I know his website is a weird trip, but Gijs might have some in stock if you email him, or he can at least let you know when he'll have more. I've ordered most of his video kits direct, but he also sells assembled. He's a good dude to deal with.$harkToootth wrote:Thanks kaeth. When Perfect Circuit gets the VGA oscilloscope back in stock, I am going to get one. https://ask.audio/articles/oscillatosco ... ga-visuals.
http://gieskes.nl/shop/
The Oscillatoscope2B is cool, but I don't use computers in my rig and I'm not aware of very much other VGA gear for it to play with, so it doesn't get as much use here. When you find the sweet spots, it can look really great, but it's a bit tricky. It's sort of akin to a visual ring mod in the sense that it needs to be tuned to the input or it gets real messy. I've used it live seldomly, but when I did, I got the best results running a clean bass guitar signal through it with an audio splitter & wireless transmitter, and even that can be unwieldy. You can put a bass drum through it for a wobbly strobe, but since I only ever use it naked, that can get stale fast. If you want something interesting and coherent looking, you're basically stuck to drones, or attempt to tune it live with some slow stoner/doom rock at best. If you get into video sampling, it's probably better put to use as a sampling source, or just run your own audio into it live. The secret is that as a viewer, your brain will often trick you into perceiving synced visuals even when they're not, so actual live sync is probably less important than just having something on screen that looks good. What doesn't make the ad copy is that it doubles as a weird oscillating intermodulation fuzz!
He also sells an Oscillatoscope1D, which is similar, but also it's own thing. It's black and white, and outputs standard composite video, so there are more things to process it with besides computers. B&W is also easier to key.
TBCs are not my area of expertise, but I know they're built into most proper mixers. Some are better quality than others, so if you're doing a lot of sync corruption stuff, some of the built-ins won't always cut it (they'll still blank out periodically), but I think we've used a Roland V4 and a Panasonic WJ-AVE5 and have never had to break out the rack TBC.$harkToootth wrote:Time based correctors are built into a bunch of things right? Not just CRTs? Actually I have noticed a lot of the "professional" mixers that people once had to pay to get rid of (that are now gaining traction price wise) have those built in.
You can also bounce from a small CRT to video camera instead of using a TBC, which is a technique in itself that can be paired with mirrors, transparencies, or feedback loops.
Not sure what to say. We like to experiment, which encompasses both the good and bad aspects of that. Often we're trying things for the first time when the band is already playing, and when it clicks, it's amazing, but you can't aim to be experimental and not fall flat just as frequently. We try to show off at least one new technique or piece of gear at every show to keep things fresh, but that also means a lot of things we learn get just as quickly cycled out of our repertoire. Bit of a waste, but an entertaining process nonetheless. My partner has his gear which involves stuff like circuit bending and feedback loops, VHS tape, and cameras. I have my gear which goes from oscilloscopes and video synths, to liquids and jury-rigged DIY practical effects. We usually just kind of show up and mash our selected set-ups together in different ways and see what happens. When venue permits, we also try to play around with what our "screen" is. You can project onto all kinds of things, and it's fun to play around with stage dressing for visual themes.$harkToootth wrote:Also @kaeth... more on the light shows you do please?
Welp. I rambled again.
