I made a video about the cool things we can do with the LZX Proc module.
Hopefully there will be more down the road. DSG3 was going to be the first one I produced, but my brain is still processing all the epic stuff I want to show off with DSG3.
These modules are deceptively simple to look at, but once I start working with them, I appreciate their power and versatility.
I’m still learning, and will never stop. Feedback is always welcome.
Cheers
This is a really thorough rundown of Proc and the core use cases of a triple 1x gain attenuverter + bias + unity gain summing amplifier in video synthesis.
I’d add that for scan processing techniques with vector monitors, Proc is an excellent way to constrain your raster from H/V ramp inputs and center them as well as fine tuning the contrast / brightness fed into your Z input. With the unity gain summing inputs (A), that gives you an opportunity to patch in heavily attenuated DC offsets to the A inputs for additional fine tune control.
Nicely produced contribution to the community, thanks for putting the time into it. Hope you consider doing more in this style.
Awesome job Doc!! What a gift to the community. It’s so great to get more voices in a teaching role, and especially when it comes down to core voltage processing.
One point – you can get amplification over 1X with Proc, with some patch tricks and multing. For example, by patching the same input to both A & B, your gain range is now 0X to 2X (+/-n from attenuverter). If you cascade channels in combination with this, a gain of up to 8X is possible. It’s not the most efficient use of the module, but it’s a trick I’ve used plenty of times.
Thanks all.
Hadn’t thought of doubling the same signal to both A and B … of course that relies on another buffered mult
Yeah! Someday I may do some videos about raster manipulation. I’ve done some cool experiments with Foxing Hour Access and BSO Crossfade. But I’m really just a novice at that.
Yes, definitely in the category of “tricks you can do with the patch” rather than what I’d consider a feature of the module itself.
Oh cool, a luminance output, too. Always useful.
Loved the depth and detail of this. Bavo! I hope you do more modules.
Sidenote, I realized that for me TBC2 will be a fantastic learning tool. As a guy who has yet to have clips in the system, This showed me that working with basic functions like PROC can be a little more complicated to look at vs images from “real life”. My ape brain will have a much easier time comprehending processing to a photo!
Thanks! I think a photograph from real life is the best source material for demonstrating something like this. It’s not everyone’s “cup of tea” artistically … many people prefer to work with patterns generated directly by the synthesizer. But generated imagery is so abstract that it doesn’t always give an intuitive sense of what the synthesizer is doing to a signal. With a naturalistic source image, we can leverage the innate processing capabilities of the brain. And if it’s not moving, but just a still image, we can better perceive the effects of adding animation, e.g. the Baja modulation in the Proc video.
Really looking forward to TBC2 for a long list of reasons, one of them being the still store function. Currently I’m using a cheap TV tuner that has media playback capabilities, but it’s clunky. I guess TBC2 has sequential still playback? So we can play very short clips?
Now I’m off to watch the Johnny Woods video on TBC2…
@dryodryo Give it to me straight Doc!
Tell us more about this high frequency dampening that is happening with the thick shielded patch cables vs the LZX thinner patch cables. Have you done a test with like some cable testy thingy? I’m intrigued.
These cables in my studio are sweating in anticipation of being replaced. 
If you’re not working in HD, but only in SD, then this is less of a concern.
In that thread that Robin linked, there should also be some discussion of capacitance. Quality audio cables have high capacitance to filter out the highest frequency signals. Anything supersonic, above ~30kHz, is considered noise in the audio world. But for video, we need to go up into the megahertz range. In a perfect universe, ~9 MHz resolves all detail in an SD video signal. Full HD 1080 will need ~60MHz.
Practically speaking, the modular system can’t actually reproduce full HD detail, the electronic components aren’t fast enough. Under ideal conditions, we can expect to lose 2 or 3 horizontal pixels of detail. High capacitance cables will increase the horizontal blur.
Cable length is also a major consideration. In my limited experience, there’s no problem with very short audio cables. But in any situation when you need to send an HD signal farther than ~30cm / 12in, I definitely recommend the LZX RGB Mini-snakes. For example, sending 1080 video down a 1m Tiptop Audio Stackable caused very noticeable blur. That could be a cool special effect if you want to exploit it, but that should be a conscious choice.
Much appreciated @dryodryo 
Read thru the linked thread as well @Robbertunist.
Thanks everyone we def understand the situation now
On topic of the RGB mini snakes, Did those change? I noticed some looked to be Blackmarket brand but I just got a few that are not. I need to get some new cables and would like to do it with my video case in mind.
LZX didn’t need my notes, they are way, way, way WAY ahead of me.
I’m just sitting at the feet of the masters.
