Faxi Nadu – Sonic Core Modular Tutorial – Cloning Scope's Interpole Plugin with Modular

hi this is sexy Nadu and in today’s video we’re going to be showing how you can use a modular system to clone basically any other plug-in whether it be an effects patch a sin or whatever you know hardware software anything you can use the modular system to kind of look at whatever you it is that you want to clone see what components it is made adults and use the modular to clone it and the reason you might want to do that is there might be like a feature that you would like added to some plug-in or something missing or that it might behave in a certain way that you would like to have it behave differently or you could just you know you would like maybe a certain plugin that you like but you like the design but you don’t like the sound so much and you would like to use a better system than whatever that plugin is using and obviously scope has a very good sound so it’s um need to do it but for today for this sort of exercise we’re going to take the Scopes Interpol plugin which is a filter plugin with some quirks in it basically it’s an effect plugin that allows filtering of stereo audio signal and it uses an LFO and an envelope follower and some other things that to kind of get a cool sound going and the reason we chose to clone this particular plugin is that last night I actually had a chat with one of my buddies my partner on ocean star empire arm Kyle and he was using the Interpol on one of his um one of his things he was just using it as an effect and he was he put the waveform of the LFO on sample and hold and um because he did that the LFO was making audible clicks as it was um switching from one sample and hold mode to the other so I told them oh you know if you clone it modular then you can fix that there’s a way to make the UM LFO waveform less steppy while still retaining the same sound so obviously if you want if you had just have the interpol then you cannot you can’t do that but if you use the modular system you can get you can fix that thing in the LFO that you do that we didn’t like and you can actually add add and change the features of the Interpol to your liking and this is exactly what we’re going to do so we’re going to have the Interpol open which is this plugin obviously that you see here and we’re going to open a mod an empty modular patch and we’re going to start having a look at what the Interpol does so the first thing I’ve mentioned is that it is stereo so if you look at the left side and the right side they are exactly identical so we don’t need to clone all of this all we need to clone is one side and then we’ll just copy paste whatever we made and will also have the other side and of course connected to to the other side signal chain and you know kind of make it happen so the first thing of course it is a filter so we’re not going to be cloning this one-to-one exact clone because like I said we want to actually add our own features so in the Interpol it is a low-pass filter going to look let’s just look at one side let’s look at the left side so cut off resonance on the filter and we’re looking just at the filter section and we’re noticing it has like an envelope sweep and drive section and some stuff going on with the vca but first of all we’re going to pull out a filter and we’re already improving the interpol design because we’re not going to use a low-pass filter we’re going to use a poly filter module and this module basically has a ton of filter types inside and you can um using the drop-down menu just switch between all of them so this is great and it provides many more options you know em instead of just being a low-pass filter the Interpol that we’re making is a multimode filter with tons of stuff so that is very cool the second thing we notice is that the Interpol has an LFO inside so they sell fo the first thing I did was when I was messing around with it before was I took an LFO be out of here it’s the LFO be well so okay have the same wave shapes that the LFO on the Interpol has so the LFO can be retriggered by midi and it has a external frequency control so if you set up a sink mechanism which we will do it will be synced to your BPM you’ll have the option of sinking it to your BPM but then I noticed another thing I noticed that there is a knob called envelope sweep on the LFO which

means that the anvil follower babies and or and or adsr that is here at the top has also the option of affecting not only the filter but also the LFO so you kind of need something else we need a way to be able to control the LFO speed with an envelope so for this we have the LFO a this part of them is identical but the a also has three additional inputs and two of them being modulation inputs exactly what we need we’re going to insert the envelope into the modulation input and it’s going to behave the same way as the Interpol’s LFO behaves so we’re going to delete the B we’re not going to need to be we’re going to need the a so um we have our LFO we have our filter would be to look at this section over here it says envelope follower abs r / AP i saw and i can see here that you can choose mode would be the signal going into the adsr and analyzing it and acting as an envelope follower if you put it on internal then there will be no reaction by the envelope to the signal it will just act as a normal ad Assad so we’re going to be going to do it in this way we’re going to take two modules out again here one thing before is you see there’s attack decay sustain in the release there is no length to it is either on or off so we’re going to do it in a different a little bit different kind of way we’re going to use a regular ideas are without the release on off thing and we’re going to count on envelope follower module adsr and the invoke koala will show you in a minute how we’re going to have the same choice that the Interpol has so we have the envelope follower and a tsr itself taken out we have the LFO itself taken out and we have the filter itself taken out now the filter inside as you can see has dr section now the drive section here can be either like and it is i am pretty sure it’s pre filter but i’m i’m not even gonna check it we’re going to do something else we’re going to have to distortion modules and we’re going to have one that is pre filter and one that is post-filter just because just because we want you no more cool options and to add this thing so modules and as you can see there are a ton of them here now we’re just going to make a choice you can test it out and see which one is sounding like the one to use i’m guessing the likely use this one the distortion one but we’re going to use the pulse of fire one just for fun I like it a lot and here we go so we’ve kind of placed one before the filter and one after the filter before making any connections I’m just placing them now this thing also has inside vca as you can see it is referenced vca a and obviously the ABS saara effects like and the envelope waller can affect also the volume and we’re going to do the thing with the vca we’re not going to use the natural vca module and i’ll show you why if we take out a vca this is the vca a module called an amplitude modulator this is the amplitude modulator so as you notice the vca has one input which is a modulation input and normally you would connect an envelope or knell for whatever to this and it will work but on the amplitude modulator we have two inputs and we have an offset knob if we turn the offset knob all the way up then the signal will be on all the time if we turn it halfway up then obviously it’ll be at fifty percent and then the envelope and/or LFO attached to these modulation inputs will swing it up or down or we can close it entirely and have the envelope opening it enclosing it just the envelope or L for controlling controlling totally how it opens and closes so I’m going to remove the vca I’m amplitude modulated model module instead so and I want it to be the last thing I wanted to be after the filter because I want to have the option of self resonating the filter and still controlling that self resonated output

with the amplitude modulator let’s start making connections so first of all we have our audio input as I said this is an FX plugin so we’re going to connect the audio input out of the first connection over here this is going to be our left and we’re going to connect it to the envelope follower and we’re also going to connect it all the way down here into the first distortion module and we’re going to connect that first distortion module to the filter to the second distortion monitor which we’re using the poster fire but it’s like I said it’s basically a distortion module so um the audio is going into the envelope follower right now which isn’t sorry isn’t going anywhere just yet it is just being analyzed also connected it already to the filter itself to the audio is actually this is the audio chain is going to get filtered this is the whole point of what we’re doing so it’s going here and it’s also going over here to enable the control signal of the follower you’ve noticed i put the control signals on the top and the LFO over here kind of just you know organizing it just a little bit it might change the organization might change a little more as we make the connections so let’s keep on going after the audio lee leaves the second distortion we want it to go to the UM to the vca and we’re using like I said an amplitude modulator that it is serving as a vca and then it can go it can go outside but we’re not going to make that connection just yet let’s leave it like this um what the control signals are actually doing the first thing that we know is that the elf oh you can see right here it has the option of controlling both the VCF and the vca so it means the LFO obviously needs to be connected to the input of the VCF and to the input of the vca but before making that connection if you remember at the start of the video I was talking about how the interpol itself on sample and hold the sound a little bit clicky so what the whole point of building this in modular and one of them one of the points was to make sure that we get rid of that click eNOS so there’s a little modular trick for you guys if you go over to the filters and pull out a really simple 6 DB low-pass filter without any modulations on it you don’t need anything and connect the LFO output remember this is a control signal right you connect it to the 60 B low-pass filter and you take this filter almost all the way down if you take it all the way down it will obviously um totally change it’ll turn it into a sign basically so you’re kind of taking it almost all the way down opening it just one one or two notches and what it does is it takes you see as you can see right here sample hold LFO is really squared you know it’s based like honest the the activity that going on is squared so when you change as it changes it abruptly makes the change what the 60 B low-pass filter does is it kind of it takes the square enos of the sample hold LFO and it smooths out the edges so it basically works as a control smoother and you end up with with the same sample and hold but without the clicks obviously it also depends on how low you close the low-pass filter on high settings it this whole area probably won’t affect it at all but once you get down to the last few ticks you kind of set it by ear does what you wanted to do which is just smooth out ruin the whole the activity of the LFO so we’ve connected it there we go let’s put it back in there so we have the 60-below pass filter so we’re going to output from it um where we mentioned before VCS and vc eh oh the LFO goes to the first modulation input of the VCF the first modulation input on the amplitude modulator RVCA that is connected already the other folk so go one by one and see what we need to do look actually see there are MIDI sync options right here trigger to what hold that thought um the envelope has a MIDI

option so what does that mean actually I mean you’re inputting sound over here why would you need midi so what this lets you do is let’s say you are sending one midi channel to the synth you have 60 million channels you’re working I don’t know with the hardware synth you’re sending channel 12 the hardware and it’s playing some no it’s too doo doo doo doo doo it’s playing some notes it’s cool and it’s going into the image of Interpol unplugging the Interpol is doing its thing and it allows you to send either the same channel for a totally separate channel you could send channel 2 to the Interpol send totally different MIDI notes or merely triggering to it and Interpol’s envelopes lfos and the whole thing will respond to these meeting notes in these triggers it’s so obviously it allows for really cool sound design and sculpting by working like this so we need this whole mechanism of working with MIDI inside our patch so we’re going to take first of all on NBC I’m just going to pull out NBC a which is a simple MIDI brain we’re going to have the MIDI that is in coming into the patch to the MVC for processing and then the MVC separates that mini signal into gate signal frequency signal velocity and whatever you’re going to want to use so the first thing that we look at is we have the LFO and it is um either re triggered or not retriggered so it is simple enough all we need to do is take the gate output which is actually the thing that tells an LFO or an envelope what when to trigger and connect it to the LFOs gate input now will retrigger yes or no so this little button right here is actually the same as this the switch on the Interpol’s front panel so it’s exactly the same I’ve sync mode on and off which here would be this button but it’s not connected to anything right now only the nfo internal rate manual rate knob is connected so we’re going to have to have a mechanism that is going to be able to send LFO precise BPM information a midi clock signal here MIDI clock provides BPM internally to the patch or externally by connecting it to the media out of the patch one thing I want to mention I don’t like using external clock sources within modular now why is that first of all a little bug and scope is notoriously not good in keeping internal clock I’ll start external clock inside from sequencers inside scope the clock becomes very jittery and unstable but it is no problem why is it no problem because you can use the internal clock set it on whatever BPM you want have everything is triggering anyways with the gate from the MIDI so the clock is exactly like your computer’s clock and it behaves the same and it will be on time and super stable if you use internally with gate triggering so this is just a little tip so here’s the MIDI clock now it’s outputting 148 BPM it’s it’s a control number but it’s not a frequency as you can see the LFO it’s working on a frequency right it’s going like like an analog it’s uh pretending of course to be analog it’s obviously digital but it’s it’s moving in Hertz even when it’s on external mode it’s still moving in hurts but it can know what hurts to be on in order to sink to the clock so Timmy the module called a frequency divider this frequency divider B which actually output allows for for frequency divided signals there is no module that allows for just one so we’re going to use the one has four and we’re going to use just one of them and obviously don’t forget that we’re working on a stereo device so we’re going to use the second one as well once we set up once we copy paste and set up our second channel so I connected the clock to the frequency divider as output to the external input of the LFO and then if you go on the divider itself you can scroll between the different divisions so we took care of that so let’s just go down and check list what we did so we have the sink covered we have the retrigger covered we have it

going to the VCF we have it going to the vca the one thing waveform and rates are over here and in it phase there we go it’s already on our module the one thing we have left is the envelope sweet remember we said the envelope effects either the LFO sorry I’m I’m sorry the LFO is affected either by the envelope or by the envelope follower and this would be the connection right here which which is a modulation input on the LFO but now we have to do another thing we have both the envelope and the envelope follower and we have to be able to use either one of them like on the interpol itself do plum if to use the envelope or to use the adsr so they’re using a switch module and again we don’t have a to switch module but it doesn’t matter we’re going to use a force which module with just two of the inputs connected right here after our envelopes to connect the envelope follower to the first um switch location and the second envelope that we open into the second switch location position output the animal power when it is sense we are set to the second position it will output the adsr envelope and then we’re going to take the output you know what we’re going to do something cooler you know what I haven’t got cooler idea see the the Interpol allows you to choose right and then it will whatever you chose will affect the envelope sweep on the LFO and L envelope sweep on the filter once we want to do something neither what if we want to have like the LFO being controlled by the follower and the filter being controlled by the adsr why not have that option I mean if we can do it really simply I mean all we need to do is take another switch i’m going to copy paste so i post paste it a new switch the same exact for the one switch filter because it has to do directly with affecting the filter and we’re going to connect it in the same way so so okay so this is for the first one and the exact same thing for the second switch oops didn’t make the connection and then we’re going to connect this second switch into the filters second modulation input now we’ve separated the book separate switches I’ll show you in a minute the first which is the first which is going to be going to where was the sec that the ids are so here we go so now it’s really cool now we have we have a choice we can use le like as should be modular we can use this adsr to control either this or that we can use the follower to control either this or that we can use both of them to control one of them we’re not limited by connectivity in any way so I think it’s much cooler than on the Interpol so it’s a nice improvement that we just really simply added to this machine we have here going on let’s see obviously I did them i have i’ve been stung ring a little bit because I have yet another idea okay okay look we connected the follower and abs are to the filter modulation we connected it to the amplitude modulation but we forgot I kind of forgot while talking that of course here you have an envelope sweep on the LFO so again you might be already guessing we’re going to take out another switch just to keep the same options open or modulating the filters LFO so we’re going to connect the switch to the filters first modulation input and again we’re going to take like we did for the filter and for the adsr down here we’re going to take the envelope follower into the first connection and we’re going to take the regular envelope into the second connection alda the LFOs module rate modulation has the same choice between them as do the filter and the vca we go yeah that’s another improvement we have full control and full implementation okay so we did the

envelope follower there oh the LFO I think we did everything we’re supposed to do so the LFO we can be kind of set it aside we did this we did the dr you have the envelope sweep going into the filter we have the LFO going into the filter looks pretty much like I think we did everything that we’re supposed to do oh okay no one thing we didn’t do one thing we didn’t do is we didn’t connect the the envelope follower does not need a gate signal because the envelope follower responds to the signal itself the audio signal itself that is being sent inside but the regular adsr has nothing to do with the incoming audio it is pure control signal and it needs to know when to start so obviously we’re going to take the gate from the MVC to connect it into the abs are so now the adsr know is that when you’re sending MIDI notes over the correct media channel now’s the time to get into action and do your thing so we’ve connected it and there’s another connection you need to make in scope which has to do with the internal voice structure I’m not going to get into it because it’s some it’s not really an artistic thing it’s a design thing within the modular what I’m what I’m trying to say is that you see this connection here the e sink connection you need to make this connection in order for the NBC itself to be active we’ll get into what the e sink means and what it does and why it’s there in another video we made every single connection I’m not sure if I got something or not it looks like the signal flow is yeah everything looks fine we can add another thing that the triple doesn’t have just because we already have the connection and it would be a shame not to use it we already have an MVC out here and we already have the LFO and a filter out here so what we’re going to do is we’re going to use the UM the note you know the key follow and we’re going the LFO it’s a little bit obscure down by the cables but the LFO has a key follow input so why not you know we’re going to make the connection whether we use it or not that’s another story but if it’s there then sure so I’ve connected the key follow filter which also has a key follow option as you know as it should as filters should have on them so we’ve made that connection as well why not like everything is connected and I’m going to move the clock signal just over here to the right B is what i need to do now is copy the whole thing over again I’m going to make some space then p be you so this is actually pretty cool that I mean it’s it’s it’s like a kind of quality control check that yeah that once you have to copy everything you have to copy the connections and you make sure again that you did everything that you’re supposed to do so I’m just going to go through obviously this is the first audio input was the left so the second one would be the right side and we’re going to make every single collection that the left side has on the right side and it’s kind of also a nice way like i said to double check that we’ve made the correct connections so gate goes here take the connection and blow into 1 into 2 i’m all the switches so i’m just going to do all the switches at once come on we go I kind of like to have everything in the same color the cables you can use different colors for the cables but uh oh it’s just confusing there’s enough confusing stuff going on with a modular so I like to have audio and control signals um in blue and just the gate in yellow the gate signals in yellow I don’t know why it’s just kind of like I’ve gotten used to working in this way and you can do it of course any other way you don’t even have to add to change the default colors if you don’t want to it’s obviously up to you so again I’m going through every connection that I’m seeing I’m making it I could be more methodical in doing this I guess but it’s fine this was for the flat for again if you

you can kind of you can mute turn the tables did the right thing so all the way down to the VC a then we had the 16g LP TCA yeah that’s how we had it cool get quite hectic obviously as you can see I mean we haven’t done that much yet and it’s already there we go and we had filter the audio itself while where is it there we go sorry for that don’t get phone calls at this hour so spec that arm to fire there we go oh yeah I didn’t the phone kind of made me feel I was just going to make this connection so um let’s see it looks like everything is done don’t do it now he follow we go on the filter we need to connect the note the key follow then and then we have the I’m sorry the LFO the filter telephone going in we have the whole thing going out into the arm and then in order for it to be okay let’s add one more thing just for fun I always do it on my patches I always add an insert effect that allows me to have inside the patch I just added to all my patches kind of just just because just because i want to hear i’m putting in the multi effects unit I’m not gonna put anything in it it’s just you know i’m just going to save it this way so it’s already in the patch um the last thing to two things you need to do remember i talked before about this place that you think so you notice we have two envelopes with this e output here it has to do with the the way like i said the voice structuring and with polyphonic signals so what you need to do is if you have two modules it’s not whatever module you have that has an e sink output needs to go to the eventually into this the output of the MVC so we’re just going to have we have to so we’re having an e sink add to the envelope he sinks into this and then we’re connecting it into the e seeking input I haven’t seen this this way of structuring other modulars I mean obviously every module all modulars have voice structuring but in most modules you don’t need to manually set this the modular will kind of take care of that side but uh it’s not really a big deal if you know that you need to connect that connection so and then we’re going to have a pulley out just just what it does is it summons the voices if we have a polyphonic thing going on I mean we might want to send polyphonic information to the LFOs into the envelope and put that we’re going to need to as we come out so helical all y’all patch makes everything monophonic and we’re connecting the output so that’s it you’ve actually built the integral plugin we’ve actually added some other things to it that it doesn’t have our LFO is smoother than on the Interpol we have key following on the LFOs and on the filter we have an additional distortion module that way smoother like we said we have more options of routing the envelope follower and the hideous are um yeah well everything else is the same I think this is an exact clone you know the one thing that we don’t have is this release on and off on the abs are which I don’t really get fully at the moment how I would implement that modular but uh I don’t know it totally doesn’t matter you know we have everything else going and this is not going to be like a major issue because we do have a release I

mean if you want to release off we can just turn it off and if you want on we can just pull it up so it’s exactly the same I’m just making sure that we did everything it looks to me like like we did but um okay there’s a there’s I see that LFO here has a way to avert the LFO but all you would need to do is add I mean I don’t know it’s not needed you can add an inverter module module it’s right here or HLF oh sorry after each other phone we’re not going to do that this is cool enough it’s actually very cool and yeah you’ve made a really nice device quickly just by analyzing everything it looks like a lot of connections it looks like a lot of mayhem and like whoa what the is going on here right but if we look at the Interpol and we do it like we did it here and we just pull out modules one by one make the connections as we go and sort of build it as we’re going then the end the end result is actually if you do it this way it’s not so hard to comprehend and realize what is going on the Interpol is actually pretty neat it’s cool routing inside I’m going to test this patch in just a bit I have to do the video I’m just want to make sure that I’ve made all the correct connections and everything is working and making sound like I wanted to but it should work it should be fine and fun fun thing to use so hope you learned something from this and use it to make like whatever modular things in your own modular systems have a good day stay tuned for our other videos shall