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RK3 and RK4
MUFF WIGGLER Forum Index -> Metasonix Goto page Previous  1, 2, 3  Next [all]
Author RK3 and RK4
ritchiedrums
SlayerBadger! SlayerBadger! SlayerBadger! The Agonizer!
Kujo
I'll be in Murica next month and plan on grabbing one RK4 and one RK2 SlayerBadger! , I hope my SILTA PSU's are up to the task.
Kujo
fukit ordered the RK4 from escape from noise.
Kujo
I'm running my 9U system on 3x Silta (http://frap.tools/portfolio/silta/#1483890593510-9600f0d3-6947) 1 for each row of 84HP .

The RK4 was used on the same row as other modules drawing about 266mA on +12 and about 145mA @ -12vin total so the RK4 had about 950mA spare for itself @ +12 . the power up happened with no issue whatsoever everything got fired up nicely!
metasonix
Review of RK4 for Polish magazine, you tell me what it says.....

Yes Powder
Because I was bored, I ran it through Google Translate.

Quote:
With the Californian modulators of Metasonix there is no more aggressive and unreliable sound. In the end this is the lamp of the top shelf. However, the tone of the sound is not limited to the euro. Before you spend a fat hick on RK4, take note that this mastiff needs a big shack. On a good day RK4 will get 450mA of current, and at system startup, for a few seconds it requires at least double the supply of this demand. This means that you have to book for about 1A of electricity in your housing. But the game is worth the candle. This is because there is an oscillator and cone filter in one. When no signal is connected to the ln socket. RK4 behaves like an oscillator. Tuning knob is responsible for the amount of sound generated, and Resonance changes the shape of the pure sinusoid waveform to more angular waves, rich in harmonic. When we connect the signal to the socket, the module converts to a BP filter. In this case, Tuning controls the filter shedding, and Resonance decides how shaky, kicking and rampant venom will be RK4. It is unbelievable how many shades of distortion and aggression can be squeezed out of such seemingly simple construction. Especially if you use the CV socket for modulation, it freed up the frequency. Here's an important note - if you want to call RK4 as a typical oscillator, you'll have to use a Hz / V (Harvestman English Tear) module to control it. As is the case with the tube modules, the key to success is the the minimal flare movement. Even minor manipulations lead to drastic changes in the sound. And this lamp is proudly proud of all the modules.
metasonix
Quote:
Before you spend a fat hick on RK4, take note that this mastiff needs a big shack.

Thasright. No pussies.
FatRocky
metasonix wrote:
Review of RK4 for Polish magazine, you tell me what it says.....




here´s the video!

https://www.youtube.com/watch?v=Pq_2r_rKY3E
metasonix
And here's the English version:
evs
albiedamned wrote:
metasonix wrote:
It's about 2.5 times the operating current; it varies slightly from tube to tube so we can't make it a "rating". I doubt the Doepfer PSU3 will have a problem running that load.


Actually the PSU3 will have problems. I got a reply from Doepfer, from Dieter Doepfer himself. Here's what he wrote:

Quote:
as the A-100PSU3 is made of a switching supply (followed by linear
regulation) it's not possible to obtain inrush currents beyond the specs of
the power supply. We know this as there are e.g. problems with the new
digital Roland modules which consume high inrush currents during power on.
The A-100PSU3 should be more than sufficient to drive these modules based on
the current specifications. But the PSU3 does not turn on when more than 3
Roland modules are connected. These should take only about 3*450mA = 1350mA.
But they obviously consume more than these currents during power on. On has
to connect one module after the other to the PSU3. Then it does work but
that's not a practibal solution.
I'd recommend to keep the A-100PSU2.


So the PSU3 can't handle inrush draws that push it beyond it's total rating of 2000 mA +12V and 1200 mA -12V. I know you said 2.5x is not an exact thing, but let's just use it for an example. An RK3 and an RK4, at 400 mA +12V each, would combine to require all 2000 mA of +12V for their inrush current draw. You wouldn't be able to connect a single additional module to the PSU3.

Dieter says to keep the PSU2, which is linear. But it's total capacity is only 1200 mA of +12V. So it's a trade-off: higher total capacity with no ability to handle inrush (PSU3), or lower total capacity with ability to handle inrush (PSU2).

I know what the correct answer to the problem is: RKP.


anyone knows which other power can handle inrush draws?

i have a psu3, and a row power 40.. guess the latter can not do it either. or anyone tried it?

edit: just read on the page that you should not use 4ms power for tube modules.. allright, shit.
i have all the power i need until now. the 4ms is in my portable case, so i don´t want to have something big in there.
maybe i need to keep my doepfer diy power...
nearly ghost
metasonix wrote:
The RK4 circuit is identical to the D-2000 circuits. Yes it can be used as a pitched drum voice.

Two RK1s and three RK4s and a controller or sequencer and you have a D-2000. Wazoo.


So do you just hit the audio in with a trigger or gate for percussive sounds like the D machines?
Yes Powder
nearly ghost wrote:
So do you just hit the audio in with a trigger or gate for percussive sounds like the D machines?

Yep, pretty much. Shorter triggers tend to be better, otherwise you'll get a sort of double-hit effect— unless you're going for that.
defenestration
spent some focused and directed time with my new RK4 instead of just smashing it around and going crazy hyper

[bandcamp width=100% height=42 track=41591023 size=small bgcol=ffffff linkcol=0687f5]

patch notes:

mostly exponential Maths envelope with self-feedback to RK4 pitch CV, RK4 out to Optomix, Optomix out to Double Andore in. DA env out to optomix CV, DA set to exponential response
metasonix
RK3 and other processing by Ethan. "All sounds are produced from a WMD/SSF Spectrum, Qu-Bit EON, or A-196 PLL through the RK3, before entering an A-101-2v LPG and Pico DSP. The signal output was ran through a Grace M103 PreAmp/Compressor before recording. No post-production editing was done to this recording."

https://soundcloud.com/delepathy/metasonix-rk3-ringershaper-demo-1
nearly ghost
Yes Powder wrote:
nearly ghost wrote:
So do you just hit the audio in with a trigger or gate for percussive sounds like the D machines?

Yep, pretty much. Shorter triggers tend to be better, otherwise you'll get a sort of double-hit effect— unless you're going for that.


That's great to hear thanks.
lisa
Bought a RK3 a week ago. It is.. lovely! Everything I ever wanted but never really got from my A-196. screaming goo yo
Yes Powder
lisa wrote:
Bought a RK3 a week ago. It is.. lovely! Everything I ever wanted but never really got from my A-196. screaming goo yo

thumbs up Hell yeah! The R53 is a big reason why I got into Euro, and it's indeed an incredibly powerful tool once you learn its intricacies.
I really want to get an RK3 at some point— partially becuause I want to see if it's as different from the R53 as people say, and partially because I could use another Pulser/Ringer circuit in my rack.
gringostar
lisa wrote:
Bought a RK3 a week ago. It is.. lovely! Everything I ever wanted but never really got from my A-196. screaming goo yo


The TM-1/R53/RK3 family of circuits are fucking magical and will say it's the most inspired design Eric has ever done.

I would also highly recommend the RK6, such an amazing and unique filter that has just as many intricacies as the RK3.
snakejaw
I see a lot of praise for the R-53/RK3.

Does anyone have any REALLY good/interesting/magical audio examples of the R-53 or RK3 that they can share? I mean really remarkable. I have an R-53 and, sadly, I've never been able to get anything beyond a few odd squelches at certain settings. I drink the yellow Kool Aid and really like Metasonix. But I feel like the R-53 is not very usable or remarkable.
lisa
snakejaw, that is some bar to clear. Nothing I do is ”REALLY good/interesting/magical”. MY ASS IS BLEEDING But I think that I can play you a recording where the RK3 makes a difference, if that’s of interest?
sloth713
I would definitely be interest hearing what you can do with the RK3 lisa, whether it be "nice" or metasonixy
Yes Powder
snakejaw wrote:
Does anyone have any REALLY good/interesting/magical audio examples of the R-53 or RK3 that they can share? I mean really remarkable. I have an R-53 and, sadly, I've never been able to get anything beyond a few odd squelches at certain settings..

One person's squelch and squonk might be another person's "amazing". I have a ton of examples in various songs sitting on my hard drive right now that I haven't uploaded to my Soundcloud or Bandcamp yet because the songs still don't have lyrics.
In the meantime, there are a few songs on my Soundcloud that use it. Dunno if I'd call them "remarkable" but ¯\_(ツ)_/¯

Yellow Throated Krell uses it as a ring-mod for two random pitches gated by two vactrol LPGs, going into the main input and carrier inputs respectively. The pulser is tuned just to the highest point where any effect happens, giving a sort of (to my ears) struck-glass attack to the resultant output.
Inertia uses it at the end for a bit where I'm running my S2000 into it with the pulser engaged. Probably not the sound you're looking for, but I thought it came out really aggressive and buzzy.
Skyglow uses it to help generate the pseudochords/powerchords for the pad, which was run through an R52 turned heavily towards the bass-only side of the response knob, hence the lack of higher harmonics.
How It Happens uses it once again to generate pseudo-powerchords from a single input frequency. The really nasty powerchord sound that dominates the song is actually just an R55 running into an R53, and then filtered by an R52 and an R57 to gate it all.
Prayer for a Cloudy Day uses it as a percussion mixer. I was actually using all three inputs on the R53 for this one. Kick is going into the Audio In, closed hihat sounds to the Pulser in and Open hihat sounds to the Carrier In. I've gotten a really good snare sound using a variation on this method, but I couldn't get it here because this whole song is one patch and I was running out of modules.

Again, I have more examples on my hard drive at home. I'll try and upload some raw tracks when I get home, if I think of it.
REcDeso12oi
No examples yet, but I got an RK3 a week or two ago and its my new favorite module. I use it all the time, especially love the distortion characteristics of it. I usually use the PLL for added harmonic content pre filter or gate.. but I will say so far even if just for the distortion characteristics its worth the price of admission. But like everyone knows, this is totally subjective. But just wanted to chime in and say I'm finding tons of uses for it and most of them DO blow my mind.
lisa
sloth713 wrote:
I would definitely be interest hearing what you can do with the RK3 lisa, whether it be "nice" or metasonixy

Thanks! Perhaps I should record a patch with the RK3 and then again when bypassing it, for comparison.
Yes Powder
Back with a couple more demos, showing its use as a waveshaper. These are both taken from unfinished songs on my hard drive. The first one is just the track soloed, and the second one also includes another bass part and percussion. No reason why; just felt like doing it that way.

Triangle Wave through VCA into R53
This is a sample from a track of a song that's mostly finished. The patch is very simple: just a triangle wave into a VCA with a slow decay, being fed into the R53 audio input. The pulser is tuned to a point just before the high end of self-oscillation, and I think the Ringmod Carrier Input Level knob is at about 4:30. I would really recommend looking at this through a scope if you can, to get a better idea of what it's doing.

R55>RK6>R53 (plus other tracks)
This example uses the pulser tuned to the low range before self-oscillation, once again using the Ringmod Carrier Input Level knob to tune in the spikiness. Instead of gating the oscillator with a VCA, this time it's being gated by an RK3 set to just a little bit of resonance. Some nice, septic wubby sounds here.


I've always wondered why the manuals make no mention of the fact that the Carrier Input knobs affect the pulser quality even when nothing is plugged into the Carrier In. To me it's a really important feature of controlling the module, and I wonder how many people simply don't know that it does something like that. I've also wondered what exactly it's doing, since so far I haven't been able to replicate it through patching.
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