Three HeadSpace “Head Div” Questions

[apalazzolo]

After reading the HeadSpace manual, reading up on delay time divisions, and watching some HeadSpace and Volante videos, I’d like to understand how to set the HeadSpace Head Div parameters better.  With the understanding that I’m a novice at best please forgive me if my questions turn out to be boneheaded due to some rookie error.

I think we have maximum simplicity if we enter in tempo mode and set the Time Control to 1.  I think that means Tap Tempo blinks on 1/4 notes and that Time Div works as follows:

1/8 = an 1/8 note

1/4 = a 1/4 note

1/2 = a 1/2 note

and 1 = a whole note.

Super simple, right?

 

If I am correct so far, my first question is: How do I set Time Div to obtain the following dotted time divisions:

dotted 1/8

dotted 1/4

and dotted 1/2?

 

My second question is:  How do I set Time Div to obtain the following triplet time divisions:

1/8 triplet

1/4 triplet

and 1/2 triplet?

 

My third question is: What are these 1/6, 1/3, 2/3 etc Time Divisions all about (are they somehow triplets or something else)?

 

All thoughts/guidance greatly appreciated…

[brock]

Mind if I chime in here?  The division layout is quite unusual, but I love its versatility.  First, some answers, keeping in mind that there are multiple ways to arrive to the same destinations.  BPM manipulations among them.

• dotted 1/8__Delay Time 1/4.  Head Div (x) @ 3/4
• dotted 1/4__Delay Time 1/2.  Head Div (x) @ 3/4
• dotted 1/2__Delay Time Whole.  Head Div (x) @ 3/4

You can’t get larger than a Head Div = 1 (the Delay Time), with a dotted note being 1-1/2 times the note value.  So you can start with a Delay Time twice your intended note value.  Take fractional values of that, using “2X delay” as a baseline.  EX. – 75% of 1/2 = 150% of 1/4.

• 1/8 triplet__Delay Time 1/4.  Head Div (x) @ 1/3 +33%
• 1/4 triplet__Delay Time 1/2.  Head Div (x) @ 1/3 +33%
• 1/2 triplet__Delay Time Whole.  Head Div (x) @ 1/3 +33%

Similarly, doubling up the note value for Delay Time.  EX. – fitting three 1/8 notes, inside the span of two [1/4]. I used the percentages in triplets above for more accuracy.

But they’re also great for thickening, accents, Haas effects, leading & lagging, varying the groove.  All those ‘oddball’ divisions?  Basically two camps: even divisions (straight 4/4s, dotted) and variations on thirds for triplets.  The finer divisions are great for customized head sequences: triplets-within-triplets, or triplets against fours.

Bonus FX:

• Delay Time NONE.
• some Wow & Flutter
• healthy amount of Feedback (< 5.0).
• One or more Head Div set to Min.
• Fine-tune resonance with Fdbk Path.
• Switch between Full & Half Speed.

[h90rus]

Well said by Brock

I think in terms of 1/4 division because that’s what my foot knows how to tap tempo.

Then I take the sub-divisions into account and apply the to the heads

1/4 is1/16 note

2/4 (input as1/2) is 1/8 note

3/4 is dotted 1/8 note

4/4 (input as 1) is quarter note

A dotted note is an additional half value of reference note length (50% more).

You can see the sequence of divisions from 1/16th note to 1/4, with the numerator (top number, 1,2,3,4) incrementing and denominator (bottom number, 4) constant. You can do the same to 1/6’s for a space echo feel: 1/6, 2/6, 3/6, 4/6, 5/6, 6/6.

i use +/- 3-5% to nudge the heads off from perfect to emulate a real world tape deck heads.

[apalazzolo]

A BIG thanks to you gentlemen!!!  This instantly checks out.

I wish I knew this stuff three years ago.

I’ll prolly confuse myself more as I dig into this further but you have both given me exactly what I need right now!!!

[Gunnmeet]

This sort of nomenclature was confusing me: 1/3 + 50%. In my mind, that is mathematically 1/3 + 1/2 = 5/6

I think what Eventide really means: 1/3 + (50% of one-third). Which is 2/6 + 1/6 = 3/6 = 1/2

 

[apalazzolo]

I think the H9/90 manuals would be improved by some basic time division explanation or examples in the HeadSpace algo description.

Not much … just an explanation of how to dial up a triplet, a dotted note, etc. using Time Div so people know how those parameter values (expressed in %) correspond to jargon in common usage.

There might be 1000 H90 user programs on PatchStorage by now, and based on my informal review of almost every one for three years suggests to me that HEADSPACE is under-utilized.

I’m certainly guilty of under-utilizing it because I didn’t understand Time Div.  There is some excellent Strymon Volante preset videos and I’ve begun applying those lessons to HeadSpace now that I can understand how to apply what I’m hearing/seeing to HeadSpace.   In short, now that I can use it, I will use it.

 

[apalazzolo]

h90rus wrote:

….  You can do the same to 1/6’s for a space echo feel: 1/6, 2/6, 3/6, 4/6, 5/6, 6/6. ….

Interesting …

May I ask h90ru or anyone else to unpack this comment a bit?

Is the Roland RE201 Space Echo particularly known for these time divisions (and not 1/8, 1/4, 1/2, …)?

If so, why and is there a paradigmatic recording or two showing that off?

Thanks.

[h90rus]

apalazzolo wrote:

h90rus wrote:

…. You can do the same to 1/6’s for a space echo feel: 1/6, 2/6, 3/6, 4/6, 5/6, 6/6. ….

Interesting … May I ask h90ru or anyone else to unpack this comment a bit? Is the Roland RE201 Space Echo particularly known for these time divisions (and not 1/8, 1/4, 1/2, …)? If so, why and is there a paradigmatic recording or two showing that off? Thanks.

tldr: triplet spacing puts the repeats outside of 4/4 time signature down beats. using eight note spacing keeps them aligned with the down beat<span style=”font-size: inherit;”>. </span>

the Roland space echo operated on triplets which created separation from the down beats of 4/4 music as the repeats land between the drum down beats by using 1/6, 3/6, 4/6 which are the triplet spacing equivalent of 1/16, 3/16 (dotted 1/8), 4/16 (1/4).
<span style=”font-size: inherit;”>
a cool trick with these multiple heads is to also create a rhythmic pattern using combinations of the1/2/3 heads and then turn off head 1, 2 or 3 using hot switches. This is effectively cloning the El Capistan multi head mode.</span>

Best example is set up a preset using a dotted 1/8 and 1/4 and then do the same with a dotted sixth and a triplet and play along to some 4/4 drums. You’ll immediately hear the triplet pattern stepping out while the 1/8 staying in line.

[h90rus]

apalazzolo wrote:

h90rus wrote:

…. You can do the same to 1/6’s for a space echo feel: 1/6, 2/6, 3/6, 4/6, 5/6, 6/6. ….

Interesting … May I ask h90ru or anyone else to unpack this comment a bit? Is the Roland RE201 Space Echo particularly known for these time divisions (and not 1/8, 1/4, 1/2, …)? If so, why and is there a paradigmatic recording or two showing that off? Thanks.

tldr: triplet spacing puts the repeats outside of 4/4 time signature down beats. using eight note spacing keeps them aligned with the down beat<span style=”font-size: inherit;”>. </span>

the Roland space echo operated on triplets which created separation from the down beats of 4/4 music as the repeats land between the drum down beats by using 1/6, 3/6, 4/6 which are the triplet spacing equivalent of 1/16, 3/16 (dotted 1/8), 4/16 (1/4).
<span style=”font-size: inherit;”>
a cool trick with these multiple heads is to also create a rhythmic pattern using combinations of the1/2/3 heads and then turn off head 1, 2 or 3 using hot switches. This is effectively cloning the El Capistan multi head mode.</span>

Best example is set up a preset using a dotted 1/8 and 1/4 and then do the same with a dotted sixth and a triplet and play along to some 4/4 drums. You’ll immediately hear the triplet pattern stepping out while the 1/8 staying in line.

[apalazzolo]

Thanks again @h90rus.  Very helpful.

 

May I ask if someone can either (1) confirm my understanding of the following two points, or (2) correct me?

I believe that:

(1) the Strymon Volante can play the pattern in this video (at 2:40) because it will play repeats for heads that are not on (head #2 in this case); and

(2) HeadSpace cannot play this pattern because no repeats will sound for head 2 even if feedback path 1 & 2 has been selected?

 

I think I must be wrong about point #2 but I don’t know why.

[apalazzolo]

Answering my own question, I’m pleased to discover that a simplified test does prove me wrong about point #2.    I was having trouble hearing it at half speed, but full speed makes it clearer that HeadSpace will also play repeats for heads that are not on.  It works best in mono since the panning doesn’t seem to be captured in the repeats.

Ironically, further listening reveals that there are no repeats on the pattern in the video at 2:40.  Repeat for Heads 1 & 2 are obviously turned on but that is irrelevant since they are set so low you cannot hear any repeats (they may as well be turned off).

I further note that the Volante’s Time Spacing parameter is set to “Triplet” for this pattern.  Through trial and error, I have deduced that that pattern is equivalent to 1/6, 1/3, 2/3, and 1-33% on HeadSpace.  It’s a pretty popular pattern on the Volante, and there are MANY Volante videos.  So knowing the HeadSpace equivalent will facilitate replication of some Volante presets/patterns in HeadSpace.  For completeness, I also note that, for the foregoing video example Delay Time = 1/2 Triplet and BPM = 110.

Based on the following video, my best guess for all of the Volante’s spacing settings normalized to HeadSpace Delay Time = 1 are as follows:

Volante Even = HeadSpace 1/4, 1/2, 3/4, 1

Volante Triplet = HeadSpace 1/6, 1/3, 2/3, 1-33%

Volante Golden Ratio = HeadSpace 1/6+33%, 1/3-33%, 1/2+33%, 1-33%

Volante Silver Ratio = HeadSpace 1/3+33%, 2/3-33%, 3/4+33%, 1

So I hope to use this to copy various Volante settings and adjust to proper speed with Delay Time and BPM.

For better or for worse, HeadSpace gets even more complicated by learning that its Wow&Flutter rate depends on its Delay Time.   So I can’t just leave Delay Time on 1/4 forever and also tailor the Wow&Flutter.  A desire for a slower modulation rate is pushing me toward slightly longer Delay Times (which make the Head Div and BPM math a little more complicated).  On the plus side, this appears to be a pretty powerful way to control Wow&Flutter (along with Half/Full tape speed, and Filter).   I’ve seen a HeadSpace vs. Volante video that suggested to some that the modulation on the Volante is a little better (and I could hear the difference too).  I now suspect that the video-poster (who is pretty skilled/knowledgeable) did not optimize the HeadSpace modulation.

Any thoughts and/or corrections?

[brock]

Well, you have succeeded in pulling me right down this rabbithole with you.  I believe you’re right about being wrong about Point #2 above.  The videos aren’t formatting well here, so it took a bit to hunt down the original link.

Let’s start with … I know nothing about the Volante.  But Feedback in Head Space does collapse to mono, so that makes some kinds of diagnostics more challenging.  And yes, it is cool that Wow & Flutter follows Delay time.  Perfect for a tape emulation running at various speeds.

And I was just plain wrong above, adding the +33% to 1/3 for “accuracy”.  A third is 1/3 is a triplet.  Three quarter notes fitting into the space of two (1/2), for example.  Head Space itself proves this out, in its conversions.

120 BPM, Delay time 1/2.  Flip off the Tempo Sync toggle.  1000 mS.  Flip tempo back to Tempo Sync, and change Delay time to 1/4 Triplet.  Tempo Sync off = 333 mS.  One third of 1000.

I have those ratios worked out in some Program or three.  I’ll follow up with the exact numbers (some rounding error is required).  I like to calculate Golden as D / 1.618 and Silver as D / 2.414 recursively.  Downward fits the Delay time = Head Div 1 scheme better.

Same BPM-mS-BPM conversion process.  Calc the next number with the ratio.  Find a Head Space fractional increment that’s within range.  Guesstimate at the percentages until you get close to that Golden / Silver number.

[apalazzolo]

Brock, man.  Thanks so much for all that.   I KNEW I could victimize you! ;o)  I’m going to study your posts this week/month.

brock wrote:

… I know nothing about the Volante. …

IMHO there are three things to know:  Like all Strymon pedals of the last 10 years or so:

1.  It sounds great.   It’s a little broader than HeadSpace because it specifically covers rotating drums as well as tapes, but in Tape Mode it (not surprisingly) sound quite similar to HeadSpace.

2.  It is laid out very intuitively with many controls (again, not surprisingly) that parallel those in HeadSpace.  It took me some time, but you’d get “it” instantly.   One control that is different is the “Head Spacing” control that morphs between even, triplet, golden ratio, and silver ratio repeat patterns.  That’s pretty convenient.

3.  YouTube is flooded with informative demo videos.  This has really facilitated my understanding of HeadSpace.

[brock]

Right or wrong, my take on silver & gold (which always reminds me of Burl Ives singing on an ancient Xmas special, for some reason).  I’ll spare you the arithmetic on how I arrived at these specific values:

Golden Ratio, longest to shortest:

• Head Div (a) – 1
• Head Div (b) – 2/3 (-8%)
• Head Div (c) – 1/3 (+15%)
• Head Div (d) – 1/4 (-6%)

Silver Ratio, longest to shortest:

• Head Div (a) – 1
• Head Div (b) – 1/2 (-5%)
• Head Div (c) – 1/4 (-31%)
• Head Div (d) – 1/8 (-43%)

Enlisting the Head Div at 1 preserves the ratios across any base Delay time.  Now I want to know where the Head Div fractions of 3/8 & 5/8 are hiding.  Potentially under percentages.

[brock]

apalazzolo wrote:

… One control that is different is the “Head Spacing” control that morphs between even, triplet, golden ratio, and silver ratio repeat patterns.  That’s pretty convenient…

Well sir, I’d say it’s laid out differently in Head Space, as a per-Head design rather than a global control (assuming I understand the Volante implementation correctly).

Head Space was never set up to easily facilitate those ratios.  You need to get there using any delay (or two) and a calculator.  Head Space with its four delays is a perfect candidate.  UltraTap can get in the ballpark (or even Stutter Spread), but only close enough for government work.

As for morphing among the even & triplet variations, though … the percentages are the ticket.  Head Div (x) mapped to a HotKnob or two can increment and decrement 10% at a click.

[apalazzolo]

brock wrote:

apalazzolo wrote:

… One control that is different is the “Head Spacing” control that morphs between even, triplet, golden ratio, and silver ratio repeat patterns. That’s pretty convenient…

Well sir, I’d say it’s laid out differently in Head Space, as a per-Head design rather than a global control (assuming I understand the Volante implementation correctly). Head Space was never set up to easily facilitate those ratios. You need to get there using any delay (or two) and a calculator. Head Space with its four delays is a perfect candidate. UltraTap can get in the ballpark (or even Stutter Spread), but only close enough for government work. As for morphing among the even & triplet variations, though … the percentages are the ticket. Head Div (x) mapped to a HotKnob or two can increment and decrement 10% at a click.

Agreed on all accounts.  However, I’m impressed by the Head Spacing knob for two reasons.  First, it does the math for the user.  Second, there are a lot of Volante videos demoing presets with that knob and I’d like to try some of those presets in HeadSpace.

Naturally, your Golden Ratio data lined up with the second Volante video I posted above.  I clearly had many mistakes.

For whatever reason, however, Strymon clearly has a very different Silver Ratio formula than you. Strymon’s is very sparse toward the beginning of the pattern and dense toward the end.  If you are interested enough to check it out, you’ll find it at 20:23 in the second Volante Video I posted. I’ve tried (again) to ape that pattern by ear as shown below.  I think it is closer than my prior effort (but without having their exact formula it’s tough to nail it).

Volante Even = HeadSpace               1/4                   1/2                   3/4                   1

Volante Triplet = HeadSpace              1/6                   1/3                  2/3                   1

Volante Golden Ratio = HeadSpace  1/4 (-6%)         1/3 (+15%)      1/2 (-33%)       1

Volante Silver Ratio = HeadSpace    1/3 (+10%)      2/3 (-20%)       3/4 (+16%)      1

 

I put these values into a “Volante Translator” preset/program with these patterns in NoHS, HS1, HS2, HS3. That’s approximates the convenience of Strymon’s “Head Spacing” control. I can now select the appropriate HS, Feedback Path, and Head Levels to match many of the Volante rhythmic patterns on YouTube.  For those patterns that require interpolation, I’ve mapped three Quick Knobs to Head Div for Heads 1, 2, and 3.

I’m learning a lot and making some good progress thanks to you and h90rus.  I appreciate your guidance.

 

 

[brock]

apalazzolo wrote:

… For whatever reason, however, Strymon clearly has a very different Silver Ratio formula than you. Strymon’s is very sparse toward the beginning of the pattern and dense toward the end…

I might’ve screwed that up, or used an approach that differs from Strymon.  I thought (D / 2.414) was an absolute given in the Silver ratio.   Mine seems to travel from dense to sparse, so I’ll check out that timestamp when I can truly analyze how the two sets of delays diverge.

[apalazzolo]

Cool.

[brock]

That was a perfect example of the delay spacings at that timestamp.  Not sure where Jorb was, in terms of BPM or overall delay.  I went with 120 BPM – Whole Note, so 2000 mS.  Shouldn’t matter to the ratio; just trying to match the video timing.

Silver ratio (Jorb – “which I don’t really know what that is”).  Apparently, it’s classified.  I found “delays biased toward the downbeat” and financial advice on the gold-silver proportions in my portfolio.

Sorry, T. I didn’t try out your Silver numbers.  I wanted to go into this fresh, and the ‘math problem’ was still bothering me.  I played a hunch and went with some ‘inverted silver’ alchemy, in hopes of figuring out Strymon’s process.  There has to be some kind of formula behind it.

Sooo … here’s my 2nd take on this, modified for sparse to dense.  Is it technically ‘silver’?  I have my doubts, but it’s closer to Strymon Silver (N.I.C. morphing positions).  See what you think.  There was mention of biasing toward Head 4, so I did the same here:

• Head 1 Div  1/2 +17%
• Head 2 Div  3/4 +10%
• Head 3 Div  7/8 +6%
• Head 4 Div  1

[apalazzolo]

Thanks so much Brock.   I’ve been working on this independently and have some thoughts.  I want to revisit some things tomorrow with fresh ears in the hope that my thoughts will be more reliable then.

[brock]

I got stuck down this rabbithole myself.  Parallel paths (no pun intended), with some divergence.

I see from your ‘Volante Translator’ layout that you’re using the H90, which makes perfect sense.  I happened to be using the H9 Gen 2 here, finding it really fast for testing these ‘one-off’ scenarios.  But instead of straight emulations, I ended up on a more Head Space-centric approach.  Playing into one of its strengths: tape mangling / time warping.

Ives Sings Silver & Gold

Fairly normal multi-head tape delay, for the most part.  EXP1 crossing mid-throw (or full-Toe oscillation) is where the glitch-iness kicks in temporarily.  Easily recovered with pedal moves to other fixed positions.  Not your focus, of course.  Just where this exploratory mission landed on my end.

[h90rus]

Wanted to chime in that I really appreciate this discussion and exploration.

I plugged in the “volante” settings and compared to my self described el capistan and space echo presets. I skipped the 4th head, setting feedback on head 3 only

I applied the “Volante” settings the way I prefer, keeping heads 3 and 4, only which is a dotted eighth and quarter pairing, with feedback on 4, only. In gold and silver modes this moves the dotted eighth note into different places. For triplets, however, I prefer heads 1,2,3 enabled and 4 disabled as it lands on the quarter note, moving feedback to head 3, only, keeps repeats on triplet spacing

I like to keep the first head enabled on my “space echo” mode to splash the reverb that follows it, almost like a reverb pre delay before the 1/3 and 2/3 repeats, making them a little less hard cutting against 4/4 timing, which I don’t find necessary on 1/4 timed feedback path.

[apalazzolo]

@h90rus VERY interesting.  If I ever finish up this current program I’d love to drill down into those details!

@brock FYI your notes appear to have survived importation into my H90.  I was surprised to see Pmix at 100% b/c you’re usually around 50% (and this has been my general rule for the last year or so too).  I note that in case it was an importation error.  I’m using the H90 to add just a *touch* of reverb, almost imperceptibly.  So yeah, this stuff makes a great preset on its own.

Listening again (and again) I wonder if one of your Golden Ratio numbers is a bit off.  My ear tells me 2/3-8% should be about 2/3-33% and that also seems to match the video at about 20:10.  I could be wrong at least because working/listening hard gives me audio-psychosis.

@h90rus and @brock:

Speaking of audio-psychosis, I went so far as to put some paper on my screen and to mark the Silver Ratio four repeats.  Then I measured off 1/3, 1/2, 2/3, 3/4, and 5/6 of the total distance.  IMHO the video repeats are 1. more than 1/3 (definitely less than 1/2), 2. less than 2/3, 3. less than 5/6, and 4.1 (by definition).  To my ear, Silver Ratio trial and error aping yields about:

1/3+10% … 2/3-20% … 5/6-40% …1  (though I have a nagging feeling it’s still not quite right).

I put all this into an evolving program now called NOODLE TIME (aka HeadSpace w/Training Wheels).   Please see attached.  The concept is that for almost any user-specified combination of Heads and Feedback Path, at least one Hotswitch (usually more) will present a satisfying rhythmic pattern with which one can noodle away.  Don’t think, just repeatedly dial and explore.

The program just uses the 6 Quick Knobs, the Big Knob, and 3 Aux switches for things like selecting heads and feedback paths, feedback, and panning.  Those are the training wheels and (for all of their limitations) my hope is they make it hard to get a bad sound.  Not only am I copying as much of the Volante user interface as I can, but if you think about it, Brock used a similar approach in his excellent QUADROVOX Quad-Double-Delay-Game program.

Although I had to forego % change capability in this program, check out this cool trick used in several Volante factory presets:  Regardless of heads/feedback paths, start with the equal head-spacing setting (Hotswitch off) and just add 25-35% to Head Div for all of heads 1, 2 and 3.  It’s so simple and it’s “off”, but IMHO in a really cool way.

It’s a pleasure brainstorming with you gentlemen.

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[brock]

h90rus wrote:

…For triplets, however, I prefer heads 1,2,3 enabled and 4 disabled as it lands on the quarter note, moving feedback to head 3, only, keeps repeats on triplet spacing…

I had some similar conclusions, @h90rus, coming from a Strymon-less background.  It led to an interesting (not totally unexpected) approach.  Two completely different reconfigurations of Delay Time / Head 1-2-3 Div that maintain the same triplet delay pattern & trailing feedback.

• Fdbk Path  1 & 2 & 3
• Head 4 Lvl  0.0 (‘phantom’ head at Head 4 Div  1)
• Delay Time  1/2
• Head 1 Div  1/3
• Head 2 Div  2/3
• Head 3 Div  1

 

• Fdbk Path  1 & 2 & 3 (or All – optional)
• Head 4 Lvl  0.0 (or optional 10.0 at Head 4 Div  1)
• Delay Time  WHOLE Triplet
• Head 1 Div  1/4
• Head 2 Div  1/2
• Head 3 Div  3/4

HotSwitching On & Off between the two head layouts keeps the cycling intact.  But it injects a little tape ‘blip’ at the transition point, as it’s settling in to the new Delay Time & Head divisions.  All while holding on to the same triplet feel.

[brock]

I must’ve missed your reply while I was typing mine without refreshing.  I’ll check out your H90 template Program, and also check back on my own posted numbers.  I’ve been flying through these replies in spare bits of time, so not a long, thought-out approach.

apalazzolo wrote:

… I was surprised to see Pmix at 100% b/c you’re usually around 50% (and this has been my general rule for the last year or so too).  I note that in case it was an importation error …

I see that, after importing into the H90 (thanks for that feature, Eventide!!).  Not my S.O.P. for sure.  But it’s a function of creating the Preset in the H9 Generation 2, where there is no Program Mix adjustment (logically enough).  I try to stick to largely the same layout for every H90 Program, but that gets adapted out of necessity for the H9 Gen 2.

[brock]

Quick followup on my ‘glitch by threes’ reply above.

Proof-of-concept H9 Gen 2 preset.  1/3’s, 1/4’s & 1/6ths alternates.

Found Identical Triplets

[apalazzolo]

h90rus wrote:

… For triplets, however, I prefer heads 1,2,3 enabled and 4 disabled as it lands on the quarter note, moving feedback to head 3, only, keeps repeats on triplet spacing. …

This makes a HUGE difference.  Great tip! Thanks!

[apalazzolo]

brock wrote:

Quick followup on my ‘glitch by threes’ reply above. Proof-of-concept H9 Gen 2 preset. 1/3’s, 1/4’s & 1/6ths alternates. Found Identical Triplets

That’s wild!

[brock]

Question for the brain trust, as you two are much more familiar with Volante & the demo videos.

Am I being too picky about ‘morphing’ through the incremental settings on the Spacing control?  With a tape emulation, that implies (to me) that the shifting heads induce a ‘bending’ effect.

‘Crossfading’ seems to be the more accurate term for Spacing behavior.  Compare to actively moving a Head Div control.  That’s something I haven’t heard (in very limited demo listens).

Regardless, I’m exploring some promising options on the latter.  ‘Morphing’ is easy (being pedantic).

[apalazzolo]

I may have caused some linguistic confusion here.

When I discussed the Volante Head-Spacing control I said something like you can continuously morph between the four discrete idealized patterns.

However, I did not mean that it is used to change spacing in real time.  I have never seen that on any video so I don’t even know how the Volante would respond if one did that.

What I meant to convey is that the Volante does not have just four discrete Head-Spacing states.  Rather one can select any state between the four discrete idealized positions.  Many of the Volante demo videos adjust that control between the discrete positions but in all cases I have seen the Head-Spacing is static once selected.  Thus, this capability is quite like the Head Div percentages in HeadSpace.   I called this capability morphing and perhaps that misled you.  Sorry!!!!

In my last substantial post I said this, “check out this cool trick used in several Volante factory presets: Regardless of heads/feedback paths, start with the equal head-spacing setting (Hotswitch off) and just add 25-35% to Head Div for all of heads 1, 2 and 3. It’s so simple and it’s “off”, but IMHO in a really cool way.”    By that, I meant for you to try adding about 30% to the 1/6, 1/8, and dotted 1/8 heads.   That is just one example of how that control is being used.

Capito?

P.S.  I totally want to hear it if you invent real time morphing!

 

[brock]

Yes, thanks for the clarifications.  I’m not specifically looking to recreate the Spacing control, but I did want to know what it is, and what it is not.

As for the percentage offsets, yes-yes-yes(-yes).  I’d been toying with a similar idea.  Ganging together Head Div controls on a HotKnob, confined to limited ranges of %, + and -.  Along the lines of my ‘groove’ comment earlier, for lagging or leading the beat.

Settling down to a couple of options for real-time manipulation.  I’m working out the latest idea now, which seems better than the initial ones that I tried.

[h90rus]

I do tweak heads a few percent +/- to simulate real world imperfections of tape heads. I mapped this to a hot knob along with wow/flutter, and filter to degrade my tape along with the heads and darken the repeats as I creep the hot knob upwards

I haven’t played much with speed, but there is an opportunity to flick it between half and full speed to generate octaves on the repeats as well.

[apalazzolo]

h90rus wrote:

I do tweak heads a few percent +/- to simulate real world imperfections of tape heads. I mapped this to a hot knob along with wow/flutter, and filter to degrade my tape along with the heads and darken the repeats as I creep the hot knob upwards

I love this!

Is there any chance you can attach this kind of HeadSpace program here so I can see how you configure that hotknob?

 

[brock]

I abandoned the Spillover concept for cross-fading.  It partially works, but requires two H90 Programs or H9 Gen 2 Presets, and modifying your input technique.  It would also need a Global Spillover adjustment by the end user (assuming the default remains at 10 seconds).  Not enough ROI for this particular purpose.

Division Crossing Routes (H90 Program)

Advantages:

• EXP1 and/or the (P) HotKnob blends the mixture between (A) & (B) program presets.
• Each Delay Time can differ [adjust with (A) & (B) HotKnobs], without ‘warping the tape’.
• Easier to fine-tune each Head Div under each Hotswitch variation, for both presets.
• Default Parallel routing fulfills the main function, but Series creates its own thicker sauce.

Caveats:

• Works by occupying both slots in an H90 Program (bye, bye – splash of reverb).
• Still a very tiny ‘tape glitch’ at HotSwitch transitions (a function of Head Div movements).
• Not ‘printed’ onto feedback trails, though.  Not as extreme as Delay Time shifts or Speed toggles.
• I used my original numbers for the silver-plated & fool’s gold alternates, because they were handy.
• EXP2 (which no one else uses) saved around mid-throw.  Mapped to all Feedback / Wow & Flutter.

[apalazzolo]

… Division Crossing Routes …

MAN, I’m trying to make HeadSpace sound like the Volante and you’re making it sound like two!  I love it!

Even with just blending and not cross-fading there is some beautiful rhythmic patterns in there.  Between 8 heads and the feedback you can pick a few notes and get pitches sounding back at you from all directions … or sustain notes and listen to it get richly reverby (that’s like that HALO thing on steroids).  Sometimes there’s satisfying and identifiable pattern to the blended repeats.  Other times, you can hear cycling as the two patterns dance with each other.  Sometimes they clash.  Sometimes they complement.

I see you working the Head Div patterns we’ve discussed and I was going to say that this is an order of magnitude more complex.   Then I shifted one delay time a bit, then some more, then both, etc. and it became clear that this is more like 2-3 orders of magnitude more complex.  Its soooo Brock!

 

 

[brock]

Glad you liked that one, T.  How I imagined the ‘in-between’ settings on Spacing would sound.  If you don’t mind more background, here’s a pile that might add to the “brain trust” thing you’ve initiated here:

• Probably too much Feedback for a Program default.  And maybe Mod, although that goes along nicely with the longer trails.  More for demonstration purposes, to highlight the crossing patterns.

 

• Plus, I was running out of commonly ‘accessible’ controls.  Lots of destinations to cover in one Head Space, let alone two.  So, EXP2 it was.  Feel free to remap those 4 controls.

 

• The (P) blending … I could kick myself for not thinking of this earlier.  Something I’ve used all the time to blend between two Parallel modulation types.  The only ‘downside’ is filling up both Preset slots to accomplish it.

 

• My original thought was to apply the blending concept to (+/-) range limits of the percentages, for all Heads.  That naturally evolved into the longer offsets.  But maybe you can adapt the idea to those tiny increments.

 

• The H90 depth makes it easy to cover any combination of external control that an end user has (pedals, Aux switches, MIDI).  But the least common denominator is always on-board controls.  So … (P) Knob blend OR EXP1 as the main objective.

 

• The breakthrough for me was having two distinct Delay Times to blend between, without warping the tape.  To my mind, those had to be mapped to the (A) & (B) HotKnobs.  The cross-mixing really stands out using one long and one shorter base Delay.

 

• Of course, you can still ‘warp’ the delays by actively turning (A) & (B).  Win-win (I mapped them to common CCs).  But once you’ve settled on a pair of delay times, any combination will give you a different kind of blending effect.

[brock]

(Hard to believe) I forgot to mention a “3D” setting I really like.  Maybe re-stating the obvious, but the Delay Times range between vintage rack reverb-like to long tape delays.  So … with something like this …

(A) HotKnob < 25

(B) HotKnob > 75

… not only pans left & right, but gives the illusion of traveling back-to-front (or vice-versa).  Intermediate blends with (P) Knob, of course.  But EXP1 control really sells it, almost like gating the ‘reverb’ along the way.

[Author]

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