Waves Behringer X32
Chanelle Kirksey
In playing with Omnisphere, I realized that many of my favorite sounds derived from the PPG 2.3. My Solaris has those original waves in it. For wavetable, I would rather just get the new Waldorf Iridium - it is so well thought out and has a gorgeous mod matrix. These Behringer re-issues are kind of cool, but mostly I have no desire to own the originals even. I appreciate them, but aesthetically, I want to explore the best things made today, not look backwards. The Solaris has let me explore some of the sonic space, but in a modern package, with far more expressive capability. But for the prices Behringer are charging, one can explore something that was perhaps unobtainable at the time, and that is a good thing.
I so wanted a Yamaha SY77 when those were a thing - the sound of it in the store was just so different and attractive. Today, I could easily afford one, but I'd never want to deal with that interface. It would drive me nuts. The Montage/MODX are amazing, far more powerful, and again have a truly excellent mod matrix, and I'd pick them instead.
More about me than the instrument in question, I realize, but I'm glad they are making them for those that want them. It's not like keeping a vintage PPG running is an easy thing, and I'm sure great music will be made with these and the others.
I'm largely unimpressed, for the simple reason that virtually every modern wavetable synth you can name contains all of these sounds and much more. This was the first real hurrah of the form, so of course it had the power of novelty, helped along by the unique wave sequencing. Now, even sophisticated wavetablers like Pigments have the PPG/Prophet-VS waves at the front of the oscillators, table-sweeps and all. If people want to recreate the 70s/80s with hardware B-stacks, that's fine. I'd simply like to hear 20 different candidates explain why they're drawn to the BBG.
Full disclosure: I can't get too arrogant over the nostalgic slice of anyone else's GAS pizza, since I greatly enjoy M-Tron, a D-50 and Korg's Legacy Monopoly & Wavestation. I also shamefullly admit that Logic's host B-3 suits me fine. When I crank it up with a little fuzz on it, the bass bin bounces a bit. What else do I need? Yeah, its posing some to go that way, but I'm man enough to admit that I've had too much life-time tequila to wrestle a real Hammond now.
If Uli is doing this and an OB, I counter by wondering if that Korg DX7-alike in the trade show case will be their next big item. If so, watch them bundle it with a proper editor & a wad of Hotop sounds. Full workstations are waning, but I see growth in more focused hardware synths with software that bridges the gap.
i dont believe this, i do not understand why allen and heat doesnt resolve this. Every console out there work with waves.
Bob thanks for the response but i dont like convert my signals 2 times.
@yurcek you are my last chance!
Bob thanks for the response again, i understand what you explain me, but we need and extra converter and dont using the converters of the desk. I dont carry extra things. Im afraid to tell that the qu 16 doesnt work for me. Im triying to still investigate, because we need so much to run the pluggins. But if dont work i really need to buy other desk from other brand.
If you need this function, you have to make a decision: Qu-16 & Workaround oder another mixer. The Qu-16 is a great mixer and it works very good for my in my home studio and on stage. If i had the choice to buy a new digital mixer today, it probably would be the same decision for Allen & Heath. For me it is a question of trust in Alen&Heath and bad experience with other brands.
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Noncohesive granular materials driven by a vertically vibrated horizontal surface become unstable when the acceleration exceeds g. Then there is internal convective transport of materials balanced by continuous surface avalanches leading to an inclined surface. We describe studies above the onset to flow where new surface wave motions occur. The surface waves travel upward against gravity on the free surface. They occur only above minimum accelerations and dimensionless energies, and only with large vibration amplitude.
This might be it - I do indeed have a grounding wire (I thought all record players did) but cannot connect it to my Behringer model. So you think this could be stopping the soundwaves?!
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Assuming the outputs of the record deck are RCA phone sockets, or DIN socket, have you tried RCA (male) to USB cable. Or RCA (male) to 3.5mm (male) jack cable. Have look on-line there is a plethora of music, and audio outlets.
Introduction In August 2020 I bought a set of Behringer System 55 modules, as my first journey into Moog modular. My plan is to recreate the Klaus Schulze IIIP synthesizer and Dual Sequencer setup that Klaus bought on 22nd December 1975, and used successfully for many years.
Rather than rack up a set of Behringer modules and ride away making music, I thought it would be useful to explain how modules work, how to calibrate them, and how I have set them up and augmented them. I will also check their specifications, to see if they replicate the originals accurately and so I can understand them better.
Setup My 921 has been aligned quite well by Behringer at their factory, but the user manual is sometimes missing from the box, and it can be downloaded here. Only two multi-turn (SCALE, HI-ADJ) of the 9 trimmers are accessible by the customer, There are 7 SMD trimmers on the PCB which can only be accessed by taking the front panel off, and invalidating the guarantee, they are;
I made very slight changes to the SCALE and HI-ADJ multi turn trimmers on the rear of the PCB to get to this result which is excellent. However the HI-TRIM is right at the end of its travel and needed approaching up to max a few time to get this result. The instructions on setting SCALE and HI-TRIM in the user manual are fine, and they use 640Hz as a baseline as this is easy to divide and multiple in your head as the octave scaling is set.
Frequency Range The 921 has two different frequency ranges selected by a front panel toggle switch; Normal and Low. On the Moog the switch manually puts 3 extra capacitors into being active when in Low Range. The Behringer uses a V411 analog switch to do this capacitor switching.
Rectangular Width Accuracy We know this as the more familiar Pulse Width. It is a more disappointing result with my 921 module producing only a 15% to 85% pulse width, when it should be 10% to 90%. Adjusting the SMD trimmer (RECT WIDTH AMT) enabled the pulse width amount to be symmetric, 15 and 85 rather than 18 and 82, but it does not shorten the width at the end points of the potentiometer. However PW modulation voltages will drive below/above 15/85%.
Waveform Levels The 921 has a set of individual waveform outputs, which to the new user seem too low in volume as they are below 2V p-t-p. These individual outs are designed to be summed together to form complex wave shapes, or they can be amplified by a factor of x2 by the CP35 Mixer. On the Behringer 921 the individual outputs measure as:
The Auxiliary Output enables any one of the six waveforms to be selected and then it is amplified by 5x by a simple Op Amp circuit. The sine, triangle and saw waveforms should be 7V p-t-p and symmetrical through zero. Whilst the rectangular waveform should be 0 to +5.5V. Here are the measurements, which are slightly higher than the Moog specification:
The 921 as a LFO The 921 strengths are as a standard oscillator but it is also useful as a LFO, with a lower frequency than the 921B, and a higher output signal making it more suitable to VCF/VCA modulation. However the triangle waveform deteriorates at frequencies below 20Hz, and becomes asymmetrical with an increasingly prominent glitch as the frequency goes lower. This also affects the sine waveform, but not the sawtooth or square waves. It is possible to trim the triangle wave to remove most of the glitch, using the trimmer on the front of the PCB, but then frequencies above 20Hz will have the glitch instead and the sine wave is still asymmetric at low frequencies.
The sine and triangle waveforms are well shaped when played in the usual 5 octave keyboard range, but deteriorate, as I guess the Moog does, at very high or low settings. The Rectangular width is a limitation, which makes thin pulse shapes only possible when connecting a control voltage. The accurate scaling that can be set up, with low thermal drift, makes the 921 attractive as a primary VCO and I would be tempted to use an alternative module for LFO duties such as delayed sine or triangle modulations.
In order to make it easier for our readers to compare our CEA data between subwoofers tested prior to our new Subwoofer Measurement Protocol,we scaled our 1 meter peak CEA data to 2 meter RMS by subtracting 9dBfor each frequency.
Whilethe Funkywaves subwoofer is not inexpensive, it is essentially unique in itsability to go to the lowest levels of frequency at high levels without takingup a lot of real estate. That there weresacrifices in the efficiency in order to passively achieve this goal areundeniable. It must be said here,measurements alone do not adequately explain the unique sound of this sub. Thetonal character is not matched by any of the other shootout entrants. To make a judgment on this sub, it must beseen, felt and heard. It is not comingat a discount price, but it is as close to that holy grail of 20 Hz from ashoe-box as I have seen since the Sunfire. Ifyou liked Bob Carver's sub, you will probably like the Funkywaves as well. They are cut from the same cloth.
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