Steady State Fate (SSF) - Entity Metalloid Percussion

€428.00 *
Net price: €359.66

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The module's approach is based on a concept by Jason Lazzara (Dysonant/Co-Founder of the New... more
Product information "Steady State Fate (SSF) - Entity Metalloid Percussion"

SSF Entity Metalloid Percussion - SSF strikes again. This time with a sophisticated module for your metallic, dissonant percussion and synthesizer soundpalette.

The module's approach is based on a concept by Jason Lazzara (Dysonant/Co-Founder of the New York Modular Society). It consists of three analog oscillators, each operating in different frequency ranges, which are offset in certain ratios to each other and can be influenced via three knobs (VARIANT, TUNE and MATERIAL).
VARIANT allows non-linear detuning (two VCOs work in higher frequency ranges, one in a lower one) and can be controlled via the Variant CV input.
A non-linear FM bus is controlled via MATERIAL. Three switches next to the rotary control select between three different combinations or levels of linear and exponential FM. After the signals are tapped by the VCOs, they end up in a VCA group. The knob controls the intensity of the FM (from no modulation at all to full throttle), which changes the metallic sound from tight and dense to a thinner sound structure.
TUNE increases or decreases the overall tuning of the three VCOs and can be CV-controlled via the TUNE input. Even though Metalloid does not offer ultra-precise V/Oct tracking, exciting results can be achieved with sequencers and other CV sources. Patching external envelopes (synchronized or unsynchronized) as well as external audio rate FM promise promising results. Their outputs are ring-modulated and output via two signal paths that generate two different but nevertheless "related" metallic sounds with A/B.

These two instances can each be modified with three marco controls and allow a wide range of metallic sounds, which are influenced by the interaction of the parameters as well as the variety of different settings of the controls and, in addition to metallic sounds, are also able to combine again and again to form harmonic sound textures.
The rich sub- and overtones of the oscillator waveforms are either masked or emphasized by two state variable filters. The filter section consists of an LP/BP/HP switch, an A or B CUTOFF control and a bipolar attenuator that controls the cutoff modulation intensity (A/B FILTER MOD). The modulation source provides the respective channel-internal envelope (A/B), whose decay phase can be controlled via A or B decay. All three filter types are ideal for creating percussive or non-percussive sounds. As the modulation can be bipolar, the current position of the cutoff control should be taken into account when designing the sound. Also keep in mind that the internal envelope affects both the amplitude (volume) and the frequency, so that some settings can lead to a shortening of the attack and/or decay. Cutoff modulation can also be realized via external CV sources using the CV inputs for Cutoff-A or Cutoff-B.

The amplitude and the filter frequency envelope of the sound generation can be controlled by patching into the TRIG inputs; looping a control voltage into the VCA CV inputs of A or B only affects the signal amplitude. Envelope and VCA-CV triggering are possible simultaneously. For one-shot applications, an external envelope can be connected to the VCA-CV inputs. Synchronized and/or syncopated LFOs can be used in conjunction with sequenced trigger signals at the main trigger input for exciting rhythmic variations, and audio rate modulation also provides varied results. For one-shots, however, the modulation source should first be routed through a VCA; the signal level of the two sound sources is set via the A and B levels, but these do not affect the control signals present at the VCA CV inputs.
Using the trigger input activates the internal envelope generators, which both control the amplitude of the sound generation and are the modulation source for the VCFs. The intensity of the VCF envelope modulation can be adjusted via A- or B-FILTER MOD, while A- and B-Decay control the decay time of the envelope in the range from 10ms to over a minute and can also be modulated via the dedicated CV inputs using a control voltage. The A-TRIG input is normalized to the B-TRIG input to enable simultaneous triggering or overlaying of the sound sources. On the output side, A-OUT provides a normalized mix of both sound sources; if the second output (B-OUT) is also used, the two sounds are output separately, but at a slightly higher level.
The trigger section reacts dynamically to the voltage level applied: sources in the 8-10V range lead to a maximum signal peak output level. This decreases when the maximum trigger or gate level falls below 8V and ensures a lower overall volume below 5V. For dynamic triggers/gates, either a sequencer with variable pulse width and per-step amplitude is required, or a trigger/gate signal that is looped into a VCA that is triggered via the same trigger/gate source and controlled via a separate dynamic CV source. The SSF Impulse Dynamics module (TBR 2024), which combines these functions, is suitable for this purpose. The direct-out of a sample & hold stage can also lead to success, but depends on the current level and state of the "sample".

Finally, a word about the unique CHOKE function of the Metalloid Percussion, which is realized via the module's internal envelopes. In contrast to the usual hihat chokes, where one hihat completely "cuts off" the other, the function here is realized via a volume ducking effect. If the decay time of the signal to be choked is sufficiently long (longer than that of the choking signal), you will hear it when the choking signal goes through its decay phase. If the CHOKE control is OFF, no one is choked, while flipping the switch to A or B causes the other signal to be choked: A= B's envelope is used to choke A's volume and vice versa. The choke function is useful when creating sounds that are controlled by the same trigger source (e.g. A-TRIG for both sounds) and when two trigger patterns are to address sound sources A and B separately. The choke intensity is independent of the two A or B level controls; each signal can be choked independently via a sufficiently negative control voltage applied to the A or B VCA CV inputs. Happy choking!

Features:

  • Experimental synthesizer module for generating metallic (noise) sounds
  • Three analog VCOs generate two signal streams (A/B)
  • Intuitive sound manipulation via knobs and switches
  • Extensive CV options with many creative possibilities
  • Unique CHOKE function
  • Based on a concept by Jason Lazzara (Dysonant/Co-Founder of the New York Modular Society)

External videos:


HE: 3
TE: 14
Depth: 23
Power consumption +12V: 72
Power consumption -12V: 125
Related links to "Steady State Fate (SSF) - Entity Metalloid Percussion"
"Steady State Fate (SSF) - Entity Metalloid Percussion"
Entity Metalloid Percussion @Steady State Fate (SSF)
Manual
Here is the information available on the brand...... more
Steady State Fate

Steady State Fate (SSF) is the instrument design outlet of Andrew Morelli. Whereas the WMD/SSF product line features simple and small-format modules, his newly self-released modules are getting a very positive reception.

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