Rob Hordijk Rungler: Difference between revisions
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The purpose of the '''Rob Hordijk Rungler''' module is to create short stepped patterns of variable length and speed. One could categorize the circuit somewhere halfway between a plain S&H and a shiftregister-based pseudorandom generator. It needs two frequency sources to work and basically creates a complex interference pattern that can be fed back into the frequency parameters of the driving oscillators to create an unlimited amount of havoc.<ref name="rh">[http://www.electro-music.com/forum/topic-38081.html Benjolin schematics] by Rob Hordijk, electro-music.com forum, Nov. 2014</ref> |
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Contact Rob directly for details about his modules: rhordijk@xs4all.nl. <br> |
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The rungler is basically a CMOS shift register clocked by one oscillator and receiving its data input from the other oscillator. The output bits of the shiftregister are used as a binary code 'to do something with'. E.g. in the Benjolin the last 3 stages of the shift register for a 3 bit code that is fed into a 3 bit DA converter. This DA eight level output voltage is fed back to the oscillator frequency control inputs. The output of the DA is the 'rungler CV signal'. To describe the rungler waveform in similar terms as like a sine wave or pulse wave I call it a 'stepped havoc wave'.<ref name="rh" /> |
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When the rungler signal is fed back to the frequency parameters of the oscillators it will change the triangle waveforms and pulse widths of the oscillator outputs, making other types of havoc waves, like a 'pulsed havoc wave' and a 'sloped havoc wave'. Note that it is these properties of stepped, sloped and pulsed that are of interest in the waves. (The Dutch composer Jan Boerman formulated an idea in the 1960s about audio signals that are inbetween pitched and unpitched. Havoc waves are probably somewhere in that region, maybe a bit similar to granular synthesis stuff. I haven't really thought deeply about this myself, but Boerman has certainly always been an inspiration to me to try to go into that inbetween territory.)<ref name="rh" /> |
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Rob also has a subforum at the Electro-Music forum site: |
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http://electro-music.com/forum/index.php?f=185 |
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The rungler will try to find a balanced state. In this way it behaves according to principle from Chaos Theory. There seems to be an unlimited amount of possible balanced states and when a balanced state is just slightly disturbed it can be noted that it takes a little time to find the next balanced state, with noticeable bifurcations, etc. Note that a new balanced state is defined by the exact position of the control knobs plus the previous state it was in.<ref name="rh" /> |
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== References == |
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Most of Rob's module designs use SSM quad VCA chips, possibly the Analog Devices SSM2164 (?) |
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{{From Mod Wiggler Wiki|Rob Hordijk Designs}} |
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{{reflist}} |
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== External links == |
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* Rob Hordijk explains the [http://www.youtube.com/watch?v=n_PgJ7BmGR8&list=PLAC347DE38ABA9E8D&index=5 Rungler] at the European Electro Music Event 2012, Mallorca, Spain. |
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* [http://www.electro-music.com/forum/topic-38081.html What the $#%$ is a rungler?] by Rob Hordijk |
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[[Category:Original Rob Hordijk Design]] |
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<b>HRM VCO</b><br> |
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[[Category:5U modules]] |
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The HRM VCO module can morph from waveform to another because it builds up the harmonic content from a sine and cosine waveform. |
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You can morph with CV from sine to triangle. |
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<b>Dual Phaser </b><br> |
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Price: 385 Euro.<br> |
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The internal CV voltage scale is 1V/Oct. Each phaser has a reasonably accurate one volt per octave direct control input that can track the keyboard voltage. Normalization is used, routing the V/Oct input signal of phaser1 into phaser2 when the phaser2 V/Oct input is left unplugged. |
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Total control range is about 18 octaves. The Frq knob goes over the top 9 octaves of this range. Through the V/Oct and Modulation inputs you can go deeper, but you get into the LFO range and audible phasing effects would disappear. |
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It is however possible to use the phasing effect on LFO control signals in the 1Hz to 10Hz range by supplying the V/Oct with e.g. a fixed -5V control signal, which can create quite interesting LFO effects on e.g. drones. All inputs and outputs are DC coupled, so CV signals can pass the module equally well as audio signals. Only the internal resonance is AC coupled, so resonance drops off below roughly 10Hz. |
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Additionally each phaser has a modulation input, also at 1V/Oct when the mode is set to sweep. When the mode is set to spread it behaves like the modulation sensitivity is halved, also when it is in half mode where only half of the poles in each phaser are modulated by this input. These inputs are not normalized, in fact if no plug is connected the modulation level knobs receive a fixed voltage so a manual spread value can be set. |
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Audio input is maximum 12V peak/peak before clipping occurs and there is 6dB attenuation from input to output to enable resonance peaks without clipping. |
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Audio routing is as follows: |
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If a jack is connected to input1, and if input2 is unconnected, then the audio will route into both phasers. In this mode you can use the two phaser outputs as a stereo signal. Connecting a jack to input2 will override this internal input1->input2 connection and separate both phasers. |
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If audio is routed into input1 and if input2 is left unconnected, and if a jack is connected into ónly output2, then the two phasers are automatically set to "inverse parallel" mode. Meaning that if both phasers are set to exactly the same knob settings the phaser outputs would be in exact reverse phase and thus result in almost silence. |
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If audio is routed into input1, and if output1 is connected with a short cable to input2, and if output2 is taken as the overall output, the two phasers are in series and thus result in one 16-pole phaser. |
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To summarize: you can use the phasers fully separated, parallel with two (stereo) outputs on one input signal, parallel with mono output but with one phaser in reversed phase before the mixing of the outputs of the phasers take place on output2, or in series. All this is accomplished by the internal switches in the connectors and only depends on which inputs and outputs have a plug." |
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<b>Active Matrix</b><br> |
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Price: a little under 500 Euro.<br> |
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The Active Matrix module is buffered and works similar to the EMS Synthi. |
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It comes with mono plugs and some have built-in resistors for -6db or -12db signal reduction. |
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Every point is an insert, and with an insert cable, you can patch whatever you like into that point. |
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<b>Dual Envelope Generator</b> |
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Latest revision as of 18:09, 24 April 2021
The purpose of the Rob Hordijk Rungler module is to create short stepped patterns of variable length and speed. One could categorize the circuit somewhere halfway between a plain S&H and a shiftregister-based pseudorandom generator. It needs two frequency sources to work and basically creates a complex interference pattern that can be fed back into the frequency parameters of the driving oscillators to create an unlimited amount of havoc.[1]
The rungler is basically a CMOS shift register clocked by one oscillator and receiving its data input from the other oscillator. The output bits of the shiftregister are used as a binary code 'to do something with'. E.g. in the Benjolin the last 3 stages of the shift register for a 3 bit code that is fed into a 3 bit DA converter. This DA eight level output voltage is fed back to the oscillator frequency control inputs. The output of the DA is the 'rungler CV signal'. To describe the rungler waveform in similar terms as like a sine wave or pulse wave I call it a 'stepped havoc wave'.[1]
When the rungler signal is fed back to the frequency parameters of the oscillators it will change the triangle waveforms and pulse widths of the oscillator outputs, making other types of havoc waves, like a 'pulsed havoc wave' and a 'sloped havoc wave'. Note that it is these properties of stepped, sloped and pulsed that are of interest in the waves. (The Dutch composer Jan Boerman formulated an idea in the 1960s about audio signals that are inbetween pitched and unpitched. Havoc waves are probably somewhere in that region, maybe a bit similar to granular synthesis stuff. I haven't really thought deeply about this myself, but Boerman has certainly always been an inspiration to me to try to go into that inbetween territory.)[1]
The rungler will try to find a balanced state. In this way it behaves according to principle from Chaos Theory. There seems to be an unlimited amount of possible balanced states and when a balanced state is just slightly disturbed it can be noted that it takes a little time to find the next balanced state, with noticeable bifurcations, etc. Note that a new balanced state is defined by the exact position of the control knobs plus the previous state it was in.[1]
References
This page uses Creative Commons Licensed content from Mod Wiggler Wiki:Rob Hordijk Designs (View authors).
- ^ a b c d Benjolin schematics by Rob Hordijk, electro-music.com forum, Nov. 2014
External links
- Rob Hordijk explains the Rungler at the European Electro Music Event 2012, Mallorca, Spain.
- What the $#%$ is a rungler? by Rob Hordijk