StarskyCarr Takes the BM-12 to a Ring Mod Brawl

StarskyCarr segues into a well-versed explanation about the mechanics behind the ring modulation. The technical wizardry involves two signals: a carrier and a modulator. In this case, the carrier wave is internal, a trusty triangle wave, while the modulator sits externally. Imagine blending a 500 Hz and a 600 Hz signal – the modulator smashes them together, serving a clangorous cocktail of sounds at 1100 Hz and 100 Hz. Tinged with a hint of nostalgia, these inharmonic, offbeat notes resonate with personality – a nod to the sci-fi soundtracks of yore. As Starsky sways from low-frequency tremolos to the higher realms, the Moogerfooger and Behringer display different sonic textures. Playfully navigating through audio quirks, Starsky shows that while they might look like twins, their voices inevitably diverge, especially as the frequencies push into abstract territories. Ring modulation stands as a true sound sculptor’s tool – odd, fascinating, and slightly unhinged.

Now, things take a twist. As Starsky ramps things up into the high-frequency domain, the differences are no longer subtle. What starts as an innocuous test morphs into a revealing moment of hearts sinking. The Behringer, faced with a spotlight, unveils an unwanted presence that just won’t shift. Describing it akin to an unruly football fan at a quiet pub, the bleed disrupts the pristine soundscape one would expect from the ring mod. It’s a gutting realisation for Starsky, who had been building a rapport with the Behringer. The Moogerfooger, however, sits unfazed, its elegant charm unmarred by such imperfections. As the Behringer accidentally lets a ghost harmony into the session, Starsky’s disappointment is palpable. He notes the potential this modulator held, ruined by a single recurring fault. It’s a tough call in this arena, and while Starsky’s fair-handed test reveals these flaws, the verdict feels inevitable.

Starsky doesn’t let the setback deter him. Switching gears, he dives into some classic Dalek tone emulation. What’s a ring mod without the opportunity to Exterminate! Exterminate! With the LFO dialled up and the frequency knob tweaked to just-the-right position, auditory signatures reminiscent of the infamous Doctor Who antagonists spill into the space. The Behringer and Moogerfooger stage their best impersonations in an amusing contrast. What follows is a display of not just the units’ versatility but Starsky’s playful tone design prowess. Beyond the fictional world, he explores the potential of using these devices as additional oscillators in your rig. A creative man’s playground indeed, where possibilities sprout like wildflowers in British hedgerows, despite electronics acting a bit dodgy.

In the end, the showdown concludes with honesty and grace. Starsky weighs the sonic prize-fight with a neutral tone, acknowledging that for most punters, these nuances might not mean much. Yet for aficionados like himself, the lingering Behringer bleed is a deal-breaker. He implores viewers who’ve got similar units to chime in, ’cause it’s always good to know if you’ve just grabbed a dodgy kebab or if the whole lot’s gone off. Though the BM-12 might be heading back to the dealer, Starsky maintains his role as the unbiased referee in this synth battle royale. From Dalek dreams to LFO limelight, his exploration reveals not just hardware quirks but offers a fair portrait of two beasts brawling for modulation mastery – a digital duel where every frequency matters.