Joy of Synths #21 Clock & Record littleBits
Joy of Synths #21 Clock & Record littleBits
Learn about clocking lB sequencers in this non-musicians guide to creating sounds for podcasts, videos, and sampling for music using analog synthesizers.
SEQUENCERS
A sequencer plays a sequence of notes. However, these notes are defined voltage that connects to a 1V/O input of an Oscillator. Or its is a MIDI message that is converted to voltage with analog synth modules designed for that.
GATE SIGNALS, OR NOTE ON/OFF
A sequencer also has a gate or trigger voltage. Gate connects to an Envelope Generator, which may just show up as an AD, ADS, ADSR, Envelope or EG section of a semi-modular all-in-one synthesizer.
This gate voltage is then changed over time for feeding into a VCA OR Loudness Contour Gate OR FILTER modulation or really any input that accepts voltage. You could send it to a mixer to attenuate, or lower/dampen, the overall ADSR signal.
littleBits CLOCKING
A trigger signal can be used as a clock to synchronize different sequencers. A step sequencer on littlebits responds to this pulse of voltage. It’s simple to clock the two: use a wire bit to connect the trigger out of one sequencer to the power input of a second sequencer. See picture below.
Sequencer Dials
Sequencers may have dials or controls that are for a voltage range set by the sequencer.
In the case of littlebits, you have 5volts going into the sequencer for 10 notes over 4-5 octaves which are output as 1 v/o as in 1.2v, 2.2v, 3.2v, and 4.2v. In between 1.2 and 2.2v are individual notes as 1.3, 1.4, 1.5, etc.
The sequencer is followed by an Oscillator that has two waveshapes - square and saw- and a tune dial or slider. This specific littleBits osc generates a waveshape that depending on dial position ranges from sub audio, beating to audio rate between 20 hertz and 20,000 hertz, or abbreviated as 20 kHz. The k is short for kilo.
An oscillator can be followed by a littleBits light so you can see its frequency rate. Once the light is full on you should hear a continuous tone.
To hear any of this, you need a speaker bit. And to hear two sequencers you need 2 oscillators with a mixer to combine or isolate 1 osc from the other.
Back to trigger signals, the top trigger signal can be connected to power input of the second sequencer with a wire bit. littleBits can power a lot of littleBit circuits with a single 9volt battery, passing power with sound.
The two sequencers will now step forward in time. If you speed up or slow down the first sequencer then the next sequencer will follow in sync. That’s one way of clocking two synths. Otherwise you could connect a pulse bit to the start and then split that signal to 2 sequencers but their speeds will be different as they each have individual speed controls.
RECORDING littleBits
There are three main littleBits kits to acquire thru eBay, shopgoodwill.com, or JoyofSynths.com: the littleBits Korg Synth Kit, Electronic Music Inventor Kit, and the NASA Space Kit for its voltmeter and microphone bit that has a jack that will take in an external audio signal and allow you to use the synth kit’s filter and delay bits and speaker.
All three kits have speakers. The Electronic Music Inventor Kit (EMIK) has the latest iteration of the synth speaker with a volume slider. The space kit speaker has no volume control.
The EMIK also has newer osc, sequencer and keyboard, all with sliders rather than dials of the Synth Kit components/circuit bits.
I use the EMIK speaker at near top slider to output near max volume to feed a 1/8 inch stereo mini to 1/4 stereo instrument cable. Why stereo when its a mono signal? It works without introducing any static so yeah, it works. (Stereo cables for a mono signal single channel are advised for use in the IMPLEXUS, so if a $1500 instrument recommends that a single channel of left and right use 2 stereo cables then sure, why not apply that to littleBits. To be fair, a short mono interconnect cable might work as well. That’s the case with the priceless Voltage Research Lab.).
On another note, littleBits are analog and powered by a 9v battery or wall plug. As a battery is depleted the sound may change, sometimes for the better. Static may emerge when it’s near dead. All to say, record once you’re happy with the sound. If a quiet room then point your mic at the speaker. But it sounds clearer if you direct record the speaker out jack to a recorder input.
The instrument cable goes into the left 1 jack of the Zoom H4N portable recorder, which is set for mono mix so this single signal is copied, or multiplied or normaled to the right channel. I monitor with headphones connected on the H4N and then set H4N volume using its audio meters.
As a reminder, start w headphone volume at zero and slowly turn them up after the synth loudness is set at -12 to -18 deciBels, dB.
UNLIKE analog recorders which sound okay if peak volume hits or exceeds 0dB on meters, digital recordings fall apart at zero.
At -18 to -12dB you can gain up the signal, or raise the volume, in a computer without introducing noise if the recording is clean. Recording Direct In is the cleanest route if you don’t hear static or interference on your headphones or see -20dB or below movement on the meters when it is “quiet” during recording. I’m not against recording speakers but a speaker may accentuate certain frequencies and boost or lower other frequencies. Which matters to a guitar but in my very personal case I deliberately cut off frequencies using a synth filter and want the full frequency range of what remains after being filtered to be recorded.
SOUND PROOFING DEMYSTIFIED
There is a sonic difference with speakers, but then you need a room or closet that can isolate sound from annoying everyone in surrounding areas. Acoustic treatment means you deaden the sound in the room. This is not intended to keep sound out or in the room. For that you need soundproofing which means insulating between studs, double drywall on either side of walls, soundlock doors, and a decoupled floating floor if possible. And don’t forget the water pipes and a/c vents. Took me forever to understand the difference and why audio folks would wince when asked how to soundproof a bedroom.
STUDIO RECORDING
So yeah, synths are awesome for home recording if you own the instrument. And studios are awesome for gaining access to greater knowledge and rarer instruments if they advertise them for rental in studio. For example, The Record Co. (Site) in Boston, MA, is a non-profit center that has Synths for All in collaboration with the ARP Foundation and is only $65 for a 4 hour session in an audio studio, which is absolutely awesome considering their lowest room is $10/hour for a rehearsal room with potential sound bleed. Upgrade to the audio studio. I’ve promised myself that after I exhaust recording/learning) my synths I will visit and record over 2 8 hour days this Fall or Spring. While you can buy a new Korg Arp 2600M for $1299 off Korg’s Reverb outlet (unaffiliated link) and that may be cheaper than airfare and motel, I’d rather save up and record at The Record Co. for their selection of vintage ARP instruments.
Sites for Learning and Reading
Melrose Center Audio Classes (register Online free with email address and $10 In Person at Orlando Public Library). Audio production and recording is like a black art. It’s full of contradictory opinions and processes, all of which are correct based on the context of what is being recorded. Start with their Fundamentals of Sound class and grow from there. I went through their course track and I still like to take classes to refresh on what I’m forgetting. (For all the possibilities, synths are easiest to record: go direct in from instrument to the interface or recorder at 96kHz/24bit wav.) Check their Facebook for audio tutorial videos. No tutorials on YouTube, though.
Synth History (site/store link). I bought and read the print copy of Synth History #3. It’s full color and filled with interviews with artists from the 1970s to present day about their use of synths in their work. I really liked the Mark Mothersbaugh interview, as well as other artists I was unaware of. Issue #3 of Synth History is still available for $25 + shipping, so order a copy and look through their website.
Synthanatomy (site). Frequently update site about analog and digital synths. I’ve purchased many synths based on their announcements and analysis. While I’m not in the market for new gear I still visit this site to see what’s being developed.
Synthtopia (site). The comments section is a mix of sincere communication and sniping but always entertaining. I reference synths against their announcements, analysis and comments.
END NOTE
This issue is releasing on the 18th instead of 15th due to one major delay: littleBits delay. I was recording littleBits delays, which are quite fantastic and easy to play around with dials for time and feedback. This lead to writing about littleBits. However, be aware that the high end frequency squeals can mess up your ears so perhaps record with ear plugs and apply an EQ in audio software of your choice. Next issue of Joy of Synths releases on July 1, 2024. Keep enjoying Summer 2024!
All Content Copyright 2024 Anthony Torres, All Rights Reserved.