Djupviks Elektronik has consistently paved the way for innovative electronic sound manipulation tools and their latest offering - the RAMA - continues this legacy. Born out of almost two decades of experience in no-input mixing with guitar pedals and other devices, the RAMA is a standalone mixer designed specifically for no-input mixing, made with creative sonic explorers in mind.
What makes the RAMA such an exciting addition to the Eurorack world is its compact yet potent design. At only 6HP in size, its small footprint belies its extensive capabilities. Each of its two channels houses three separate feedback loops, opening a wide spectrum for intricate, dynamic sound shaping. The shared Feedback control and fast intermingling of signals turn the RAMA into a playground for imaginative audio crafting.
The RAMA isn’t just a mixer; it’s a versatile tool for sound experimentation. Its attached filter, adjustable to lowpass or highpass, is connected to the first feedback path. However, due to the mixer circuit's nature, this filter implicates all three paths, which further expands the opportunities for unique sound textures. By starting in the middle with the knob and moving to the right, you interact with a lowpass filter, while moving to the left engages a highpass filter. As a result, with just a few deft knob twists, an infinitude of sonic landscapes comes within reach!
Another stand-out feature of the RAMA is the interaction between its channels. The output of Channel 1 is designed to be normalled to the receive input of Channel 2, allowing for the production of complex stereo feedback loops. Even with just one external feedback loop, the RAMA facilitates the creation of a full-bodied stereo field, a feature that demonstrates its potential for next-level sonic exploration.
Indeed, the RAMA distinguishes itself as an all-in-one hub for sonic manipulation. Each channel comes with both an INV jack that carries an inverted signal and an OUTPUT jack that carries the normal signal, all incorporated into this neat 6HP Eurorack module.
The RAMA module by Djupviks Elektronik stands as an innovative leap forward in the Eurorack scene. Unboxing its potential invites electronic music producers into a realm of creative, open-ended sound design. Its dual no-input mixer and smart-operated feedback control provide an exciting landscape for designing and refining your unique sonic aesthetic. Thanks to RAMA, enriching your sound design portfolio or exploring unfamiliar sonic territories has become more accessible and inspiring than ever.
Example Usage
To engage with the RAMA module at a novice level, start by familiarizing yourself with the layout and controls of this dual no-input feedback mixer. As a foundational setup, connect the module into your Eurorack system without any additional sound sources; remember, the beauty of no-input mixing lies in generating sound purely from the module itself.
Begin by focusing on one channel, say Channel 1, and set the Feedback and Invert knobs to their center positions. This balanced setting allows you to experience the initial feedback tones produced by the module's internal circuits. Slowly adjust the Feedback knob clockwise to amplify the signal and explore the resonant textures and tonal variations which the module naturally creates.
Next, shift your attention to the Invert knob. With subtle movements either direction, listen to how the signal alters in phase, providing a contrasting or complementary tonal characteristic to the feedback loop. Pay attention to the nuances as this factor greatly impacts the overall texture and dimension of the sound.
Introduce the external feedback loop by connecting a cable from the Output of Channel 1 back into the Receive input on the same channel. This external routing allows you to experiment with inserting additional modules (such as filters or effects) into the loop, discovering how external influences modify and enhance the feedback path.
With the basic operation of Channel 1 understood, proceed to Channel 2, employing similar techniques. The unique stereo capabilities of RAMA allow for interactions between channels. For instance, utilizing only Channel 1’s output patched into Channel 2’s receive automatically configures a stereo field. This expands the spatial expression without needing additional input sources, ideal for those new to stereo soundscapes.
Lastly, pay close attention to the filter control, as it greatly affects the overall output across both channels. Experiment by rotating the knob towards the left for high-pass effects or right for low-pass, adjusting the spectrum and adding depth to your audio creations.
In summary, RAMA provides a versatile platform for generating eclectic no-input feedback sounds. By carefully adjusting the Feedback and Invert controls, experimenting with external patches, and manipulating the filter, you can gradually discover diverse sonic textures even at a novice level.
To explore the intermediate capabilities of the RAMA module, let's delve into the nuanced intricacies of constructing a dynamic soundscape using its dual feedback paths and shared feedback control. Begin by connecting an audio source or oscillators to any of the IN jacks on either channel of the RAMA. This initial signal will provide a foundation for the complex feedback processes you'll be engaging in.
With your input signal established, start manipulating the Feedback control knobs. These knobs are the heart of RAMA's operation, as they determine the intensity and character of each channel's feedback loop. Slowly increase the Feedback control, noting how the loop begins to gain energy and complexity. As you do so, gently adjust the Invert control as well, which will introduce subtle phase inversions. The interaction between these two knobs can result in either steady-state drones or evolving soundscapes depending on your settings and source material.
Next, experiment with the external Receive paths by patching the OUTPUT jack of either channel to external modules like effects processors, resonant filters, or even other mixers. These modules can shape or modulate the feedback loop when returned to RAMA, adding an external layer of sonic manipulation. The beauty of this setup lies in its flexibility; you can create highly intricate feedback chains that evolve in unexpected ways based on the external module capabilities.
The filter integrated into the first feedback path adds another layer of control. By adjusting the filter knob, you can shape the tonal qualities of the feedback loop. Turn the knob to the right for smoother, lowpass-filtered sounds, or to the left for sharper, highpass-filtered textures. As these adjustments impact all signals flowing through the mixer, responsive, hands-on shaping of your sound is encouraged.
When working with both channels, use the normalization feature that connects Channel 1's output to Channel 2's receive input. This setup can easily transform a mono feedback loop into a stereo experience. Adjust the Feedback and Receive controls on Channel 2 to tailor the stereo field to your liking, perhaps using panning or stereo-specific external effects.
Explore modulation sources for real-time control over feedback dynamics. Patch a sequence or LFO into RAMA's controls to introduce rhythmic or evolving changes, creating lively, automated progressions within your no-input mix. Navigating these configurations with precision will lead to rich, textured sonic environments only achievable with hands-on manipulation, making every session with RAMA a unique adventure in analog sound exploration.
Further Thoughts
To truly explore the creative sonic possibilities of the RAMA module, an advanced no-input feedback setup can be utilized to construct a complex and evolving self-contained sonic environment. Begin by initial routing, where you take advantage of RAMA’s dual-channel layout. Patch the output of Channel 1 into external effects or processors from your Eurorack collection, such as a granular processor or a reverb unit, and then return it to the Receive input. This process allows you to start forming a unique feedback loop that transforms simple oscillator quirks into expansive textures.
Next, use the Feedback and Invert controls creatively. The Feedback pot adjusts the intensity of the signal recycling back into the channel. Carefully increasing this parameter can push the sounds into chaotic territories, generating pulsating rhythms or eerie drones. Meanwhile, the Invert control flips the phase of the feedback signal, which can create unusual phase cancellations or reinforcements, leading to a constantly shifting palette of sonic possibilities.
The inclusion of a filter in the path further expands your sound design options. Experiment by manipulating the filter knob between low-pass and high-pass configurations to sculpt the resonant characteristics of the feedback loop. This acts not only as a tonal shaper but can transform the feedback into a percussive-like element when adjusted rhythmically.
Engage both channels to explore stereo imaging and cross-talk between the channels. Using Channel 1’s output to feed into external processing, such as a delay, and routing it back into Channel 2’s receive can lead to complex stereo field effects. This intertwining of channels allows for a spatial evolution that takes advantage of moving phase relationships and feedback saturation across the stereo field.
For more depth, route control voltage (CV) from other parts of your modular setup into the Receive jacks. Use LFOs to modulate the feedback rate or filter settings dynamically. By doing so, the RAMA becomes an interactive and living component within your modular system, continually surprising with new soundscapes with every tweak.
This expert setup leverages RAMA’s inherent synergy between its controls and the interconnected nature of modular synthesis. By carefully balancing feedback, modulation, and processing, you can turn RAMA into an instrumental force driving experimental compositions, live performances, or even in a studio setting to produce sounds beyond traditional synthesis capabilities.