Here’s a track from the Sucker Punch OST album. I did many of the orchestrations for this and contributed programming for Marius de Vries
I recently got a Cirklon sequencer…..it’s made in sunny Scotland, and is my latest attempt to get away from computer sequencing! This is my first attempt at a track using only the Cirklon for notes. It’s pretty basic but even with these 4 or 5 tracks going it’s taking me a while to get my head round it…. practice practice practice!
It’s a great piece of kit though I think, and although its pretty pricey, to get the same functionality out of more traditional analogue sequencers would cost way more I think.
It’s really easy to set up multiple patterns of different lengths, and you can configure the CV outs in loads of different ways.
Here is a little demo of the Macbeth Eurorack Dual Oscillator. I think it’s a rather wonderful module! I was pretty sceptical about the price, but I tried one out at RL music and was very impressed. It’s a funny thing this modular business…. I mean, the raw sound of this oscillator is great, but to be honest its not THAT different (IMO) from my other two oscillators (Analogue Solutions and Analogue Systems). They are all a little different but all cool in their own ways. The Macbeth does sound a little more ‘vintage’ to me – by which I mean it somehow sits a little further back than the RS95e or Asol oscs, but it’s not like suddenly you have an osc whose raw sound is a thousand times better than what you had before. BUT – the way this whole package is put together just sold it to me. Having the osc sync setup how it is, built in ring mod (which sounds lovely), BIG 10 turn pots, noise gen, cross mod, 6 waveforms, great PWM sound and octave selection just made me feel all moogy inside.
Having all these features really nicely laid out in front of me made me get all these sounds that I hadn’t really got into before. I have that functionality else where in my modular, theres nothing really groundbreaking here, it’s just the fact that it’s all there ready to go without you having to hunt around for it! Now, I know some people really love to hunt around for it and that’s kinda the point, but for me I really like the immediacy of getting around the Macbeth.
I was a little confused as to why there is only a glide control on osc 2, but as some helpful forum contributors have pointed out to me, that design seems to assume that you have a glide control on whatever your main cv source is, and the ‘extra’ glide on osc 2 lets you add more just to that osc if you want. I can certainly see that point of view, it’s just that I don’t have a ‘main’ glide control so I would like glide on osc 1 as well. A minor point though.
Also – I’m really beginning to see the benefit of the Analogue Solutions design of having output attenuators on pretty much everything, meaning that you dont really need extra attenuators. Hence, I’d LOVE it if the Macbeth had a volume for each osc built into the module. However, it’s big enough anyway, and ASol seem alone in this design decision. I’m grasping for things to pick at though…..
I like the fact that Ken Macbeth has put this together at all…. it’s definitely an old school approach, but it’s one that I’m very familiar with and so enjoy a lot. The variety of sounds you can get from this module is huge. I really like the extra wiggle room you get with the slightly larger control layout, and yes it’s a big module, but if you put 2 oscs from Doepfer, together with a ring mod and noise source and slew limiter, then you are not that far off the size of the Macbeth.
Finally, it’s built rather beautifully, and once I had done a lineup with the trimmers on the rear, it tracks really really well too. Oscillator joy!