At the heart of the Bristol Bloodhound MKII from Djupviks Elektronik lies a beautifully rugged, characterful dual-core oscillator. Taking inspiration from the Dreadbox Antiphon, the Bloodhound is packed with versatile features within its 20HP rack space that lend it an enthralling sonic dynamism.
The central idea behind the Bristol Bloodhound MKII is its unique dual oscillator setup, enhanced with a built-in VCA, a wave multiplier and an exciting feedback circuit. This collection of features creates a powerful aural playground, affording both tonal clarity for more traditional requirements, and the ability to 'sonically tear things up,' to quote the manufacturer. Moreover, it has steadfast 1v per octave tracking capability, ensuring it stays pitch perfect and reliable during stage performances or studio sessions. What sets this MKII version apart, however, is its dedicated square wave outputs, unaffected by the VCA, further diversifying its palette.
The sine core of the Bloodhound MKII, modelled on Dreadbox's Antiphon, relies on a 2164 for both generating the sine wave and for the VCA portion of the module. Particularly useful is the switch on each channel that pulls the oscillators down to serve as an LFO, making this module incredibly flexible and functional in a variety of musical scenarios.
Borrowing from the CGS wave multiplier module, the Bloodhound MKII offers a dynamic wave multiplication section with minor adjustments for creating punchier dynamics and noise. The sine oscillator is conveniently normalised to the wave multiplier through the 'Wave in' jack, with the second oscillator's sine output similarly normalised to the CV in of the wave multiplier, and vice versa. This smooth inner communication makes the module eminently suitable for processing external inputs like field recordings, drum machines, or other oscillators.
Furthermore, the Feedback input accepts a diverse range of signals, including CV, triggers, gates, and audio rate. Its two attenuators for feedback and wave CV allow precise control over feedback levels and wave modulation. You can also count on a respectable tracking capacity of 4-5 octaves when calibrated.
In conclusion, the dual oscillator module landscape is enriched by the Bristol Bloodhound MKII's innovative design and tonal capabilities. Its exciting feedback circuit, dedicated square wave outputs, and wave multiplier merge to create an environment conducive to both clean and distorted tonalities. As both an ingenious VCO and competent LFO, it offers electronic music enthusiasts a vast sonic terrain to explore and manipulate. In the realm of Eurorack modular synthesis, the Bristol Bloodhound MKII is truly a powerful breed.
Example Usage
In a novice-level usage example, you can start by patching the Bristol Bloodhound MKII into your Eurorack system. Connect the module's CV input to a sequencer or a keyboard's pitch output to control the pitch of the oscillators. Then, patch the VCA output of the module to your mixer or audio interface.
Turn the frequency knobs to adjust the pitch of the oscillators and experiment with the Wave multiplier to introduce harmonics and shape the sound. Try modulating the wave multiplier using an LFO or an envelope generator for evolving textures.
Next, explore the unique feedback circuit by patching an external audio source or a modulation signal into the Feedback input. Adjust the attenuators to control the amount of feedback and explore how it affects the sound.
For a more experimental approach, try patching the Sine output into the Wave in jack to create complex waveforms or processing external audio sources through the module for sonic manipulation.
Remember to take your time to listen and explore the range of sounds the Bristol Bloodhound MKII can produce. Have fun experimenting and combining different modulation sources to unlock its full creative potential.
Intermediate-level usage example: In this patch, we will explore using the Bristol Bloodhound MKII as both a dual oscillator and a sound processor. Start by patching a sequence into the 1V per octave inputs of both oscillators. Set the first oscillator to a rich, gritty waveform and the second oscillator to a clean sine wave. Take the square wave output from the first oscillator, and the CV output from the wave multiplier, and patch them into a mixer. Next, send an external sound source, like a drum machine or field recording, into the Wave in jack. Adjust the feedback circuit to introduce dynamic textures and noise into the signal. Experiment with modulating the feedback amount and waveform multiplication to sculpt the sound further. Finally, try sending a slow LFO signal into the Feedback input while tweaking the wave CV attenuator to create evolving and unpredictable textures. This setup showcases the versatility of the Bristol Bloodhound MKII as both a source of rich oscillator tones and a unique sound processor for external audio signals.
Further Thoughts
To create a mesmerizing evolving drone patch using the Bristol Bloodhound MKII, patch the square wave output of one oscillator into the VCA input of the other oscillator. Adjust the feedback and wave CV attenuators to introduce controlled chaos into the composition. Use an external modulation source, such as a slow LFO, to modulate the wave multiplier for added movement. Experiment with patching different audio sources into the Wave in jack to mangle and shape external sounds in real-time. The unique feedback circuit of the Bloodhound MKII allows for intricate manipulation of the signal, adding layers of complexity to your sonic exploration.