This is an introduction and overview of the Time Machine by Olivia Artz Modular (OAM), available at Takazudo Modular.
The Time Machine is an 8-tap stereo granular delay for Eurorack modular. It can mix eight delay lines with delay times ranging from milliseconds to several minutes. These delay lines can be evenly distributed across the time axis or biased toward "now" or "the past." Whether biased or evenly distributed, the delay lines are clock-syncable. Feedback allows past sounds to persist. All of this is CV controllable.
This product is available for purchase below.
- Product Photos
- Features of the Time Machine
- My Impressions
- Other Reference Videos
- Included Items
- Specifications
Product Photos
Features of the Time Machine
The Time Machine is a strong candidate when you're looking for a clock-syncable delay. When periodic gate input is detected at the Clock jack, the Time Machine uses that gate interval as its base and divides the time into 8 taps. The volume of each of these 8 delay taps can be controlled using vertical faders.
The center t knob controls the delay time, but when clock-synced, the timing is adjusted to align with the clock interval and won't drift off-tempo. The Feedback knob on the right adjusts the delay feedback amount.
Even with just these features, the ability to visually adjust the delay tap by tap using large, intuitive faders gives the impression of a module that combines digital power with an intuitive interface.
The Spread knob adjusts the spacing between delay taps. Turning this knob right shifts the tap spacing toward the back (future), while turning it left shifts them toward the front (present). And since the t knob can shrink the delay time down to millisecond-level intervals, this combination enables spatial effects resembling reverb or granular processing, as well as intense chaotic feedback effects when Feedback is cranked up. There's a joy in exploring and discovering different uses, yet you can always pull the knobs back to return to a stable clock delay—a reassuring level of functionality.
Below is a demo video I recorded using the Time Machine. You can see the faders lighting up per tap to visualize delay timing, and observe how the Spread and t knob changes create spatial, expansive effects.
Delay Time Control
The t knob adjusts delay time from (nearly) 0 seconds to 8 seconds. This knob provides exponential control, enabling fine adjustments at very short delay times.
The t/2v input provides exponential CV control over the maximum delay time. This means +1V halves the delay time set by the knob, and -1V doubles it. This input accepts CV from -5V to +5V, allowing delay times from 0.0001 seconds to 2 minutes 30 seconds.
When a clock signal is provided, delay lines are quantized to the clock interval while maintaining the behavior described above.
Delay Spread Control
Setting the Spread knob to 12 o'clock (or inputting 0V to Spread CV) distributes all delay lines evenly. Adjusting the spread can create reverb-like time spaces.
Turning the Spread knob left (or sending negative CV) concentrates the delay lines toward the present. This means more recent delays and fewer delays near t.
Turning the Spread knob right (or sending positive CV) concentrates the delay lines toward t. This means fewer recent delays and more delays near t.
Each CV jack accepts CV input in the -5V to +5V range.
Clock Sync
When all delay lines are evenly distributed, they quantize to the clock interval. Changing the spread causes delay lines to drift off-beat. However, the last delay line (t) always quantizes to the clock interval when a clock is provided.
Feedback Behavior
When feedback is set within the region indicated by the arc on the feedback knob, sound will neither fade away nor swell out of control. Think of this region as the "sound-on-sound zone."
Beyond this zone, chaos similar to guitar amp feedback occurs—but this is a more digital and evil feedback.
CV input accepts signals from -5V to +5V.
My Impressions
First, I personally use the Time Machine year-round. To the point where I worry that every video I make ends up looking like a Time Machine promotion...
I've heard that sounds we hear in daily life always exist within some kind of space, so we never hear sound completely free of reverb or delay. With that premise, it makes sense that adding reverb or delay makes sound feel more natural.
When using the Time Machine for delay, everything just seems to sound better, and I've been wondering why. As I translate and compile the manual into text, I've come to feel that the ability to create significant bias in the temporal distribution of sound is a big factor. The word "granular" doesn't often come up when introducing delay modules, but the Time Machine's description mentions granular effects, and while I think you probably won't understand what this means until you try it, once you do, it'll click.
This is probably because applying very short delay times or hard feedback creates effects that go beyond what typical delay can do. Biasing delays toward the onset time or concentrating sound around the delay time is probably quite rare elsewhere. This is what makes the Time Machine unique.
When I told OAM about how much I use the Time Machine (along with videos), they advised me that it's also fun to use it without clock sync in a more chaotic way—since I had always been using it clock-synced. Yes, this module's ability to clock-sync makes it convenient as a tempo-matched delay first and foremost. But beyond that, it can also serve admirably as a hard feedback effect module. I highly encourage you to give it a try.
Other Reference Videos
Below is a clock sync tutorial video from the official Olivia Artz Modular YouTube channel. You can confirm the clock-synced, tempo-matched delay in action.
Below is a demo sending very fast gates to the Clock jack, creating intense feedback and spatial acoustic effects.
Below is a patch walkthrough video by DivKid using the Time Machine.
Included Items
- Power ribbon cable
- Screws
Specifications
- Width: 22HP
- Depth: 25mm
- Power consumption: 122mA +12V / 8mA -12V / 0mA 5V
- 24-bit Audio I/O (-5V to +5V)
- 16-bit CV control (-5V to +5V)
Olivia Artz Modularについて
Olivia Artz Modular（OAM）は、北米を拠点に活動する Kate／Rosette／Olivia Artz の3人によるモジュラーシンセ／シンセ関連モジュールのブランドです。"Time Machine" や "Uncertainty" のように、独創性と実験性あふれるモジュールを自ら設計・製造するほか、他者のアイデアを製品化することもあります。ユーロラックを越えた創造の場として、自分たちの「夢」をかたちにする場を提供しています。
オマケ: 電氣美術研究會モジュラー小物セット付き
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That concludes our introduction of the Olivia Artz Modular Time Machine.
We hope you find this helpful.