I like making these mostly generative, mostly dark, droning soundscape things.
Long take of Void. Just hit record in the middle of things and added a fade-in in post.
Really like this one. This is Todd Barton's simplified aleph patch except that, instead of manually switching between VCO&LFO rates, there are both running into switchblade. Instead of toggling maths cycle and switchblade manually, two slow LFOs from stages run into compare 2 and gates from that do the work. Contour 1 is acting as a sort of weird clock divider and gate conditioner for the gate controlling cycling. The left voice is the full output of Generate 3, through wasp. The right voice is fundamental out. Generate 3 is getting TZFM through an enveloped VCA from Cs-L bottom final which is getting soft synced from Generate 3 core. There's some slow phase mod from one of the stages LFOs. The final voice is even out through warps with a self oscillating filter, through sinc bucina, into erbe verbe. The other two are into mimeophon and then FX Aid black hole reverb. Another change from the original patch is that sloths is slowly modulating the rise and fall times of both halves of maths in opposite directions.
First use of 8-bit cipher. Drone is just SS through morgasmatron with int FM being hit with a half time gate from PNW and fold hit from a envelope from maths. Occasional kick sound is plonk. Everything else is just multiple outputs from Cs-L through 2 LPGS and 3 VCAs with 3 envelopes from quadra and 2 from zadar. The whole thing is sequenced from 8-bit cipher. I slowly tweak the tuning of both oscillators and later crank cross-fm.
More sample manipulation. Genesis sample on er-301, through ADDAC601, erbe-verbe, lrmsmslr with s patched through flexshaper, mimeophon, uburst. They key bit is envelope followers from the 601. One is patched to the speed input of the sample player, generally with a negative gain. Two more are patched to compare 2. One output triggers a random stepped voltage to mimeo color, the FF triggers a slow math envelope with EOR triggering plonk -> dipole -> FX Aid. Sloths is rampant, as usual. Lots of manual twiddling with v/oct and speed mod gain in er-301, mimeo stuff, and uburst near the end. Slow pulse is PNW triggered, quadrax, generate 3. Generate 3 core is through a vca into phase, VCA modulated by sloths.
I have no idea what the name is about. The core of the patch is two slow trianglish LFOs from stages into Compare 2. All 4 of the logic outs and one of the normal outs are driving various events. Modulation from sloths is routed all over the place. Various side voices are plaits, plonk, and fracture. High pitched voice is generate 3 with some modulation from Cs-L. Lower voice is Cs-L. Drone is Piston honda with both channels linked, one an octave up and both with maximum detuned unison. Various modules involved in modulation beyond sloths are PNW, uGrids, uO_C, switchblade, select 2, maths, cold mac, and quadrax. So many patch cables. The mix is in done in soundstage which then goes into FX Aid black hole reverb.
The glitchy buzzing noise is fmed and folded shapeshifter through piston honda, recorded some time ago. The bugs/frogs/drips/drops are a recording of a neat little drum loop I made with maths, addac 601, and mimetic digitalis. This is played with manual grains into grain delay on the 301 with lots of random modulation. I fool with the frequency of the VCA triggering the grains manually. All the other noise is white noise through morgasmatron with the distortion engaged into the addac 601 with modulation over various bands from maths and sloths. Of note is maths and sloths combined using cold mac opening up a VCA to pass self oscillating morg B to one of the 601 bands.
Both halves of piston honda, through droning VCAs modulated by stages lfos, into l & r of lrmsmslr. Middle through polaris, side through erbe verbe and then wasp. Bell is plonk through fx aid. Tons of modulation from maths contour 1, sloths, and stages. Much modulation is processed through cold mac, planar, and compare 2. Some wiggling but mostly the patch is left to its own devices. The whole mix is run through MSCL to tame it, though I should have done that before mimeophon instead as I think I push it to clipping once or twice.
Just weird noise. Not even going to try to explain this one, it uses damn near every source of modulation in the system - Zadar, Quadrax, Maths, Contour 1, Sloths, Tetrapad, Stages, Pam's. I really like the stepped random waveform for tetrapad LFOs it has lots of musical sounding variations like stairstep and alternating between two values. Also got lots of use out of Select 2 in this patch, moving to a more central location was a good idea, every one of its functions is being used. All the sound comes from an insane mishmash of Cs-L and generate 3. Portal, filter 8, and both halves of morgasmatron are in use, the latter as a stereo filter.
Underlying drone is filter 8 being pushed into self oscillation by an envelope, and also being given hold modulation by Cs-L upper PWM. Cs-L upper is being FMed by another envelope. Weird noise is fracture going through stereo dipole which is getting audio rate modulation from different outputs of filter 8. The whole mess is going through mimeophon.
First track after rearranging system. Bell is plaits, swell on right is phmk3, weird crunchy vocal sound is the GQ sample being ring modulated in twists by plonk cave rumbles, melodic sound is Cs-L - top osc hard synced to the bottom, multiply out set to rectify. Envelope for that voice is quadrax burst mode, sequenced by planar into scales. Everything running from pnw.
ER-301 manual grains -> doppler delay -> grain delay -> freeverb. Controlled by tetrapad + tete.
Writing notes days after recording is hard! Drone is something into erbe-verbe, recorded in morphagene and heavily modified, layered with original. Wierd percussive sound is SS through takaab lpg. Sound that drifts in and out is rubicon sine->warp->polaris->mimeophon. Everything sequenced by bloom.
Really like this one, I'm definitely getting better at this noise thing. Core drone is rubicon PWM under TZFM from dixie sine through crossfold. A saw LFO is modulating crossfold and a sine LFO is modulating PWM. This is going through polaris along with the polaris BP out. The polaris LP out is going through the crease circuit on cold mac and into polaris FM. The multi out is going into erbe-verbe where filter 8 is modulating depth and a maths channel delayed/triggered by the other maths channel is opening decay. Drums are BIA and noisy snare from plonk. Weird 'lead' is HD3 sequenced by marbles. Also rubicon is getting some exp FM from a combination of sloths and URA.
Really got a good atmosphere going on this one. Drone is shapeshifter harmo3 minor chord under heavy FM from osc 2, into wasp, into erbe verb. Accompanied by plonk xylobells played by marbles with slow CV over rate changing the tempo. This goes through DLD with lots of feedback and then into filter 8 LP. Good old genesis sample from morphagene slowed down 4x, through uburst, and then dry + 3 effects into planar into VCA controlled by a maths channel. Effects are crossfold, terci ruina FB into polaris, and ring mod with ss osc 2. CV out from morphagene heavily attenuated and inverted is controlling cutoff of wasp. Wasp cutoff, both SS shapes, plonk X, are all being modulated.
PH3 4 oscillator swarm into morgasmatron in parallel, into 2hp verb. Wild CV from SS into both channels FM, more wild CV from rubicon into Q by way of 2 VCAs controlled in opposing directions by dixie LFO through cold mac. Pitch of PH3 being controlled from tetrapad which also triggers some enveloped modulation from maths.
Marbles controlling both halves of PH3 through streams, panned left and right. Bass is rubicon with FM from dixie through filter 8. Using crossfold as vca, syncing rubicon to the trigger to avoid clicking. Trigger is also clocking URA to change filter 8 cutoff. Bell sound is from plonk. Mixed in soundstage, through 2hp verb, into LRMSMSLR with S going through half of morgamsatron LP and M going through wasp HP. Changing those filter cutoffs creates some interesting stereo effects.
Noise! The bass sound is a both channels of morgasmatron being opened by one envelope with different levels of modulation. It's being fed by reverb from pico DSP, in turn being fed the feedback out from dark matter. Dark matter is acting as VCA for rubicon 2 sine into warp being FMed by dixie, which is also modulating feedback on dark matter. The background sound is a feedback loop between erbe-verbe and DLD, with tanh3 helping keep things stable. It's being side chained by the bass. Higher pitched stuff is hertz donut 3 into rings into streams into underwurlde to quad vca. The output there is split to the mixer and to DLD and back into another vca using the same envelope. Everything is being clocked of the dark matter pulses.
I don't remember what the voice is but it's going into a reverb and then into LRMSMSLR. The side channel is going through underwurlde and the mid through Wasp.
First jam with a new palette case. Control is marbles, noise tools, and uO_C, sound is Piston Honda mk3, dynamics is streams, effects are 2hp Verb and Pico DSP.
Drone is dixie sine into compare 2. Both shifts are being modulated it opposite directions by a maths envelope. Both sides go into both sides of morgasmatron, with FM2 being modulated in opposite directions by a batumi LFO. The outputs are are panned hard left and right. Noisy mess is shards into polaris, with a manually triggered envelope on atrophy, EOC from a different maths channel on frag 2, and the envelope follower from morphagene on pitch 3. Morphagene is playing samples from genesis, sometimes with red noise on varispeed. This goes into uburst. shards, polaris, uburst, and morphagene are wiggled by hand.
Drone based around some detuned oscillators beating and ring modding each other. Should have written notes for this ages ago.
Trying out dark matter. Sound source is plaits I think. Either pico dsp reverb or erbe verbe is patched into the dark matter's feedback path. Not sure what's controlling everything. Donging is rings.
Rings -> malgorithm, Plonk, Shards -> Clouds, Rubicon -> Streams, Shapeshifter. Lots of manual control via tetrapad.
Really like the feeling of space on this one. It comes from reverb, stereo cross feedback on DLD, and lots of CV panning. Uses every output of Pam's, all but one of Sloths, 3 of Zadar, 2 other free running LFOs, and some hand tweaking to screw up the clock near the end. Vocal bit is going through rainmaker for some cool effects. Rings is the bells, there's some clouds there.
Not going to try to write this one up in detail. All the sound is derived in some way from Dixie 2+. It's being processed by belgrad, both sides of morgasmatron (including ring mod-ish crossfading), wasp, VCBM, DLD, and springray. Core clock is the EOC from a maths channel.
NOISE. One voice is Dixie2+ square with batumi modulating PWM into rings, sympathetic strings. There's a dummy cable on strum so that v/oct can be modulated by a heavily attenuated cycling maths channel. The rise and fall of maths is being randomly modulated by heavily attentuated output from URA. That in turn goes into Fold, then into DLD. The feedback from DLD goes through Wasp. Another voice is BIA into Shard with volume controlled by a maths channel controlling quad VCA. This also goes into DLD. Final voice is a slowed down, pitched down sample being played from ER-301, into Doepfer bit modifier. Other than the two maths channels and the batumi LFO, all other modulation and triggering was by hand.
Weird 'melody' was recorded into MS from planar, then randomly modified. Being played by plaits, with timbre changes sequenced from MD. Not sure where the little hickups come from. Vocal drone is shapeshifter, the jolts of noise are envelopes from Zadar hitting the wavefolder. I crank the wavefolder and internal FM as the end approaches. Percussions is cave rumbles from Plonk. I really like sound of the barely audible suboctave on the drone.
Oppressive harsh noise. LI -> Rainmaker -> Malgorithm. Everything modulated mainly by sloths. Weird dirty sounds that start showing up around 6:00 are actually rings into dirt.
Main drone is detuned bitcrush chords from shapeshifter. Progression from Stages. Bells are Plonk ominous, drum is Plaits cloud. Clean sound is aliasing triangle from er 301, pitch from Mimetic Digitalis. All 3 sequenced by Steppy 1u. Reverb is 2hp verb. Everything mixed and recorded on e3-301.
SS vocal 5 -> erbe-verbe -> rainmaker -> malgorithm -> 2hp verb is the underlying sound. Maths twiddles malgorithm, quadra and hands twiddle other things. Crackly sound is loquelic -> belgrad, modulated by red noise into doepfer VBM. Final added sound is grey noise into rings modulated by sloths and PNW. Gives me an acute case of the feels at some point but I don't have the words to describe what that feeling is.
Drone is a complex mess of modulation on SS into Morgasmatron. Interesting thing about the SS setup is that it's PWM ring modded with cello waveform. Modulation from Batumi and Sloths, rhythm from Pam's, reverb from Erbe-Verb, weird noise from Shards+Springray.
Erbe-verb, fully wet. Fed by BIA, LI, Plaits. Quadra envelope drops absorb and then triggers BIA. Volume of LI and Plaits controlled from tetrapad, all parameters of LI controlled by A-D on Planar2, Harmonics and Morph on Plaits controlled by X/Y. Quadra envelope triggered by gate button on Planar 2. Wow, this was really fun. Finally putting tetrapad and planar to use together.
Third in the series. Same as previous patch but additional tweaks to rainmaker, and the mix is very wet. This leaves the sound from the other elements to sort of drift up out of the background which is pretty cool.
Some somewhat concerning ambience built somewhat improbably from one of Plait's speech algorithms saying 'Yellow'. Rumbly bits are BIA ringmodded with a sine from Dixie2+ into DLD. Yella goes into Morgasmatron for light distortion and movement, then into Rainmaker Krellverb. Whole mix run through Erbe-Verbe. Marbles running the show with help from Quadra, URA, and Batumi.
Plonk -> Springray, mixed with a copy ringmodded by a staticy waveform from shapeshifter. Springray has dld in feedback path. Drums overtop are BIA into morgasmatron, pseudo ringmodded by quanta output from quantum rainbow. Underlying rumbles are zigzag wave from dixie, FM'd by grey noise, filtered by belgrad. Modulation on tons of parameters from URA, Batumi, quadra.
An experiment in glitchy noise. A steady beat plays plonk into springray. Batumi modulates the springray filter freq. The output from that goes into clouds where various random signals move density, position and size as well as toggle on and off freeze. Some glitchy background noise comes from an FM'd LFO from shapeshifter opening the VCA for the black wavetable. The screeches are plaits->blegrad->erbeverb->morgasmatron w/ full distortion -> DLD. The feedback path from springray is also going through DLD and both reverse inputs are being periodically poked at. I'm playing the screeches manually using tetrapad. Warning: abrupt blasts of volume
Same setup as before but with control over pitch variance and the left channel duped, filtered again, and panned hard right to reduce the emphasis on the left ear. Also added a very low pitched bass drone. More felt than heard.
Rings sympathetic strings, damping maxed out stereo -> both morgasmatron channels -> both DLD channels
Bells = Rings -> DLD -> uBurst | Erbe-Verb. Rumble is Shapeshifter detuned cello subosc chord and later pitch shifted feedback from uBurst. Rattle Plonk on Dust Mite.
Dissonant noodling on a much smaller modular. Dixie 2+ -> Clouds -> DLD. Clouds L&R out going to different halves of the DLD so the echo is different to each side. 'Melody' and tempo are Maths and URA.
I should probably write these notes sooner after recording. The clanging is Plonk and I'm pretty sure the weird electrical disharge kind of sounds that pan around are from Rainmaker. The title really nails the feeling I get once the clanging kicks in.
Probably my most dense soundscape so far. The root sound is the wave that sweeps from left to right. That sound is also fed into the DLD B side and then into a channel panned slightly left. The feedback loop from DLD B is passed into DLD A (yo dawg I heard you like delays, etc) and that is then copied, run through the wasp, and sent out on its own panned somewhat right. DLD B's reverse is being toggled on and off as well. The result is a shifting morass of warped versions of the original sound. Accompanied by Plonk, Rings, and Basimilus Iteritas Alter (through Rainmaker) all run through Erbe-Verb. I actually wandered off to do other things after the initial fade in - while patching I found that it was plenty complex enough without me fiddling with it.
A long experimentation session centered around the Shapeshifter. It's producing the chords with the complex dynamics. The basic sound is a sub oscillator chord with a tiny bit of detuning so it beats. That is then self modulating its phase very slightly. The dynamics come from the Shapeshifter's percussion mode combined with oscillator 2 in one shot LFO mode, ring modulated with the main chord. Oscillator 2's shape is changing and I changed the wave bank many times, providing the variation in dynamics. Donging is rings, as usual. As I fool around things get a little weird.
The big swelling waves are an envelope opening a VCA, modulating wave folding on the sound going through the VCA, and, most interestingly, increasing the decay amount on the Erbe-Verbe. The latter provides a weird tension to the swells that isn't present without it. I really like the resulting sound, I suspect I will use that trick again. The deep, dark sound to the drums that happens every so often is an envelope modifying the Erbe-Verbe's title to emphasize lower frequencies in the reverb. For some reason this one sounded much... bigger while making it vs the recording. Not sure why.
I got a LOT of mileage out of that stupid robocop clip. I like the modem-ish sounds (I wish I could remember how I made them) and the subtle chittery sound made by the robocop clip.
All the sound in this comes from a clip of robocop saying 'Dead or alive, you're coming with me' and effects on that. There's a crazy roar somewhere in the 4th minute that scared the crap out of me while making this, despite it being a direct result of me turning a knob.
The first track I made with my first batch of eurorack. I still like it. The core sound source is an Erica Synths Black Wavetable VCO, on the 'vowels' table.
Less noisey ambience
Very traditional rings into clouds style ambient. Plonk guitarintro into terci ruina, using maths as an envelope follower to kill the noise between notes. That goes into stereo dipole, then into a clocked delay in er-301, then into mimeophon (also clocked), then into uburst with lots of reverb. Played a lot with stereo dipole, some with mimeophon, and changed octaves a few times on plonk. Had a bunch of gain staging problems and was clipping in the recorder sometimes and in er-301 in others. Tried to use MSCL as a limiter and definitely failed. I can't tell the difference from the distortion from deliberate things and clipping so... success?
Chill AF. Using the A and B outputs of piston honda through separate streams channels mixed into stereo in quadratt and then into verb and a mono submix through pico DSP stereo delay. The mix output is run through the noise tools slew limiter as a low pass filter and then into the mono submix. The Stereo delay is fully wet with max delay time and a bunch of feedback. The outputs of the delay are added to the stereo mix in quadratt. A /8 clock division of the main marbles clock is used to step through all 8 piston hondapresets. For the most of the track the main sequence is the same 8 step sequence from marbles. It seems to go out of tune at a few points, not sure what happened there. I maybe bumbed steps from pentatonic to chromatic, or I may have borked the tuning slightly in some of the presets. There's an envelope hitting the verb mix but I'm not sure it was actually noticable.
My best krell so far, for sure. Main voice is Hertz Donut mk3. Op A and the main osc are going through separate VCAs (same env, though) into morphagene doing TLA with morph at max for octave up stuff. Occasional super low rumbles are Piston Honda mk3, both oscillators, into streams. High pitched sound is Rubicon 2 sine into warp, into polaris HP, DVCA, DLD, clouds. Pitches are random in a range modified by a zadar envelope, quantized in uO_C to phrygian C. The heart of the patch involves zadar, stages, sloths, maths, and shifty. Way too much to describe in detail.
Just a little randomly generated melody from PNW, voice is Dixie2+ saw+sub into morgasmatron. Drone is pink noise into randomly modulated VCA into rings into echophon. Doesn't go anywhere but pretty pleasant.
Melodic sequence and bass gate pattern from metropolis. Bass sound from plonk. Lead from rings. Kinda pointless snare from Plaits. Controlling density of rings and plaits via tetrapad.
More musical efforts. Less noise, more melody. Maybe.
Should probably have written notes for this last week. Generative patch using 8-bit cipher. Brassy sound is from Loquelic Iteritas. Snare is plonk, with the clock divider controll by CV from 8-bit cipher. Background bonging is rings. The last voice is Cs-L.
Pad is shapeshifter sequenced by er-101, with triggers in a different meter to make the sequence cycle around. This goes into mimeophone. Kick is plonk, hat/snare sounds are plaits and fracture - just 16ths going into a random splitter on uO_C. The rest is cs-l into morgasmatron bandpass with distortion, occasionally some filter fm from generate 3. Pitch for that voice is the same er101 sequence, other sequencing is coming from mimetic digitalis.
Really cool synth sound from shapeshifter - osc 2 is doing fm but also going through fold and then into mod a with that set to combo 2. Essentially it is fming osc 1 and also ring modding it with a wavefolded version. osc 1 is in chord mode suboct. A stages fader into mod b changes the combo mode from ring to min or pong, which are much brighter. The sequence was made on tetrapad and euclidians that are muted/unmuted hit the octave and rotate cv inputs. Faders from stages also touch octave and inversion. A 3 step stages sequence changes shape 2 on ss. The planar button uses a sequential switch on uOC to cut in and out the reverb. Kick is just the usual morg kick and sidechains the main voice. I might try to automate more of the patch, coordinating it from er-101. Some ugly transitions :(
Same patch as the shorter one just a lot longer.
Really pleased with this generative patch. Had it going for a few hours after I made it, just listening while doing other things. Quite proud of the sound design for the panning voice - Cs-L with link on, upper hard synced to 1 sub octave below lower, upper final into mult, mult set to ring. upper fold set a bit left of middle, heavily attenuated cycling maths env into fold cv, heavily attenuated quadra envelope (for each hit) into fold offset. SLoths into upper exp FM. The other voice is plaits waveshaper mode into polaris. The melody is a slow ramp lfo and some stepped random into separate inputs of select 2, with the attenuverter set full ccw. This is duplicated for each voice and slow sequences from pams hit select and unity on each section of select 2 - 1 gate hits select on one and unity on the other and vice versa. The other critical piece is that gate of one voice triggers the quantizer for the other voice. The fact that the voice tend to be going in opposite directions but changing pitch together ties the two together really well. Planar driven by a slow LFO is providing the panning and also changing harmonics on plaits.
noisy. Both oscillators of Cs-L, with the top hard synced to the bottom, sync generate 3 by both flip and reset. A maths channel modulates phase. Filter 8 self oscillating and sequenced via looping random from pams does efm. Kick is the usual but with distortion on, side chaining the main voice. Snare sound is just the odd harmonics of generate 3, gated by a vca.
Kick is morgasmatron as usual, contour 1 as envelope this time. Both voices are Cs-L, one just the sub 1 output, the other is top osc final AM with bottom sine, top hard synced. Sequenced with Rene, transposing and changing snake pattern with tetrapad. Bass voice goes through wasp and then mimeophon, the other goes into erbe-verbe. Those two are mixed in soundstage, then sidechained by the kick in MSCL, then into LRMSMSLR where the side channel is being processed by addac601. An envelope from quadrax opens up the vcas on two channels of the 601 to shape the reverb. A ramp from pams does exp FM to the Cs-L top osc, and a triangle from pams modulates wasp cutoff. The glitches are me fiddling with tetrapad. At first it was a mistake but I decided to roll with it.
mmmmwe need your help
Those robots are up to no good again. Opening texture is one of the geospatial morphagene reels into miasma into uburst into erbe verbe into wasp. The wasp is gated by pams. Kick is the usual maths+morgasmatron. Clap/snare is fracture. Hat/cymbal is plonk. Percussion is sequenced by steppy. Vocal sweep sound is vocal from plaits into morgasmatron with distortion on, into mimeophon on smallest zone for resonator type things. Morgasmatron is 'ducked' using the envelope for the kick. Main voice is sequenced by two tracks from er-101, recorded from marbles. A third track uses a group to double tempo and randomize the filter control track. The main voice is rubicon 2 saw into stereo dipole with filter fm from dixie 2. Both sides are used, using soundstage as a stereo VCA.
Riffs are just friends with a little fm from dixie 2. Sequenced by er-101 in a couple separate parts. Parts were recorded from tetrapad noodlings and cleaned up. Bubbling sound is UHF reel in morphagene with morph all the way up, playback speed very low in reverse, with varispeed being modulated by noise. That is then being shaped a bit by addac601. Drums are bia into portal into morgasmatron with an envelope from maths opening the filter. Filter sweep sound is just rubicon 2 saw into morgasmatron.
First track with a palette case with the 301 as the only sound source. Control comes from pams, uO_C, select 2, and mimetic digitalis. Honestly select 2 feels a bit superfluous, everything it's doing could be done in the 301. I think I need to swap it a controlly thing. CPU load was 45%.
lmao. Dixe 2+ saw into filter 8, pulse from rubicon 2 on EFM, 2 channels from MD on v/oct of both dixie and filter 8, envelope from stages on VCA, one from zadar on LFM. The rest of stages is being used as a switch to occasionally bring in an LFO from SS onto the rubicon pwm. Kick is maths envelope + morgasmatron, snare thing is white noise into morgasmatron with some Q, modulated by a 3rd channel of MD.
Wasn't as pleased with this one when I was making it but listening to it, it's not bad, but definitely lacking a bit in coherence.
Second jam with palette case. Same setup as the first.
The interesting part is the brassy horn doot. Thats rubicon 2 sine into warp, into polaris, out lp. The multi out is in N-A/C mode and is run through a VCA and back into FM1. A4 envelope, warped to the left, with sustain, is opening that VCA as well as a VCA after the polaris lp. Kickish thing is organ wavebank from black wavetable with an envelope sometimes changing bitcrushing. Plonky bass sound is LI VO with the envelope that opens the VCA also hitting fold. Also there's a sample vocoding shapeshifter minor chord with some FM. Everything shares the same pitch sequence from metropolis.
Super noisy drum mess is BIA run through Dark Matter. The feedback loop is passed through wasp bandpass with feedback level from Dixie 2 square.Main voice is Dixie 2 zigzag and sub run through all 3 stages of terci ruina, gated by LXD, sequenced by metropolis (transposed by rene). Metropolis sequence is poked at a lot and the root is changed between C and F with tetrapad.
Main voice is dixie sine and triangle into crossfold. VCA and fold are modulated by two quadra channels. Bass voice is rubicon double sigmoid hold modulated in select 2 by dixie pulse. tri/sine balance and pwm are modulated by some batumi channels. Drums are plonk tight snare and BIA, both with some stepped random modulation. Main voice goes through pico dsp reverb and the lrmsmslr with a lfo controlled wasp processing the side channel. Set up two drum patterns in steppy and one 'mute' pattern and switched between them as well as playing with loopy mode.
Some good sounds but not a ton of ideas. Might revisit this patch later. Bass sound is really weird - shapeshifter into filter 8 with filter 8 under exponential FM by osc 2, which is also FMing osc 1. A rythmic enelope is changing the ratio (which is quantized) and planar 2 is changing the FM index. The melody, such as it is, is also from planar 2, quantized. Drums are BIA and Plonk Tight Snare. Both are getting some light random modulation and are sequenced by steppy. Spooky lead is Rubicon tristate pulse into polaris into DLD. I change the tristate type a bunch and fiddle manually with PWM and filter cutoff.
Figured out some more tricks and recorded another take. I had the wrong interface selected in reaper so got nothing. Recorded ANOTHER take and I like this one even more.
Voice is plaits vocal vowel sounds. Melody is quantized output from planar, the other axis is controlling plaits timbre. Plaits goes into dark matter, which is slowly changed by hand as the track proceeds. This then goes into pico DSP set to reverb. Percussion is rings.
Completely generative - sample from URA, looped in MS, distributed by shifty. One shifty output is pitch of rubicon 2 (tri-state pulse in polaris), one is division/multiplication of main clock, one is pitch of black wavetable (vocal bank), one is polaris FM and rise/fall of maths envelope pinging wavetable wave cv. black wavetable drones into DLD, rubicon 2 goes through DVCA and the clouds. Everything through erbe verb. Why did I name this after a random star? Unknown.
Little patch that came from trying to duplicate the formant filtering morgasmatron demo. Morg is in BP parallel, with an envelope patched into FM2 with the FM2 attenuverters in opposite directions. Both filters have about the same cutoff and Q is at about 75% with drive and Q drive at about 50%. Two separate LFOs modulate both FM1s. It's also tracking pitch. Sequence is from Rene, with X and Y being clocked by different outputs from ZR. Really like the sound this produced. Twiddled with the knobs on Rene and ineptly octave switched with the adder. Rene is set up with a c minor scale but the dixie actually was tuned to a low B. Not sure what that ends up as.
Single oscillator techno? All sound is dixie2+. Drone is pulse into wasp, with FM from batumi triangle. Pitch from metropolis. All other sounds are dixie sine. MAths channel to FM2 for kick, another channel opening a VCA for white noise into lin FM. A quadra envelope modulates PWM. Another quadra envelope sidechains the drone with the kick trigger, and a final one opens the VCA for the sine. All channels driven by ZR.
Really short little jam with percussion coming from modulated LI and the lo-fi guitarish riff coming from BIA (!) into morgasmatron with all the overdive.
Track made with Brian. Main voice is loquelic iteritas in VO sync A mode. Fold is reduced during heavy reverb+delay bits. Damp and Morph are modulated manually via Planar 2. Sequenced with metropolis, manually transposed using rene touchplates. Hat is enveloped white noise, triggered from steppy into 2hp brst. Snare is BIA, triggered from steppy. Kick is the morgasmatron resonance trick into MSCL to tighten up attack and decay, triggered from steppy. Base is Dixie 2 saw+sub into belgrad, in XM dual LP mode, also triggered from steppy, with pitch from Mimetic Digitalis, quantized on O+C. Poong sound is shapeshifter with detuned unison chord of clarinet bank, fired from the sync output of metropolis. Muting of poong is muta jovis, others are muted on the mixer. Switching between the two broad sounds is done on tetrapad. I was handling muting and switching and planar and the squeaky bass fuckup. Brian was handling changing sequences, transposing, and the burst length for the hats. This is the first take with no practice. Could be a lot better with more work but we were running out of time.
Main voice is LI. Second voice is copy of LI output, run through clocked DLD channel, at 1/5 division, fully wet, then into VBM and then wasp. Provides a cool thing that there's probably a technical word for like counterpoint or some shit. Little percussion sound is just enveloped grey noise. Reverb is springray.
Same setup as weird_arab_1 except that a different root is used, I fixed the ADSR to actually hold right, and I changed up some of the sequencing from MD.
Almost ran out of patch cables on this one. Core sequence from metropolis. Core voice is D2+ saw+sub with a little linear fm from a fast batumi lfo. That goes into morgasmatron. ADSR from stages opening VCA, envelope from quadra working the filter. Euclidian from PNW hitting a quadra envelope which is scaled in 321 and modulates Q on morgasmatron. All that goes into DLD with the feedback through a LP1 on the other side of morgasmatron. Kick is 'Kick Stomp' from Plonk. Decay is worked by mother output from ZR, X is modulated by pitch from metropolis. Snare thing is BIA, harm is modulated by scaled pitch, morph by a track from Mimetic Digitalis. Another track of MD is transposition for metropolis, yet another is modulating tilt on erbe-verbe towards the low end. Triggers for Plonk and BIA come from ZR in clock divider mode, being fed a euclidian from PNW. Divisor is being reduced for the BIA by Yet Another Euclidian Rhythm. YAER is modulating gate length on metropolis. YAER is clocking X on MD. Step/D on metropolis, mix and feedback on DLD, decay on erbe-verbe, and divisor for Plonk on ZR are all twiddled, as well as the sequence itself. Metropolis is in arabian scale with shuffle at 60.
Voice is SS Bitcrush4 bank with some internal FM from a sine. Rythmic outputs from PNW are cranking tilt and wavefold. That goes through morgasmatron and I flip on the distortion at times. Kick is BIA as usual and hat is Plonk.
Had fun fiddling around with voices for this one. Left is plaits sequenced by Rene, X clock only. I'm changing y manually by the touchplates. Right voice is Shapeshifter, sequenced by metropolis. Middle weird voice is Loquelic into Springray. Massive pounding is Plonk, Cave Rumbles preset but changed to 50:50 Mallet:Noise. Everything but loquelic is run through erbe-verbe via Aux 1. Muting done using Confundo Funkitas and the run button on metropolis.
Started out as an experiment with feedback loops. The main voice is D2+ zigzag into morgasmatron with gain at max and distortion engaged. Red noise is fed into linear FM with attenuator maxed. The output is fed back into exponential FM. This ended up as an attempt to coordinate changing a bunch of things at once. I really need some more tactile controls and they need to be grouped closely together so that I can manipulate a bunch at once.
Noisy industrial. Drone is shapeshifter, a subosc chord being ring modded by osc 2. Planar 2 looped recording is modifying internal fm index and fold cv. That is getting sidechained in streams by BIA, then fed into clouds with max reverb, then malgorithm. Bass voice is Dixie2+ saw, flip synced by Black Wavetable, into morgasmatron, max gain with distortion on a, similar settings but bandpass on b. Crossfade is being worked by euclidian from PNW. Mix output has long attack envelope. Sequenced by metropolis. Weird squelchy noise is Loquelic into Dirt filter, various parameters modulated by Tetrapad faders. I definitely did not intend the squelchy noise to continue after the fadeout. I really need to take the time to do more takes (and remember to save SS, because I've lost the preset :|)
Mellow and overly long jam session with metropolis, transposition from Z8000, Dixie2+ PWM, clocked delay from DLD. Only really novel thing here is leaving the VCA partially open all the time, leaving a drone that changes pitch when the gates from metropolis get sparse. Combined with the delay it means there's chords happening all the time.
Having fun with metropolis and shapeshifter with a vocal bank. Gate out from metro is triggering an envelope on shape 1 as well as an envelope for volume. Various rhythmic things are hitting erbe verbe tilt, SS tilt, and SS fold cv. Secondary sequence of pitch from pressure points into transpose input on metropolis - it's running at a fast euclidian from PNW.
Main melodic sequence from metropolis in Fwd-F mode. Kick and snare sequences from ZR. Other 2 outputs of ZR hitting decay on BIA and FM index on shapeshifter. Main synth voice is SS ResSaw with hard sync from Dixie 2. Hard sync is toggled on and off via VCA using 2 different sequences from PNW, alternated using a sequential switch based on a 3rd output from PNW. Transpose on metropolis and attentuated FM on dixie controlled by pressure points. ZR mother rythm and BIA harm changed by pressure points in voltage mode. BIA provides kick and Plaits provides snare. Throughout I was playing with tetrapad, the pulse count on metropolis and shape 1 on SS. Without a doubt the best thing, musically, that I've made so far.
Rings inharmonic strings mode, max polyphony, high damping into belgrad with gain maxed out in LB mode with the weirdness switch up, which provides some nice distortion. Belgrad feeds into DLD with different timings on each channel, providing stereo. Sequenced by metropolis in brownian mode.
Swingle and I did a thing again. 'This session was really about discovering the limits of musicality. Where we can go as a species and possibly about where we're not ready to go yet.' <- Said by swingle, in a very haughty voice. Ears->Erbe Verbe->Clouds is producing the footfall echo thing blap aka the squidflip, whatever that means.
Used Mimetic Sequent to record and modify simple melodies from Tetrapad keyboard mode. Drum tracks also from MS. Main voice is Dixie 2+ pulse wave with PWM from an ADSR envelope from Stages which is also opening the VCA.
I really like the percussion in this. Simple kick triggered by Zularic Repetitor, going through DLD. Another output of the Zularic is hitting reverse on the DLD and yet another is modifying the Erbe-Verbe size with an envelope.
Interesting products from fiddling with stuff.
Gross sounds from a weird source. Starts with one of the geophysical reels from the make noise freesound, I think the UHF one. Morph is fully clockwise and varispeed is modulated by pink noise. That's running through both halves of morgasmatron, one LP2, the other BP. Output is taken from the xfade through a VCA opened by contour. Modulation comes from sloths and URA.
Playing around with different zadar envelopes modulating various parameters of plaits vowels, into dark matter.
Farting around with a feedback loop from one of Erbe-Verb's outputs patched back into the input. Cool sounds.
Inspired by the classic 'Composing With LFOs' video. Left melody is 2 SS LFOs anded together. Triggered by 9/7 euclidian from pams. Right melody is just SS osc 2 LFO, triggered by 8/6 euclidian. Both LFOs are hard synced by a slow clock. Slow saw wave modulates shape 2. Some quiet clocked delay (with differen clocks) on both melodies from DLD. Mix sent through 2hp verb.
Slightly less maximalist rythmic gibberish.
Rythmic gibberish. I'm not even going to try to explain this one. Uses the rotation on PNW, a sequential switch, Sloths, the randomize on rainmaker and much more.
Wow, and people complain that rings sounds samey. People just aren't trying the right stuff. Rings output is multed, one copy for self-fm, one copy going into streams to generate an envelope, which is then patched back to structure. The input signal is BIA. BIA triggers and rings v/oct come from metropolis in brn-f. Rings then goes into erbe-verbe. Definitely stashing this sound in the back of my head for future use.
Made a nice little tune with metropolis and zularic and couldn't figure out where to go with it so I gave control to Triple Sloths.
Weird noodling around with a swing beat from PNW. Beat goes into Marbles, a melody from there is used for rings and dropped an octave and used in Plonk (Zen Pluck, pitch to minimum, decay time edited to be higher). Each instrument going through a separate channel of DLD. Weird modulations on Erbe-Verbe.
An almost superfluous rings running into Rainmaker. Rainmaker under massive modulation from Ultra Random Analog. A small portion of a much longer session where I mostly just sat and listened to the endlessly interesting parade of weird sounds.
Trying out using the Morgasmatron for ring mod. Carrier is Shapeshifter, modulator is Black VCO. Filter A is wet and the Q is being rythmically struck by the Zularic Repetitor. Waveshape of both VCOs are being modulated.
I was experimenting with the Shapeshifter's vocal banks and ended up with this thing. Osc 1 shape modulated by osc 2 in LFO mode. Recorded a bit of the output on the morphagene to sample from. The whole mess modulated by Batumi.
I don't even know
All the other stuff
Yeah, this track rythmically plays tiny chunks from the Duke Nukem 3D theme song. It works surprisingly well. Morphagene FTW
A more musically competent friend came over and we collaborated on this. He came up with ideas and I tried to implement them with the equipment I have. Unfortunately I was not paying attention to the levels when blasting everything into absurd reverb noise at the end and it starts to clip :(. Yeah, it uses that same damn robocop clip again.
The first appearance of the robocop clip.
Sounds kinda like JRPG village music to me.
This is the first little generative loop thing I made in VCV rack. It convinced me that this was cool stuff and lead me down a frighteningly expensive path.