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Manhattan Analog – VCA [matttech]

Manhattan Analog VCA Audio Demos



Here’s a couple of little demos of the Manhattan Analog THAT-based VCA. I have endeavoured to demonstrate how it responds to a variety of envelope shapes, along with some outright abuse via audio rate Amplitude Modulation.


DEMO 01 – PEG Envelopes & AM

Patch DetailsĀ 

1. Braids was used as the sound source.
2. The 4MS Pingable Envelope Generator was set up to produce various chaotic, random envelopes.
3. The Doepfer a149-1 was used to modulate the DIVISION of the left envelope, and then the EOR output was sent to the right PEG envelope to ping it – but this envelope was set to half the DIVISION of the left one – this creates an effect whereby one envelope receives its modulation first, juddering away, and then the second one follows a short time afterwards once the EOR pings get through to it.
4. The EOR output of the left envelope was also used to sync the start of Braids’ waveform, via the TRIG input – giving the clicks more consistency.
5. The outputs of the two envelopes were sent into the two CV inputs of the Manhattan VCA, and brought in manually during the recording. The OFFSET on the VCA was also tweaked a little way in, filling out the sound.
6. The PEG’s envelopes were set to Exponential and Logarithmic shapes respectively – as you will be able to hear in the recording, one is much “spikier” than the other.
7. Towards the end I drive the PEG up into audio rates, and some savage AM (Amplitude Modulation) of the VCA occurs.

Reverb added during mixdown. No EQ.


DEMO 02 – PEG Envelopes & AM

Patch Details

1. This quickly became the most chaotic demo so far: Braids was again used as the sound source, but this time it was heavily FM’d by a Piston Honda (can you imagine a more gritty form of FM?). They both crap out at high FM settings, so they are a match made in heaven (or hell, depending on how you look at it..).
2. The TIMBRE and COLOUR of Braids were modulated by the PEG, with the envelopes set up in a similar way to the previous patch – but with even more modulation (of the SKEW, CURVE and DIVISION…).
3. Braids’ main pitch was controlled by an output from the a149-1, which was also providing all of the other modulation sent to the PEG.
4. The Manhattan Analog VCA added the final icing on a fairly disgusting cake, smashing it all to bits with an unhealthy serving of Amplitude Modulation, courtesy of the two PEG envelopes.
5. An a149-2 random gate was used to sporadically toggle the CYCLE of the PEG back and forth from one envelope to the other.
6. To add insult to injury, Braids was put into META mode.

Reverb added during mixdown. No EQ.