I want to buy ALL the Instruo. I have a few of their modules already and every one of them is very well designed and more capable and flexible than I could ever have imagined.
Wild! Im still processing this. So many circuits are starting to make sense. Now you have me imagining having a all pass filter bank of say 16 of these with variable feedback circuits. The potential is vast. Love these videos. Real mind opener. The dual mind of Ben and Jason is like a balanced meal!
happy to provide one part of a balanced meal! :) really appreciate the comment and support. Filter banks but all pass designs. Makes me think of EQ phase shifting and if some sort of feedback network and mixed EQ stage could do similar phase shifting stuff.
When a product designer comes on and explains the choices that they made and the interviewer is a very knowledgeable end-user of those type of products, it's the strongest form of marketing there is. I bought some Joranalogue products after watching Div interview the guy that makes that line. A piece of gear being reviewed is fine. But an interview with some demos... that's golden.
thanks! I didn't know I was waiting for one, but I would be had I known I could make it do this before hand. Some learning on the job as I tried these patches.
@@DivKid I still have my original experimental 'Craig Anderton' phase-shifter board (flying chips and parts over a PVC sheet 🙄 before attempting an etched PC board [and expanded stages])... May just go and pull it out to have a look-see !
Wow lots of good tricks in this one, my favourite is mixing envelopes in the last patch! The all pass filter module is way more versatile than I expected
thanks for the comment, yeah the mixed envelopes is a real favourite. I do that for pitch envelopes for percussion, into VCAs, filters etc. Really nice modular thing to do that's pretty easy.
That's nuts! What a paradigm shift in how to think about controlling timbre! Also, super glad to see that the 'three patches with' format is working for you, lovely job!
Yeah pretty nuts and mind opening to think about. Yeah I think the 3 patches thing is nice for everyone, hopefully people like it as there's going to be more of them alongside the fuller (i.e. just more patch examples) demos too.
That stereo trickery sounds incredible. I could see myself using that on every patch with my main oscillator in tandem with my dual filter. And that badass chonky phaser effect isn't too tricky with basic utilities.
Instruo has always been one of my favorite makers. Really demonstrates an understanding of the circuitry that makes all this happen. Hust wish i could afford a giant instruo rack. Thanks for the vid, div!
Yeah I've heard Sean Costello (the Valhalla DSP guy) and Tom Erbe both speak about all pass filters in delay feedback/diffusion in reverb designs. I'm not sure exactly how all that works (I certainly couldn't code it all) but nice to find some creative uses for all pass filters beyond basic phaser stuff and knowing it's part of reverb DSP.
The dåpf development here has sparked some (extremely nerdy) in depth discussions in house with several of my software collaborators. All-pass filters are core building blocks in DSP! I'm still trying to wrap my head around how it all works in the digital domain! Everything is just a buffer, and an offset delay of samples/sample blocks, but its the difference in delay offsets and frequency dependent phase shift that intrigues me 😅 I started experimenting with the all-pass filter circuits around the same time as developing the sawtooth phase shifter circuity in the cruïnn. Very different as the cruïnn shifter keeps the sawtooth perfect, just shifted off centre. The first time seeing the sawtooth shift in shape but realising it was retaining its spectrum unchanged was a brain melt realisation!!
Hard sync, another great video. I always learn something new watching your demos. Having the explanation of how all pass filters work by Jason was a great segment!
HARD SYNC! Great video! I knew that all pass filters did something with phase, but Jason's explanation was ace! What a cool thing, and so much functionality crammed in 4hp.
my first response to all pass too ... if it all passes what's the point, then I learn of the phase shift but only had basic ideas really then tried this and the first and last patch I think are really something new here. For me at least.
That's really freakin interesting! I knew of all-pass filters in soundsystem crossover alignment, where in conjunction with delay they can help align phase throughout a crossover region. I hadn't clicked to them being building blocks of other filter types, or having so many other uses.
HARD SYNC! Not sure I have a favorite patch. This video was fascinating though. I had no idea what could be achieved with an all-pass filter. Educational and inspiring!
I didn't know it could do all that until I started playing and found it. I was aware of speaker/PA crossover stuff and DSP for delay/reverb networks and some basic phaser stuff (the second patch) but that was all.
very nice! I haven't used a Digitakt, at all. But I did do some preset sound design for Elektron on the Digitone, I enjoyed that and the workflow so the Digitakt has been on my mind.
This is exciting to hear!! The stereo spread that comes off the newer macbooks is insane! And it's all down to phase trickery! I've spent a good bit of time testing patch example recordings on different devices. Phase manipulation is wild!
Thanks for the Video!! I have a Weston Precision Audio SF! that has all pass outs.....Now I get why. I definitely plan on getting aradh from Instruo sometime soon.
there's one specific use I'm missing here, that would definitely be worth to mention I think: the use of an allpass filter before a non-linear distortion. As disortions often work based on the position/amplitude of a wave instead of being linearly related to frequency, changing the shape of the wave using an allpass filter will change the spectral response of a distortion. Because the phase difference of the frequencies cause them to line up differently, the position of the high "peaks" will shift, causing the distortion to do it's work at another position in the waveform. eg. with a saw and a clipping distortion, it would normally do most of it's wave-shaping job at the hard edges of the saw, but as you shift the phases using an allpass filter, the middle part of the saw wave will go up in amplitude and gets in the range of the distortion to work upon. This will in turn drastically alter the way the distortion "bites" into the waveform, generating totally different spectral response. So you could even turn a very simple distortion with limited controls into a morphing distorting beast. If you would then use another allpass filter after this distortion, but with an inverted response (such as, if you would put the two together serially, they would cancel out each other's phase changes and return the waveform in the same shape as if it weren't phase shifted at all->although they are actually áll phase shifted, but in the same amount), it's like you have a sort of "focus" control of where the distortion (which would be put in between them) is doing it's job, instead of only working on the edges of a waveform. EDIT: after typing this last part, I quickly tried it out on the computer and found out I seem to have forgotten how exactly this inverted allpass function was done, so I'm not sure this could actually be done using the instruo module..
Fantastic idea, this was just a "3 patches" series video, where I literally just do 3 patches. So there's lots of ideas to explore this further in the future. However, I hadn't thought of this, really cool idea and thank you for sharing. I'm making note of it. Again thanks for sharing, the community sharing ideas is one of the things I love most about all this stuff.
it is, but that's a very limited way of looking at it (just the second patch in the video) thinking about how people use phasers and what typical phasers do.
Could you do PWM with a square oscillator that doesn't have that built in, by modulating the all-pass and mixing an inverted copy back in with the original square?
oooh that's interesting, hadn't thought of that. But yeah 180/invert square against the square would cancel out, but then introduce a phase shift should then let bits of pulse back through. Though I wonder if it would be a pulse or a different wave shape that was modulating in width somehow. As the shape changes massively (see the saw wave shape change at the start of my video) but that might still sound pulse like.
Very interesting question! Sonically it would be its own thing. The variation of spectrum that results from PWM shifted pulse waves is very particular. The odd harmonic overtone make up of a square would be retained, but with the phase shift of them being affected other than amplitude. Some form of audio rate manipulation of the all-pass filter would waveshape the square wave into something new!
Sounds really interesting. I'm super intrigued to hear how it would sound. I might have to pick one of these up at somepoint. A slightly more silly question. Could you theoretically create a reverb if you had enough of them? My very rudimentary understanding of algorithmic reverb is that they are created with multiple delay lines and all pass filters feeding back into themselves.
@@seleniticdawn theoretically… many reverb algorithms utilise large complex networks of delay lines and ratios of both positive and negative feedback. All pass filters feature in various different ways. I am absolutely no expert, but I hear lots of chat on the topics when I’m upstairs 😉🤐 What’s much more efficiently achievable with dåpf/all-pass filters is complex spatialisation. The phase offset differential between signals can very convincingly create the illusion of space. Think of it like hearing a tone in a small room. The reflection of the sound off the farthest wall will come back and mix with the direct source, but with a phase difference/“delay” The farther away the wall is, the greater the phase displacement. Standard panning is all basic amplitude manipulation, and relies on a phantom image perceived by a listener in optimum position within the stereo field. By “effing” with phase, the results can immediately place sound sources much more ambiguously and creatively. A small amount goes a long way and can instantly add “air” to a voice within mix in ways that amplitude panning just can’t :)
@@instruo thank you for such a thought provoking reply to such an impractical and silly idea. Super interesting stuff that I can think about beyond just this module.
@@DivKid hell yeah 2040 is going to rule I plan on staying an additional day cause it was my first last year and it was way too fun and I didnt want to leave Plus. The cyber implants
"I didn't expect it would be such a great stereo expander for a single VCO" How? Phase differences are literally the mechanism by which our ear to brain pathway locates signals in space! Non-centered sounds reach the two ears across different distances, thereby arriving at different stages of their phase-cycles. Stereo conversion is the most obvious use for phase-shifting. When my grandfather recorded mono records to tapes in the 1970s, he would add a delay of a few milliseconds to the right channel recording: bingo -- primitive stereo!
When have you ever seen an audio rate modulations of a stereo phase shift? More specifically from a VCO, to expand itself? I think this video poses 2 things that are at least very rarely done anywhere with VCO expander and the analogue version of 3 OP DX style FM(PM). It's not a case of not knowing what phase shifts do in all the basic senses (basic stereo, PA line array timing management, delay diffusion in reverb DSP etc), it's having found new things to do with them. Your grandfathers primitive delay trick is something I did with synthesising claps for sample packs in a lot of previous work. The sample delay in Logic (DAW) is great for just adjusting one side slightly.
Earlier prototypes were larger, but I found them to be needlessly so. Much more of a "set-and-forget" module. Going with faders vs knobs also made for a much more performable layout, so I ended up happy with a 4HP form factor.. Works for me! 🙃
@@instruo Fair enough. I have to admit that I also am keen on designing slimmer modules, but sometimes I regret it and notice I don’t “play” the module as I wanted too.
@@PWMaarten I generally start big and reduce as appropriate. dåpf for me hit a sweet spot with the first 4HP prototype. But I do design first and foremost for me! 😬
I get that you've got to keep making money now this is what you do, and I get that this is sort of inevitable for any youtube channel, but clickbait titles for videos that are paid ads/sponsorships leaves a very sour taste in my mouth. I'll be going elsewhere in future.
Good luck finding a more entertaining while still being highly educational video on all pass filters. The rest are dorks in front of a whiteboards, filmed in 720p.
Jason’s designs and knowledge base are invaluable additions to the modular community
absolutely
Quite literally one of the most talented engineers in the game, and he's an absolute gentleman too!
He also designs some of the best-organized, best designed modules on the planet, with a beautiful panel aesthetic. Well worth the cost.
I want to buy ALL the Instruo. I have a few of their modules already and every one of them is very well designed and more capable and flexible than I could ever have imagined.
Wild! Im still processing this. So many circuits are starting to make sense. Now you have me imagining having a all pass filter bank of say 16 of these with variable feedback circuits. The potential is vast. Love these videos. Real mind opener. The dual mind of Ben and Jason is like a balanced meal!
happy to provide one part of a balanced meal! :) really appreciate the comment and support.
Filter banks but all pass designs. Makes me think of EQ phase shifting and if some sort of feedback network and mixed EQ stage could do similar phase shifting stuff.
Jeez think of the insane feedback you could do with that. 🤯
all pass filler before distortion is so powerful. i do it all the time in my DAW, but this may be one of the things that gets me into euro
The KHS Disperser was the first thing that got me to even thing about them. That's a great tool.
When a product designer comes on and explains the choices that they made and the interviewer is a very knowledgeable end-user of those type of products, it's the strongest form of marketing there is. I bought some Joranalogue products after watching Div interview the guy that makes that line. A piece of gear being reviewed is fine. But an interview with some demos... that's golden.
Been waiting for an APF module like this for so damn long. Can’t wait to try this thing. Great demos and explanation !
thanks! I didn't know I was waiting for one, but I would be had I known I could make it do this before hand. Some learning on the job as I tried these patches.
@@DivKid I still have my original experimental 'Craig Anderton' phase-shifter board (flying chips and parts over a PVC sheet 🙄 before attempting an etched PC board [and expanded stages])...
May just go and pull it out to have a look-see !
Wow lots of good tricks in this one, my favourite is mixing envelopes in the last patch! The all pass filter module is way more versatile than I expected
thanks for the comment, yeah the mixed envelopes is a real favourite. I do that for pitch envelopes for percussion, into VCAs, filters etc. Really nice modular thing to do that's pretty easy.
That's nuts! What a paradigm shift in how to think about controlling timbre!
Also, super glad to see that the 'three patches with' format is working for you, lovely job!
Yeah pretty nuts and mind opening to think about. Yeah I think the 3 patches thing is nice for everyone, hopefully people like it as there's going to be more of them alongside the fuller (i.e. just more patch examples) demos too.
That stereo trickery sounds incredible. I could see myself using that on every patch with my main oscillator in tandem with my dual filter. And that badass chonky phaser effect isn't too tricky with basic utilities.
Yeah that stereo VCO expander thing I did works really nice into a stereo filter, or stereo LPG/VCA thing.
HARD SYNC
MIND BLOWN 🤯
Yeah it's a special one, I was the same when I started to wonder what I could make it do and then the results it gave.
Really interesting stuff, Jason's explanations always go way over my head though, such a clever clever lad!!
yeah fascinating, certainly more to explore.
Instruo has always been one of my favorite makers. Really demonstrates an understanding of the circuitry that makes all this happen. Hust wish i could afford a giant instruo rack. Thanks for the vid, div!
I first heard of all-pass filters from a podcast with the Valhalla DSP guy - apparently they‘re a big part of algorithmic reverbs.
Yeah I've heard Sean Costello (the Valhalla DSP guy) and Tom Erbe both speak about all pass filters in delay feedback/diffusion in reverb designs. I'm not sure exactly how all that works (I certainly couldn't code it all) but nice to find some creative uses for all pass filters beyond basic phaser stuff and knowing it's part of reverb DSP.
The dåpf development here has sparked some (extremely nerdy) in depth discussions in house with several of my software collaborators.
All-pass filters are core building blocks in DSP! I'm still trying to wrap my head around how it all works in the digital domain!
Everything is just a buffer, and an offset delay of samples/sample blocks, but its the difference in delay offsets and frequency dependent phase shift that intrigues me 😅
I started experimenting with the all-pass filter circuits around the same time as developing the sawtooth phase shifter circuity in the cruïnn. Very different as the cruïnn shifter keeps the sawtooth perfect, just shifted off centre. The first time seeing the sawtooth shift in shape but realising it was retaining its spectrum unchanged was a brain melt realisation!!
@@instruo Excellent! Thanks for the explanation. Most of it went over my head but I enjoyed it immensely nonethless ❤️
Hard sync, another great video. I always learn something new watching your demos. Having the explanation of how all pass filters work by Jason was a great segment!
Thank you, it's definitely nice to include the people and their ideas and knowledge too. I'll try to do it more often.
HARD SYNC! Great video! I knew that all pass filters did something with phase, but Jason's explanation was ace! What a cool thing, and so much functionality crammed in 4hp.
As JGB said to us in the DivKid Discord ... here's the trailer, Jason is the feature length :D
A nice combo for the release I thought.
That's some pretty damn hard sync you've got there
haha thanks
when I read "all pass filter" I was like: it ain't April yet... but holy shit! That is cool
my first response to all pass too ... if it all passes what's the point, then I learn of the phase shift but only had basic ideas really then tried this and the first and last patch I think are really something new here. For me at least.
I'd love to get a 3 of these going with one CV driving them, throw them into a mixer with the OG signal for a really cool phaser. @@DivKid
You're thinking of the good ol' "no pass filter" there 🤣
@@DivKidI knew the phase-shift-per-stage was the basis of all 'phasers', but,
never imagined looking them as building blocks for other things.
Héhé ! I can see quickly that there will be a Stereo Carn too ! It's quite quick but i saw that ^^
Dapf looks and sounds gorgeous !
thanks and yeah cheeky little cameos.
That's really freakin interesting! I knew of all-pass filters in soundsystem crossover alignment, where in conjunction with delay they can help align phase throughout a crossover region. I hadn't clicked to them being building blocks of other filter types, or having so many other uses.
I can also recommend my recent favourite filter, Doepfer 106-6 xpander filter, where you can also select all pass
Good call, I haven't tried that one. Someone else recommended the A-101-6 too.
Intellijel Polaris also has an all pass mode. Not a lot of them out there.
I never got to try a Polaris, good to know that's on there though.
HARD SYNC! Not sure I have a favorite patch. This video was fascinating though. I had no idea what could be achieved with an all-pass filter. Educational and inspiring!
I didn't know it could do all that until I started playing and found it. I was aware of speaker/PA crossover stuff and DSP for delay/reverb networks and some basic phaser stuff (the second patch) but that was all.
Excellent demo. I'm going to have to get one.
Reminder of how incredible it is that the takts have a notch filter which is audio-rate modulatable
very nice! I haven't used a Digitakt, at all. But I did do some preset sound design for Elektron on the Digitone, I enjoyed that and the workflow so the Digitakt has been on my mind.
First time I have ever heard really good stereo coming out off my phone speakers
oh wow, didn't think about phono speakers that's pretty amazing. Thanks.
Yea I have a iPhone 15 pro max and had to take a double take. Have to get one now.
This is exciting to hear!!
The stereo spread that comes off the newer macbooks is insane! And it's all down to phase trickery!
I've spent a good bit of time testing patch example recordings on different devices.
Phase manipulation is wild!
@@pheotusThis made me take my headphones off to check - that's wild!
That’s pretty amazing! Cool 3 Patch Operation - divkid goes c3po 😂. The technical insight makes it even better
haha thank you C3PO, Moog CP3 mixer, there's something in all that I'm sure.
Thanks for the Video!! I have a Weston Precision Audio SF! that has all pass outs.....Now I get why. I definitely plan on getting aradh from Instruo sometime soon.
Oh nice! I don't know the Weston module, I haven't tried their stuff but I did meet Devon briefly at Knobcon last year and he was great.
in depth ... helps with understanding
Glad to hear it, thanks.
Wow! A new video every 2 days. 😀
next on Thursday, then Tuesday and Thursday next week too. We're cooking on gas (rocket fuel) over here at the minute.
Well that’s different! Not sure which patch I liked best - all intriguing. Will definitely add this to the system. Hard synch!
Hardest of syncs Stu! Yeah totally new to me outside of the more basic phaser FX stuff. Every days a school day :)
It'll keep us young, Ben!@@DivKid
hope so :)
theyre good for warping the shape of square waves in such a way that you can wavefold squarewaves,
ah that's good to know, I hadn't thought of that. This opens up some cool ideas. Thank you!
Great video, thank you! Hard Sync!
Hard sync! :)
This thing sounds nice
So simple, so effective. Could as well be a module from Instruo. 😁
"could be" a module from Instruo?
@@DivKid Yes, this is probably a misguided attempt at a joke along the lines of "The module is so good, it could be from Instruo."
all good :)
@@DivKid Of course, what else? Just the offer of an explanation. :)
there's one specific use I'm missing here, that would definitely be worth to mention I think: the use of an allpass filter before a non-linear distortion.
As disortions often work based on the position/amplitude of a wave instead of being linearly related to frequency, changing the shape of the wave using an allpass filter will change the spectral response of a distortion. Because the phase difference of the frequencies cause them to line up differently, the position of the high "peaks" will shift, causing the distortion to do it's work at another position in the waveform. eg. with a saw and a clipping distortion, it would normally do most of it's wave-shaping job at the hard edges of the saw, but as you shift the phases using an allpass filter, the middle part of the saw wave will go up in amplitude and gets in the range of the distortion to work upon. This will in turn drastically alter the way the distortion "bites" into the waveform, generating totally different spectral response. So you could even turn a very simple distortion with limited controls into a morphing distorting beast.
If you would then use another allpass filter after this distortion, but with an inverted response (such as, if you would put the two together serially, they would cancel out each other's phase changes and return the waveform in the same shape as if it weren't phase shifted at all->although they are actually áll phase shifted, but in the same amount), it's like you have a sort of "focus" control of where the distortion (which would be put in between them) is doing it's job, instead of only working on the edges of a waveform.
EDIT: after typing this last part, I quickly tried it out on the computer and found out I seem to have forgotten how exactly this inverted allpass function was done, so I'm not sure this could actually be done using the instruo module..
Fantastic idea, this was just a "3 patches" series video, where I literally just do 3 patches. So there's lots of ideas to explore this further in the future. However, I hadn't thought of this, really cool idea and thank you for sharing.
I'm making note of it. Again thanks for sharing, the community sharing ideas is one of the things I love most about all this stuff.
@@DivKid no thanks, I'm always happy to share some insights from my musical journeys :)
awesome
thank you
Its a phaser.... a very nice one
it is, but that's a very limited way of looking at it (just the second patch in the video) thinking about how people use phasers and what typical phasers do.
You should try out the allpass filter in the feedback loop of a Karplus Strong patch. It can be used to create inharmonic string sounds.
interesting ... adding to my notes, thanks!
Could you do PWM with a square oscillator that doesn't have that built in, by modulating the all-pass and mixing an inverted copy back in with the original square?
oooh that's interesting, hadn't thought of that. But yeah 180/invert square against the square would cancel out, but then introduce a phase shift should then let bits of pulse back through.
Though I wonder if it would be a pulse or a different wave shape that was modulating in width somehow. As the shape changes massively (see the saw wave shape change at the start of my video) but that might still sound pulse like.
Very interesting question!
Sonically it would be its own thing. The variation of spectrum that results from PWM shifted pulse waves is very particular.
The odd harmonic overtone make up of a square would be retained, but with the phase shift of them being affected other than amplitude.
Some form of audio rate manipulation of the all-pass filter would waveshape the square wave into something new!
Sounds really interesting. I'm super intrigued to hear how it would sound. I might have to pick one of these up at somepoint.
A slightly more silly question. Could you theoretically create a reverb if you had enough of them? My very rudimentary understanding of algorithmic reverb is that they are created with multiple delay lines and all pass filters feeding back into themselves.
@@seleniticdawn theoretically… many reverb algorithms utilise large complex networks of delay lines and ratios of both positive and negative feedback.
All pass filters feature in various different ways. I am absolutely no expert, but I hear lots of chat on the topics when I’m upstairs 😉🤐
What’s much more efficiently achievable with dåpf/all-pass filters is complex spatialisation.
The phase offset differential between signals can very convincingly create the illusion of space.
Think of it like hearing a tone in a small room. The reflection of the sound off the farthest wall will come back and mix with the direct source, but with a phase difference/“delay”
The farther away the wall is, the greater the phase displacement.
Standard panning is all basic amplitude manipulation, and relies on a phantom image perceived by a listener in optimum position within the stereo field.
By “effing” with phase, the results can immediately place sound sources much more ambiguously and creatively.
A small amount goes a long way and can instantly add “air” to a voice within mix in ways that amplitude panning just can’t :)
@@instruo thank you for such a thought provoking reply to such an impractical and silly idea. Super interesting stuff that I can think about beyond just this module.
it's also possible to make reverbs by cascading AP filters
yeah they're an important building block in loads of DSP for it.
Daph punk!
haha
dapf-punk 6:49
haha brilliant
souch a usefull little tool to make everything stereo more easy in a small rack.
Yeah the VCO expander thing I think is really nice, tried it with a few different VCOs and got good results.
Are you going to knobcon 2040? I'm going and rotating with m4tm again (haha I typoed and put... actually I'm going to go back and put what I typoed)
booked my plane, train and automobile tickets for the 2040 through 2040.5 knobcon already
@@DivKid hell yeah 2040 is going to rule
I plan on staying an additional day cause it was my first last year and it was way too fun and I didnt want to leave
Plus. The cyber implants
Interesting sounds…
thanks Manuel
Uh wouldn't an all pass filter just let everything go through??? This module doesn't do anything this is snake oil.
it's about as useful as a phukupass I think
@@deadredeyeswow you have absolutely no sense of humour do you?
Jeremy and I are going into business making uncle phukupass snake oil to make your patches sound better :D
Youre such a B E A S T !!! 💣💥 😂
haha
Can I make an All Pass Filter with modules I already have?
Are all these sequences done with the eloquencer?
Ben, great video, my wallet hates you!
HARD SYNC
"I didn't expect it would be such a great stereo expander for a single VCO"
How? Phase differences are literally the mechanism by which our ear to brain pathway locates signals in space! Non-centered sounds reach the two ears across different distances, thereby arriving at different stages of their phase-cycles.
Stereo conversion is the most obvious use for phase-shifting. When my grandfather recorded mono records to tapes in the 1970s, he would add a delay of a few milliseconds to the right channel recording: bingo -- primitive stereo!
When have you ever seen an audio rate modulations of a stereo phase shift? More specifically from a VCO, to expand itself?
I think this video poses 2 things that are at least very rarely done anywhere with VCO expander and the analogue version of 3 OP DX style FM(PM).
It's not a case of not knowing what phase shifts do in all the basic senses (basic stereo, PA line array timing management, delay diffusion in reverb DSP etc), it's having found new things to do with them.
Your grandfathers primitive delay trick is something I did with synthesising claps for sample packs in a lot of previous work. The sample delay in Logic (DAW) is great for just adjusting one side slightly.
HELLO
ello ello
I'm so confused right now.
It's definitely a concept that takes a bit of wrapping your head around.
Great module but that panel is cramped.. could’ve been a 6 or 8 HP, IMO.
Earlier prototypes were larger, but I found them to be needlessly so.
Much more of a "set-and-forget" module. Going with faders vs knobs also made for a much more performable layout, so I ended up happy with a 4HP form factor..
Works for me! 🙃
@@instruo Fair enough. I have to admit that I also am keen on designing slimmer modules, but sometimes I regret it and notice I don’t “play” the module as I wanted too.
@@PWMaarten I generally start big and reduce as appropriate.
dåpf for me hit a sweet spot with the first 4HP prototype.
But I do design first and foremost for me! 😬
It looks a little crowded, but maybe fine in actual use. And I just happen to have exactly a 4HP space to put this in...
@@instruo as you should!
I get that you've got to keep making money now this is what you do, and I get that this is sort of inevitable for any youtube channel, but clickbait titles for videos that are paid ads/sponsorships leaves a very sour taste in my mouth. I'll be going elsewhere in future.
Nah you'll be back 🤣
Good luck finding a more entertaining while still being highly educational video on all pass filters. The rest are dorks in front of a whiteboards, filmed in 720p.