# Buchla and Tiptop Audio — 248t - [Manual PDF](../../manuals/Buchla_&_Tiptop_Audio_248t.pdf) --- [248t MARF Manual PDF](https://tiptopaudio.com/manuals/248t/Buchla_248_Manual_1977.pdf) # Tiptop/Buchla 248t MARF: modulation ideas for distorted percussion, basslines, and atmospheric pads The **248t MARF** is not just a sequencer. It is a **dual arbitrary CV/event generator** with per-stage control over: - pitch/CV - timing - quantization - glide/slope - pulse outputs - stop/sustain/enable behavior - stage addressing - external CV substitution That means the most interesting results happen when you stop thinking of it as “16-step melody” and start thinking of it as a **programmable modulation brain**. A big strength of the 248t is that it can generate: - **pitched CV** - **timing CV** - **gates/pulses** - **reference ramps** - **stage-addressed movement** - **externally injected CV per stage** Those are perfect ingredients for aggressive rhythmic sound design and evolving textures. --- # Quick mental model of what matters most From the manual, the most creatively useful features are: - **Two independent Function Generators (FG1 and FG2)** Each can read the same 16 stages differently. - **Per-stage voltage programming** - **Quantize / Continuous** - **Stepped / Sloped** - **Range: Full / Half / Limited** - **Source: Internal / External** - **Per-stage timing programming** - selectable time ranges - **time source can be Internal or External** - each stage has its own interval time slider - **Per-stage operating behaviors** - **Stop** - **Sustain** - **Enable** - **First / Last** loop points - **Outputs** - ART pitch output - analog voltage output - time output - pulse 1 / pulse 2 - all-pulses output - reference output (downward ramp over stage duration) This gives you a module that can act like: - a sequencer - a clock divider / irregular rhythm source - a CV animator - a gated modulation matrix - a patch-programmable phrase generator --- # First: the best modulation mindset for the 248t To get unique sounds, use the MARF in these three ways: ## 1. Use one FG for notes, the other FG for motion For example: - **FG1** = pitch sequence to oscillator - **FG2** = filter cutoff, wavefolder amount, distortion tone, VCA decay, FM amount, sample rate, etc. This is the easiest route to aggressive bass and evolving pads. ## 2. Use external CV inputs A/B/C/D as “modulation layers” The manual says a stage can use **external CV instead of internal voltage/time settings**. That is huge. This means stage-by-stage you can decide: - use the slider value - or swap in some external modulation source So one sequence can selectively “invite in”: - LFO bursts - random voltage - envelope output - another sequencer - audio-rate oscillator for chaos That’s where the MARF gets weird. ## 3. Program timing as much as pitch A lot of people use sequencers only for pitch. On the MARF, **time itself is compositional**. Use per-stage interval time plus: - stop - sustain - enable - external time source - global time multiplier That creates: - staggered grooves - syncopated broken basslines - choking percussion - unstable evolving drones - pseudo-granular rhythmic phrasing --- # Best 248t features for your requested sound categories --- # 1. Distorted percussive sounds For percussion, the MARF excels at making **non-uniform trigger and modulation structures**. ## Core idea Use the 248t to separately control: - when a hit happens - how long the hit lasts - what its pitch/timbre is - whether that hit is normal, accented, gliding, or externally modulated ## Great patch architecture - **FG1 voltage out** → oscillator pitch / drum voice pitch / filter ping frequency - **Pulse 1** → envelope trigger for VCA or LPG - **Pulse 2** → accent path, distortion enable, wavefolder CV, second envelope, or noise burst VCA - **Reference output** → directly to LPG CV for natural decay-ish per-hit contour - **FG2 voltage out or time out** → modulate distortion tone / filter cutoff / FM amount ## Why this works The manual notes: - each stage can have **two independent pulse outputs** - the **reference output** gives a **downward ramp over the interval time** - **time output** gives CV from the interval slider So every step can carry both **rhythmic** and **shape** information. --- ## Distorted kick / tom patch Patch: - sine or triangle VCO → VCA / LPG → distortion → mixer - FG1 voltage out → oscillator pitch - Pulse 1 → short envelope to VCA/LPG - Pulse 2 → second envelope controlling distortion drive or wavefolder - Reference output → exponential-ish decay destination, like filter cutoff or LPG CV - Use **sloped** stages on certain hits Programming suggestions: - set most stages to **stepped** - choose a few stages with **sloped** pitch for kick “doooom” downward pitch sweep character - use **limited range** or **half range** for easier tuning of drum pitches - assign **Pulse 2** only on accents - vary **interval time** per stage so hits rush and drag slightly What makes it nasty: - patch **FG2 voltage out** to FM amount on the oscillator or to distortion CV - make FG2 a shorter loop than FG1 using **First/Last** - this creates repeating accent polymeters over the drum cycle --- ## Broken industrial snare / metallic hit Patch: - noise + oscillator mixed - into bandpass or highpass filter - into VCA - into wavefolder or distortion Use: - Pulse 1 → trigger main snare envelope - Pulse 2 → open a second VCA for noise burst or ring mod layer - FG1 voltage → filter cutoff or oscillator pitch - FG2 voltage → wavefolder / sample rate reducer / resonance / FM depth Programming tricks: - set some stages to **external source** for voltage and feed in random CV from S&H/noise - use **quantize off** for non-musical metallic filter frequencies - use **enable** on selected stages so the phrase waits for external gate conditions before continuing - use **stop** stages to create sudden stutters and chokes Very effective move: - send **All Pulses Out** to clock another sequencer or logic module that modulates distortion parameters - now every stage advance becomes an opportunity for secondary chaos --- ## Clicks, glitches, and fractured percussion The MARF can get very strange if you use **very short time ranges** and stage addressing. Patch idea: - set some stages to very fast timing - use **continuous/cont stage address** mode on one FG and strobe different positions - clock the other FG conventionally Patch: - FG1 pulse output → trigger ultra-short envelope - FG1 voltage output → VCA CV or LPG CV instead of pitch - oscillator/noise/audio source remains static - stage values become amplitude or timbre windows Result: - rhythmic amplitude carving - almost wavetable-like percussive gestures - jittery granular drum phrases For more destruction: - use **external voltage source** on selected stages and patch in audio-rate oscillator - since the stage chooses external source by programming, only certain hits go berserk --- ## Percussion-specific modulation ideas Here are especially good destinations for the MARF: - distortion amount - wavefolder symmetry/fold depth - drum voice decay - LPG decay - filter resonance - bandpass frequency - FM amount - noise VCA amount - bitcrusher rate/depth - sample rate reduction - transient shaper/accent CV - send amount to spring reverb or delay --- # 2. Crazy basslines for dubstep / drum and bass This is where the MARF is especially strong. The main recipe for modern aggressive bass: - stable phrase structure - unstable timbre movement - slides/glides - per-hit accents - rhythmic asymmetry - selective quantization - modulation relationships that don’t loop evenly The 248t can do all of that. --- ## Core bassline strategy Use: - **FG1** = pitch - **FG2** = timbre movement Patch: - FG1 voltage or ART out → main bass oscillator pitch - Pulse 1 → envelope or LPG trigger - Pulse 2 → accent envelope / distortion hit / FM burst / sub mute / re-trigger - FG2 voltage → filter cutoff, wavetable position, FM index, fold amount, phase mod amount, resonance, or VCA level - Reference output → ducking contour, LPG pluck, or sidechain-like movement - Time output → another timbral parameter for note-length-correlated motion --- ## Use sloped stages for bass slides From the manual: - **Sloped/Stepped** is per stage - slew time is based on that stage’s interval time That is gold for bass music. ### Best use: Program most bass notes as **stepped**, but set selected transition notes to **sloped**. That gives: - classic glide into target note - grotesque pitch swoops - “talking” bass phrase connections - liquid DnB lead-in notes ### Extra trick: Because slope time depends on **interval time**, longer stages produce longer slides. So you can compose the groove and the slide shape together. This is a uniquely MARF behavior and it feels much more organic than global portamento. --- ## Wobble without sounding generic Instead of a normal synced LFO wobble: - use **FG2** as the wobble source - assign different interval times to stages - mark different loop boundaries than FG1 - occasionally substitute external CV using A/B/C/D on certain stages Patch: - FG2 voltage → multimode filter cutoff - FG2 Pulse 1 → re-trigger a modulation envelope every few stages - FG2 time output → distortion tone or wavefolder bias Now the “wobble” is not repetitive LFO motion. It becomes a **composed modulation phrase**. This works especially well for: - reese basses - vowel basses - FM growls - folded sub-mid basses --- ## Bass patch 1: Reese monster Patch: - 2 detuned saws or PWM squares - into filter - into soft clipper / wavefolder / distortion Use: - FG1 quantized voltage → oscillator pitch - FG2 unquantized voltage → filter cutoff - Pulse 1 → VCA envelope - Pulse 2 → distortion accent CV or FM burst envelope - Reference out → filter decay contour Programming: - FG1 in **half range** for musical bass note programming - enable **quantize** on musical stages - disable quantize on occasional transitional stages if you want ugly in-between slides - use **sloped** notes selectively - set FG2 loop shorter or longer than FG1 using First/Last markers Result: - bass notes stay anchored - timbre cycles phase against pitch phrase - pattern feels alive, not 8-step preset-ish --- ## Bass patch 2: Dubstep formant/growl line Patch: - complex oscillator / wavetable / FM voice - bandpass or lowpass filter - wavefolder/distortion after filter - optional second filter for vowel movement Use MARF like this: - FG1 voltage → oscillator pitch - FG2 voltage → wavetable position or FM index - Time output from FG2 → filter cutoff - Pulse 2 → trigger short envelope to second modulation destination, like formant sweep - external input A → random stepped voltage - set selected FG2 stages to **external source**, so only some timbre stages use randomness Why this is powerful: You get a phrase that is mostly controlled and repeatable, but certain bass hits “mutate” because stage-programmed external source injects new CV. That’s excellent for: - neuro bass - metallic wobble - formant screaming bass - machine-like resampled phrases --- ## Bass patch 3: Stop/start savage groove The manual’s **stop**, **sustain**, and **enable** functions are killer for bass. ### Stop A stop stage waits until a start pulse arrives. ### Sustain If a gate is high at start input, the stage holds. ### Enable Stage pauses until voltage above 5V arrives at start input. These are amazing for broken rhythmic basslines. Patch: - FG1 runs pitch line - gate pattern from another sequencer, manual controller, logic module, or trigger pattern → FG1 start input - certain stages programmed as **stop** or **enable** - Pulse 1 still triggers voice - FG2 continues separately or is also externally controlled What happens: - the phrase hangs on a stage - then bursts forward when external rhythm allows it - gives gated, syncopated, “breathe and lunge” bass motion Perfect for: - halftime dubstep - techstep DnB - broken neuro phrases - pseudo-sidechained stop-go riffs --- ## Best bass modulation destinations from the 248t Try patching the MARF into: - oscillator pitch - oscillator FM index - oscillator wavefold amount - wavetable position - filter cutoff - filter resonance - comb filter frequency - distortion drive - distortion tone - VCA level - sub oscillator level - noise layer level - phase modulation depth - LPG control - delay send amount - chorus depth - stereo spread CV - feedback amount on delay/filter --- ## Stage-address tricks for bass The **Stage Address** section is especially good for advanced bass work. From the manual: - continuous mode sweeps through stages with the address control and stops internal clock - strobe loads stage corresponding to current address value - stage can be controlled by knob or external voltage This means the 248t can become a kind of **voltage-scanned wavesequence/modulation table**. ### Try this: - program 16 stages as different timbre values, not notes - set FG2 to **continuous** - patch an LFO, envelope, random CV, or audio-rate CV into external stage address - use FG2 voltage out as filter/folder/FM modulation Now you are “scanning” a programmed modulation shape instead of just clocking steps. That can sound like: - talking bass - tearing filter vowels - scanning distortion colors - unstable digital motion For extreme bass: - use envelope into stage address for attack-to-decay timbre travel - use audio-rate oscillator into stage address for tearing discontinuous modulation --- # 3. Haunting atmospheric pad sounds The MARF is also great for pads because it can create **slow, non-uniform, semi-repeatable evolution**. Pads get interesting when multiple parameters drift at different speeds with occasional structural surprises. The MARF is built for that. --- ## Core pad strategy Use very slow time ranges and separate the generators: - **FG1** = pitch/harmonic center - **FG2** = timbral evolution Patch: - FG1 quantized voltage → oscillator pitch or chord root CV - FG2 continuous voltage → filter cutoff / wavetable position / morph / FM index - Reference output → slow contour to LPG, filter, or reverb send - Time output → modulation depth, stereo width, shimmer amount, or delay feedback - Pulse outputs → occasional envelope resets, freeze functions, or reverb bloom triggers --- ## Use long stage times and sloped movement The manual says time can range from very short to **up to 2 minutes**. For pads: - use long intervals - set many stages to **sloped** - use **continuous voltage** rather than quantized where timbre is concerned - use **quantized** for pitch if you want harmonic clarity This gives: - slow glacial morphing - note drift - harmonic ambiguity - ghostly transitions between states --- ## Pad patch 1: haunted chord bed Patch: - 2 or 3 VCOs or a polyphonic voice - through LPG or lowpass filter - into long reverb and modulated delay Use: - FG1 voltage → pitch CV or root note transposition - FG2 voltage → filter cutoff - FG2 time output → reverb send or delay feedback - Reference output → subtle VCA/LPG contour - Pulse 1 → trigger sparse envelope or shimmer burst every few stages Programming: - choose a key/scale if using quantize - mark only a few stages with pulse outputs - use unequal stage times so the phrase feels unmetered - use **First/Last** loop points shorter on one FG than the other Result: - a pad that never quite comes back the same way - harmonic movement and timbral movement drift against each other --- ## Pad patch 2: external-source spectral ghosting This is one of the most powerful MARF tricks. Use stage-programmed external voltage source for timbre. Patch: - external input A = slow random CV - external input B = envelope follower from another sound - external input C = sine LFO - external input D = very slow manual CV/joystick/pressure source Set selected stages to **external voltage source**. Now some stages use the programmed slider value, while others “open portals” to external modulators. Patch FG2 voltage to: - wavetable position - wavefolder symmetry - filter FM amount - reverb tone - granular density - spectral morph This creates a pad that has programmed structure but periodically becomes reactive and alive. Excellent for: - dark ambient - haunted drone - sci-fi beds - decaying tape-memory textures --- ## Pad patch 3: frozen-time sustain architecture Use **sustain** and **enable** to make pads breathe. Patch: - slow gate or manual controller to start input - selected stages programmed as **sustain** - some stages as **enable** - long interval times - sloped voltages What happens: - the pad arrives at a stage and lingers unnaturally - then advances only when external condition changes - creates suspended harmonic moments Very useful for: - performance-controlled drones - evolving soundtrack textures - ritual ambient structures - live improvisation with pressure/foot controller/keyboard gate --- # Advanced cross-modulation techniques These are where the MARF becomes truly unique. --- ## 1. Use FG1 to make sound, FG2 to modulate FG1 timing indirectly Patch: - FG2 output → external input selected as **time source** on FG1 stages - some stages of FG1 use internal time, some external time Now pitch phrase timing changes according to another programmed function. This creates: - rushing/dragging basslines - unstable percussion grids - swelling pad evolution If external time CV is absent, the manual says it defaults to the fastest value of the selected range, so be deliberate. --- ## 2. Use Time Output as a hidden second sequencer The manual states the time slider also produces CV at the **time output**. This means each FG really gives you: - pitch-like CV - time-derived CV - pulses - reference ramp The time sliders can therefore be programmed as a totally different contour than pitch. Great uses: - percussion decay sequence - distortion amount sequence - FM depth sequence - reverb send sequence - bass brightness sequence - pad stereo width sequence This is one of the most underused powers of the MARF. --- ## 3. Use All Pulses Out as a master chaos clock Because **All Pulses Out** fires whenever a new stage is addressed, you can use it to drive: - clocked random - Bernoulli gates - logic - clock dividers - envelope followers - switched modulation Then route those results back into: - A/B/C/D external inputs - start inputs - stage addressing - effect CVs That creates a self-related ecosystem around the MARF. --- ## 4. Use mismatched cycle boundaries Program: - FG1 first/last = stages 1–8 - FG2 first/last = stages 3–13 Now both generators traverse the same stored 16-stage programming space but with different cycle windows. This gives extremely musical long-form variation without randomness. Especially good for: - bassline phrase evolution - drifting accents in percussion - pads that take a long time to truly repeat --- ## 5. Mixed quantized/unquantized stage programming A very signature MARF trick: - quantize some stages - leave others continuous Use this for bass: - stable musical root notes on some stages - ugly in-between bent notes on transitions Use this for pads: - clear harmonic anchor points - drifting microtonal movement between them Use this for percussion: - discrete tuned drum hits alternating with inharmonic metallic offsets --- # Patch recipes by genre target --- ## A. Distorted percussion patch recipe **Goal:** industrial broken drum machine Patch: - VCO sine → wavefolder/distortion → LPG/VCA → mixer - noise → VCA → mixer - FG1 voltage → VCO pitch - Pulse 1 → LPG/VCA envelope - Pulse 2 → noise VCA envelope - Reference out → LPG CV - FG2 voltage → distortion drive - FG2 time out → filter cutoff or fold symmetry Programming: - short to medium time ranges - stage time variation for groove - some sloped pitch stages for tom/kick dives - pulse 2 only on selected accents - external source on a few FG2 stages using random CV Result: - heavy kicks/toms/snare hybrids - asymmetrical aggression - animated distortion color --- ## B. Dubstep bass patch recipe **Goal:** snarling syncopated growl bass Patch: - main oscillator + sub oscillator - into multimode filter - into wavefolder/distortion - into VCA MARF: - FG1 ART/voltage → pitch - FG2 voltage → filter cutoff - FG2 time out → FM index - Pulse 1 → VCA envelope - Pulse 2 → distortion accent envelope - Reference out → subtle ducking or second filter contour - All Pulses Out → clock random source - random source back to external input A - selected FG2 stages set to external source Programming: - quantized bass notes in half range - selective sloped transitions - one or two stop/enable stages for dramatic hangs - shorter loop on FG2 than FG1 Result: - composed but mutating growl phrases - classic bassline cohesion with non-repeating detail --- ## C. DnB reese patch recipe **Goal:** rolling, tense, evolving low-end Patch: - two detuned saws - lowpass filter - saturation - chorus/flanger optional MARF: - FG1 quantized voltage → pitch - FG2 voltage → filter cutoff or chorus depth - Time output → distortion tone - Pulse 1 → short VCA envelope - Pulse 2 → accent envelope to resonance/FM Programming: - mostly short stage times - a few longer holds - occasional sloped notes into phrase endpoints - stop stage before drop resolution - external start pulses from trigger sequencer for syncopation Result: - rolling bass with phrase punctuation - long-form modulation that doesn’t sound loop-locked --- ## D. Haunted pad patch recipe **Goal:** dark cinematic evolving texture Patch: - rich oscillator / wavetable source - LPG or gentle filter - large reverb - modulated delay MARF: - FG1 quantized voltage → root/transposition - FG2 continuous voltage → wavetable position - Reference output → LPG/filter contour - Time output → reverb send - Pulse 1 → shimmer burst / freeze / envelope reset - external inputs fed by slow random, envelope follower, sine LFO, manual CV - selected stages on FG2 use external source Programming: - long stage intervals - sloped on most timbral stages - sparse pulse programming - different first/last loops for the two FGs - sustain stages controlled by external gate Result: - eerily structured but fluid pad motion - occasional spectral intrusions from external sources - strong “haunted machine” quality --- # Best specific modulation destinations by sound goal ## For distorted percussion Use MARF outputs to modulate: - decay time - pitch - fold depth - distortion drive - resonance - noise amount - transient level - LPG CV - sample rate - bit depth - send to spring/delay ## For dubstep/DnB bass Use MARF outputs to modulate: - filter cutoff - filter mode scan - FM index - wavefolder - wavetable position - phase modulation depth - distortion drive and tone - sub level - stereo width - comb filter frequency - formant/vowel filter ## For atmospheric pads Use MARF outputs to modulate: - cutoff - reverb send - delay feedback - wavetable position - oscillator blend - FM amount - stereo image - shimmer amount - LPG level - saturation tone - granular density/position if using sampler modules --- # Performance tips ## 1. Use presets as macro-scene changes The manual says you can save and recall **12 presets**. This is extremely useful live. Create: - preset 1 = restrained groove - preset 2 = distorted variation - preset 3 = breakdown - preset 4 = drop - preset 5 = ambient wash Since stage data includes slider positions and settings, presets can function like song sections. --- ## 2. Use manual stage advance for fills The **advance** control on either FG is perfect for manual performance nudges: - drum fill skip - bass phrase mutation - forcing unexpected pad harmonies --- ## 3. Use continuous stage addressing as a timbre macro When stage address is in **continuous** mode, scanning stages can feel like moving through a custom wavetable of modulation states. Great live gesture: - patch a joystick or pressure controller to stage address external CV - use FG2 voltage out for filter/folder/FM - “play” timbre like an instrument --- ## 4. Keep one FG stable and abuse the other For musical results: - let one FG define the recognizable musical identity - make the other FG do the dangerous stuff Examples: - stable bass notes, unstable filter motion - stable percussion triggers, unstable distortion color - stable pad root, unstable spectral movement That prevents total chaos while still sounding unique. --- # Practical “secret sauce” ideas ## Selective external source substitution This is probably the most powerful sound-design trick in the manual. Feed A/B/C/D with: - random - envelope follower - audio oscillator - slow LFO Then on only a few stages, switch source to external. That gives: - occasional monstrous bass hits - one snare in a bar that mutates - pads that briefly become haunted - controlled unpredictability --- ## Use time sliders as expression, not just duration Because time output can be used separately, program stage times musically: - short notes = brighter - long notes = darker - long notes = more reverb - short hits = more distortion This creates strong internal phrase coherence. --- ## Use limited range for bass and percussion The manual notes: - **Full range** = 0–10V - **Half range** = 0–5V - **Limited** = 2V spans with offsets For bass, half/limited often feel better because: - easier to dial pitch precisely - less accidental huge jumps - more “playable” musical range For percussion: - limited range is excellent for tuned drum zones --- ## Exploit unequal timing The MARF’s stage times can make everything feel alive. For bass: - alternate short-short-long-short patterns - then break them with stop/enable For percussion: - micro-variation in stage lengths humanizes and destabilizes grooves For pads: - unequal long durations make the harmony feel organic and non-gridlocked --- # Best minimal starter patches If you want immediate results, start here. ## Starter 1: nasty bass - FG1 → pitch - FG2 → filter cutoff - Pulse 1 → amp envelope - Pulse 2 → distortion accent - use sloped notes sparingly - shorter loop on FG2 than FG1 ## Starter 2: broken drums - FG1 → drum pitch - Pulse 1 → main hit - Pulse 2 → accent/noise burst - Reference out → LPG decay - FG2 → distortion tone - program irregular stage times ## Starter 3: haunted pad - FG1 → root pitch - FG2 → wavetable/filter - Time out → reverb send - Reference out → slow LPG/filter shape - long sloped stages - external source on a few timbre stages --- # Final advice The 248t becomes special when you combine these four concepts: 1. **Pitch and timbre are sequenced separately** 2. **Timing is part of composition** 3. **Only some stages become externalized/randomized** 4. **Loop lengths and behaviors differ between the two FGs** That combination is exactly how you get: - **distorted percussive brutality** - **dubstep/DnB basslines with movement and attitude** - **haunting evolving pads that feel alive instead of looped** If you want, I can also give you: - **3 concrete patch diagrams** for these sound categories - a **“best modules to pair with the 248t” list** - or a **stage-by-stage example program** for bass, percussion, and pads. 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