the video we’re going to look at using external voltages now have a melody from this is not rocket science Tuesday coming over into the mod X theatre and it’s this green trace up top and then coming out of the data on this red cable into the spread input with external CV enabled I’m clocking marbles from Tuesday so they’re running at the same time and I’m taking the t2 outputs to trigger plots and I’m taking the x2 output back into data as the blue trace and the green cable is then sending that information to plots now let’s pull that and put the choose their sequence over the net going through the data to show us it’s ship straight in and we’ll trigger that straight from Tuesday as well so this is Tuesday of playing plucks the marbles not in play however trigger marbles in time use the clock out of marbles T to try to trigger plots put my melody which is this cable this pinkish one into the data out of data into marbles coming out of marbles into theatre again and then back over into plots play around the clock speed [Music] slow that down Elizabeth because this will divide and multiply slight differences but you can see we’re near enough getting the same signal out of marbles now it’s really cool with values even with this free running we can slew the signal completely to this kind of wobbly drink sound or just occasional little slurs and glides we can quantize it just octaves focus of bias that [Music] what’s even cooler than nice we can use a stage IV to lock the external sequence so now’s nothing coming in play around with the loop line so play with the bias [Music] [Music] nice little bit of feedback patching is to take that smooth white output into the bias and let a shorter looping pattern cycle through this kind of pitch shift so it’s great for getting creative with sampling and locking external Seavey’s playing around with that loop length biasing these voltages quantizing or slew in these voltages grip just make sure you patch in and the little icon tells you what to do but the spread input becomes external cv in and that turns out now with no input present let’s just take – a view back a little bit and get some of a random data into this loop change the range it’s a great fun tool for capturing CV sources and playing with those as well also funks watching this video on marbles the random sampler for mutable instruments be sure to go back through this video and check out any other parts with the index in the video description if you want to skip back through and check out any of those sections again hit like comment subscribe spot me on patreon if you’d like to support more content like this publicly free for everyone and get the bonuses and the exclusive extras that people get on my patreon page Cheers

0.3.0 | Wor Build 0.3.0 Installation Guide

Transcript: [MUSIC] Okay, so in this video? I want to take a look at the new windows on Raspberry Pi build 0.3.0 and this is the latest version. It's just been released today and this version you have to build by yourself. You have to get your own whim, and then you...

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