These demos feature the TLN-712 in some simple patches that were recorded without any added effects. The patches are deliberately kept as simple as possible to demonstrate the creative and destructive potential of the Doomsday Machine.
A single MOTM-300 oscillator played from a keyboard with a bit of portamento from an MOTM-820. Two slide controllers on the keyboard controller are used to modify the rate and depth of animation while playing. The SAW output from the MOTM-300 was recorded along with the SAW output from the TLN-712. Total module count: 3, no filters, no effects.
A single MOTM-300 oscillator played from a keyboard with a bit of portamento from an MOTM-820. Two slide controllers on the keyboard controller are used to modify the rate and depth of animation while playing. The TRI output from the MOTM-300 was recorded along with the TRI output from the TLN-712. Total module count: 3, no filters, no effects.
A single MOTM-300 oscillator played from a keyboard with a bit of portamento from an MOTM-820. Two slide controllers on the keyboard controller are used to modify the rate and depth of animation while playing. The SAW output from the MOTM-300 was recorded along with the STEP and SAW outputs from the TLN-712 panned left and right to create a stereophonic sound spectacular. Total module count: 3, no filters, no effects.
A single MOTM-300 oscillator played from a keyboard with a bit of portamento from an MOTM-820. The internal LFOs are not used to provide animation. Instead, several MOTM-800 envelope generators (EG) are patched to the MOD 1-4 inputs. The EGs are configured to provide animation on either a kepress or key release. Note that there is no animation when a note is held, or when playing legato. The SAW output from the MOTM-300 was recorded along with the STEP and SAW outputs from the TLN-712 panned left and right. Total module count: 7, no filters, no effects.
A single MOTM-300 oscillator played from a keyboard with a bit of portamento from an MOTM-820. Two slide controllers on the keyboard controller are used to modify the rate and depth of animation while playing. The TRI output from the MOTM-300 was recorded along with the PULSE 1-2 and PULSE 3-4 outputs from the TLN-712 panned left and right. Note how the PULSE 3-4 outputs have more animation than the PULSE 1-2 outputs. There is a bit of MP3 garbage towards the end of the PULSE 1-2 example that isn't present in the original audio file. Total module count: 3, no filters, no effects.
A single MOTM-300 oscillator drone is processed by the TLN-712. The four OFFSET controls on the TLN-712 are panned fully left or right. Two slide controllers on a keyboard controller are used to modify the rate and depth of animation. Recorded the PULSE 3-4 outputs from the TLN-712 panned left and right. Note how the extreme settings for the OFFSET controls cause the audio to cut in and out. Total module count: 2, no filters, no effects.
An MOTM-300 oscillator triangle wave is patched to the TLN-712 IN B input. A second MOTM-300 oscillator triangle wave is patched to the TLN-712 AUX input. The first oscillator is set to a drone, the frequency of the second oscillator is manually changed. Recorded the PULSE 3-4 outputs from the TLN-712 panned left and right. Note how the AUX input produces a multiplier or ring modulation type of effect. Total module count: 3, no filters, no effects.
A single MOTM-300 oscillator drone is processed by the TLN-712. The TLN-712 PULSE 2 output is patched to the audio input of a Blacet Time Machine. The audio output from the Time Machine is patched to the TLN-712 AUX input. Various controls on the Time Machine are manually changed. The animation rate is manually changed near the end of the demo. Recorded the PULSE 3-4 outputs from the TLN-712 panned left and right. This is the type of patch I could play with for hours and hours. Total module count: 3, no filters, no effects.
A single MOTM-300 oscillator drone is processed by the TLN-712. The TLN-712 PULSE 2 output is patched to the audio input of an Encore Electronics Frequency Shifter. The audio output from the Frequency Shifter is patched to the TLN-712 AUX input. Various controls on the Frequency Shifter are manually changed. The animation rate and depth is manually changed on the TLN-712. Recorded the PULSE 3-4 outputs from the TLN-712 panned left and right. This demo is quite long so I've broken it up into several chunks. Total module count: 3, no filters, no effects.
This patch goes beyond phat; this classifies as morbidly obese. Two MOTM-300 oscillators played from a keyboard with a bit of portamento from an MOTM-820. Two slide controllers on the keyboard controller are used to modify the rate and depth of animation while playing. The first oscillator's sawtooth wave is patched to the TLN-712 IN A input. The second oscillator's triangle wave (two octaves below the first oscillator) is patched to the TLN-712 IN B input. The TLN-712 SAW output is patched to the TLN-712 AUX input. Recorded the TRI and SAW outputs and the PULSE 3-4 outputs from the TLN-712 panned left and right. Total module count: 4, no filters, no effects.
Two MOTM-300 oscillators are patched to create the classic hard sync patch (PULSE output from oscillator #2 patched to SYNC I/O on oscillator #1) and played from a keyboard with a bit of portamento from an MOTM-820. An MOTM-800 envelope generator creates a sync sweep on oscillator #1 for each new key press. Two slide controllers on the keyboard controller are used to modify the rate and depth of animation while playing. The SAW output from oscillator #1 was recorded along with the SAW output from the TLN-712. Total module count: 5, no filters, no effects.
This demonstrates how the TLN-712 can create animated LFO waveforms. An MOTM-300 oscillator drone is processed by an MOTM-440 filter. A second MOTM-300 oscillator, set to a very low frequency, is processed by the TLN-712. The TRI and SAW outputs from the TLN-712 are patched to the frequency control inputs of the filter. Two slide controllers on the keyboard controller are used to modify the rate and depth of animation. Recorded the output from the MOTM-440 filter. Total module count: 4, no effects.
Sounds like the ice cream man on acid. This demonstrates how the TLN-712 can be used to provide gate signals to fire envelope generators (EGs). An MOTM-300 oscillator (triangle wave), set to a very low frequency, is patched to the TLN-712 IN B input. The TLN-712 PULSE 1-4 outputs are patched to the GATE inputs of four MOTM-800 EGs. Each EG controls the gain of a VCA. Four more MOTM-300 oscillators (set to different pitches) are patched to the VCA audio inputs. As each EG fires, a short "blip" is heard on the output. The demo begins with the four OFFSET controls of the TLN-712 set to the middle (12 o'clock) position. The OFFSET controls are then manually changed to different positions which affects the rhythm produced by the PULSE 1-4 outputs. This rhythm change can also be voltage controlled by using the MOD 1-4 inputs. Thus, it's possible to pre-program different rhythms using a sequencer, although I didn't do that in this example.