nneekolas,
Thank you, that is it!
I should have that one!!
Bill

Dark Axel,
Well it has to be a series loop for the vibrato as any blend of the vibrato and straight signal would turn the vibrato into a chorus effect.
In the case of the Clone Theory the difference between chorus and vibrato is just the the vibrato and zero dry signal added.
I looked around today for a commercial volume pedal that uses a external loop and found none.
If I find something I will post.
It would be a cool thing to have.
Bill

Thanks Julian!
Right now I am low on time so I cant put any samples up.
The V256 is mono when it does the portamento effect and stops at chords as it needs to see the pitch its working with.
As for glithy stuff I would have to go back and see if the scrambling was cool or not.
Bill

Effectology
Episode 13: Pink Floyd Synth Effects

In this episode we explore how to produce synthesizer sounds and effects from the classic Pink Floyd recording “Welcome To The Machine.” The original recording from the 1975 album “Wish You Were Here” used an EMS VCS 3, ARP String Ensemble and Mini-Moog synthesizers.

“It’s very much a made-up-in-the-studio thing which was all built up from a basic throbbing made on a VCS 3, with a one repeat echo used so that each ‘boom’ is followed by an echo repeat to give the throb. With a number like that, you don’t start off with a regular concept of group structure or anything, and there’s no backing track either. Really it is just a studio proposition where we’re using tape for its own ends — a form of collage using sound.”
-David Gilmour, 1975, WYWH Songbook

We started by creating an atmospheric drone using the Cathedral reverb in the infinite mode. The guitar’s low E string was tuned very low and picked. After the initial attack had faded, the sound was frozen. The end result was a low, airy humming sound.

Buzzing motor sounds were created by holding a cordless Norelco electric shaver next to the guitar pickups. The sound was picked up and processed by a Big Muff fuzz and a Octave Multiplexer. The resulting sound was recorded into a Stereo Memory Man in the loop mode. The delay knob was used in playback to change the pitches.

The throbbing bass was done using a Big Muff fuzz and a POG2 set for the octave below. The filter was set in the high resonance position and the filter was played in rhythm manually.

The steam sounds and the pulsing rhythm was produced by using the noise from a Big Muff fuzz cranked up to 10. With nothing connected to the unit, all we hear is circuit noise or what’s called “thermal noise.” This noise is very close to the sound of a synthesizer’s white noise.

To operate the Big Muff without a chord plugged in I used a dummy plug. This turns the Big Muff on and allows you just to hear its internal noise at the output.

For the pulsing rhythm I boosted the noise even higher by using a LPB1 after the fuzz.

The solo sound was produced by the chain below.

Using 1/4 to XLR adapters I was able to plug the guitar into the V256 Vocorder which normally uses XLR microphone cable connectors.

In the transposition mode I found a glide effect I have never heard before in a guitar pedal. It glides the pitches of the guitar smoothly from one to another, just like the portamento effect on a Moog synthesizer. It was perfect for this sound as Pink Floyd used a Mini Moog synthesizer for the solo sound.

The V256 was connected to a MicroSynth set for a multi-octave sound.

Next in line was the Clone Theory set for a classic synth vibrato effect and switched on at the end of phrases.

Last in the chain was a Stereo Memory Man set for a single delay. Using a single delay gave the sound a big echo without clouding up the performance with multiple repeats.

The final sound in the video emulated the sound of a generator slowing down, or vari-speed tape recorder. I found a similar sound by holding a telephone receiver next to the guitar pickup.

A Soul Preacher compressor was used to boost the telephone signal. (An LPB-1 booster would work as well.)

The telephone dial tone was picked up and recorded into a Stereo Memory Man where on playback I changed the pitch using the delay knob.

I recorded this clip using a clean amp simulator direct into the computer. No guitar amps were used. If you are using a guitar amp, set it for a very clean, flat or neutral sound when using the settings above.

Thanks for listening!
Bill Ruppert
=

The board is probably to close to the magnetic guitar pick up.
Its picking up clock noise from the circuit board.

Or its sneaking in via the grounding.

Thats my guess.
Bill

Wald
Sorry to hear you are having problems.
Set your MicroSynth like the picture below.

Plug your guitar straight in to the MicroSynth and play it through a clean amp.
It should sound exactly like the bypass signal.

If its distorted turn down the input gain trim pot.
If it sounds dark or sputters you have a problem that needs to be addressed by the service dept at EHX.
Good luck, the MicroSynth is one of the greatest pedals I own.
Bill Ruppert

Cool stuff Julian!!
Bill

Yes