I like making these mostly generative, mostly dark, droning soundscape things.
First sound is nature sample with fast modulation of playback speed -> grain delay -> dattorro reverb all on 301. Second is noise plethora -> vca -> fx aid stereo freq shift. Final horde of voices is both final outputs from vortex, panned hard l/r, with massive modulation -> mimeo. 2nd two voices are mixed through fx aid black hole.
More money than self control. Most of the weirdness is ensemble oscillator -> qpas -> mimeo with heavy modulation. Right voice is SS oboe subosc chord with fold -> natural gate. Left voice is zpo -> bifold -> morgasmatron BP -> natural gate.
Even more of the same, with a bunch of additional modulation. Some more wiggling farther in.
Nested krell controls lower cs-l final through optomix. This goes through qpas -> fx aid delay freq shift -> melotus. Later audio rate modulation is added to qpas. Many many params are selected after each cycle of outer envelope. Cs-l multiply -> serge triple waveshaper -> res eq -> srr + filter + panning in er-301 -> mimeo is controlled by another krell. EOC of first krell inner also goes through clock skip at 2% to open stereo noise from noise plethora. Whole mix through fx aid transmisser. melotus is fully dry usually but occasional gates hit hold+blend to act as a freezer. Ran out of normal cable lengths!
Figure 8 feedback patch between both folders of bifold through both halves of morgasmatron. Under control of a sort of dual krell patch, through a heavily modulated mimeophon and then transmisser reverb. Add some wiggling and you get a whole lot of stupid sounds.
Drone is osiris->qpas. Crashing is a sample of a box of nuts and bolts, horribly mangled in er-301 -> fx aid frequency shifter. Last voice is pinged/oscillating stereo dipole -> bifold -> blades -> mimeophon. Central control is orbit 3. Featuring zadar, quadrax, and sloths.
Another quickie on the bejobeads. Rythmic blipping is a weird feedback loop in stages. The max of the two oscillators also modulates FM on plaits, which is also getting some modulation from an LFO. The blipping goes through the benjolin filter. BP into mixer, LP into beads. Everything mixed through DV.
First track of the new year, and first recording from benjobeads skiff. Sounds are benjolin, sample of benjolin in beads, and plaits, all mixed into DV. Control is mostly from stages + hand.
Drone is ensemble osc through blades. Bloops are generate 3 modulating zpo into natural gate into melotus versio. Kick is enveloped dixie 2, snare from plonk. Core is orbit 3 -> compare 2 -> clock divider. Random sounds and accents as well as lead in and out from mpa 19.
Another patch on the side system. First sound is reseq resonance, then hand-played self oscillating erbe verb recorded in morphagene. Res eq is fed with generate 3 getting tzfm from dixie, using 3x vca as index. That's opened by a cycling maths envelope that clocks everything else. Higher pitched periodic sound is dixie 2 zigzag, lower is d2 sub, both through 2xlpg, opened by clock divisions, with the lower one getting its pulse shortened using contour 1. Another clock division hits the other maths envelope which opens a VCA getting a sine from filter 8 going to generate 3 phase mod. Finally another sine from filter 8 runs through a triple waveshaper feedback loop, fold 6, and then optomix. One clock division modulates triple waveshaper and a slower one opens optomix. Lots of hand fiddling with reseq.
First voice is generate 3 core and full -> triple waveshaper together into res eq -> optomix. Second voice is filter 8 being pinged from both in and ping with hp out through fold 6. Third is dixe 2 sine -> triple waveshaper -> optomix -> morphagene. Everything mixed through erbe verb. Control is 8bit cipher clocked by cycling maths channel, data from dixe 2 tri. There's a big mess of cycling envelopes and muxlicer and vcas and integra solum and wogglebug that I'm not going to try and decipher.
Goofy feedback patch on SS, controlled by planar 2. mod a is shaper 2. planar controls shape 2 and int fm index. Planar also pans out 2 in stereo and between dry and mimeophon. Both out 1 and out 2 go through natural gate, each contolled by a fader on tetrapad. out 1 also goes through delay+freq shift on fx aid. Background drone is cs-l bottom final with top routed to fold bias. Sloths opens index. That goes through wasp with filter cutoff from ochd through a vca controlled by a tetrapad fader. Pressure on that fader is attenuated and routed to cs l top pitch. Whole mix through fx aid black hole.
Two almost completely independent drone patches. The first is ensemble oscillator through a massively modulated addac 601 and then mimeophon. The initial segment is a low band on its own into the mixer and the two highest bands in stereo into fx aid black hole. The other patch is a feedback loop using all sections of tanh and terci ruina which in turn modulates fold on a cross fm feedback patch in cs-l. That goes into qpas which has even more feedback and then into blades in stereo for final tone shaping.
cs-l ring mod out -> natural gate -> beads -> mimeo. SS bipulse -> natural gate -> qpas -> fx aid delay+pitch shift -> fx aid black hole. Kick is a sample with a bit of low pass, hat is plaits. Pretty much the entire patch is driven from rampage cycling envelopes with random, chaos, and lfos for other modulation. One rampage rise ORed with the other rampage fall hits the kick. The fall is longer so it effectively mutes the kick but occasionally provides little stumbles. Plaits is triggered by the EOC of the rampage channel running the kick, run through a x2 multiplier and a x4 multiplier and then euclidian. The other rampage fall switches between the two. Beads is mostly in delay mode. Stupid amounts of modulation everywhere, as usual.
Some weird shit. One voice is LI through wasp, the other is SS through QPAS. Tinnitis is just ring mod from Cs-l, both oscillators at highish freqs. Vocal sound is plaits. One channel from sloths apathy controls most of the patch. The triggers for the two main voices are two channels from ochd through compare 2. Rate over ochd is cved by that channel of sloths. It also brings up mix of mimeophon and volume on tinnitis when ochd is slowest and brings up vocal sound from plaits when it is fast. Envelopes for the voices are from quadrax, additional modulation comes from rampage. Everything but tinnitis is run through mimeophon and then fx aid black hole.
A huge mess I won't describe in detail. Staticy mess that comes in first is kermit in code scan mode under self FM, through VCA and then beads. That then also goes through fx aid gray hole and then 603 under heavy modulation to provide all the weird wooshes and swooshes. All of the rest is Cs-l in cross modulation under massive modulation from everything under the sun then through mimeophon under even more modulation.
Huge spaghetti. Left voice is SS dstrt1 -> blades -> natural gate. Right voice is cs-l lower final with FM from upper -> natural gate. Both gates are opened by rampage envelopes. The EOC from both envelopes go through teletype to choose (50/50) which voice to trigger next. Envelope times are heavily modulated. Both pitches are quantized to dorian d, one from marbles, the other from entropy. Pinging is qpas with occasional audio rate fm from tides and audio rate !! from LI. Weird background sounds are jungle morphagene reel and arch vile wakeup sound each with an LFO to volume and playback speed. LFO sometimes goes audio rate. archvile sound brought in and out with LPF. HEavy use of mimeo on AUX from cosmix. Whole mix through fx aid spooky.
Wind is classic white noise through BP, using addac 602. Tinkling is Cs-l -> natural gate -> mimeophon. Background drone is shapeshifter -> blades. Main voice is LI -> VCA -> rings. Modulation from sloths, hypster, ochd, looping rampage. Main voice control is looping quadrax envelope, with EOC triggering marbles and entropy.
Pretty disconcerting. Eerie drone is ensemble oscillator -> rings -> beads. Vocal is latin revelations, mostly backwards, triggered from jittery marbles, with s&h for speed and slice. That goes through fx aid delay freq shift and then fx aid lo fi junky. First fx aid is getting manual wiggling over SRR as well as slow random to delay length.
Just a mess. Drummy thing is rings through mimeo. Dongy thing is Cs-l multiply, two separate random sequences to pitch, through natural gate. Zappy thing is kermit code scan through a VCA. Wobbly thing is LI through QPAS, vca opened by rampage, through fx aid delay freq shift with heavy modulation. Noise keeps cropping up in mimeo, crackling in fx aid, weird volume problems, just generally a mess.
First track after system rebuild. Main sound is pinged QPAS, with occasional audio rate mod (left !!) from CS-L upper sine. This goes through IV. Heavy modulation of both spreads, Q, and cutoff. Bass sound is rampage at audio rate, clocked from Cs-L lower square, into wasp with noise FM, into Natural Gate, then mimeophon. Natural Gate is struck by very jittery clock from marbles, X1 and X3 from marbles strike QPAS. Filter sweep waves are all 4 time outs from tides into blades in sequence. Blades right is being opened by rampage. That goes into beads. Most modulation is from hypster and sloths. Many event triggers are from compare 2 with some clock skipping in teletype. Mixed in cosmix, with whole mix through FX AID black hole.
Main sound is random bursts of triggers and modulation generated in TT, triggered by ears. That triggers white noise into Seives, sometimes modulated by a sine. That goes into LPG and then a stereo delay. That goes into a dub looper, there's a grain stretch playing the buffer, starting out at 1 octave down and 0.2 speed. That then goes into a FDN. Later the speed is changed. The drone is a formant oscillator with FM from a sine, into a LPF and then tanh. The FM index is sampled from the TT param knob when the bursts are triggered. Everything goes into fx aid infinite dark.
Main drone is cyberdemon death sound grain stretched 100X in er-301, through all 3 channels of addac 603. 2 filters are panned left and right in vortices, one in the center xfade. Chord drone is SS gitar3 detuned m3 chord. It sometimes gets euclidian to fold amount. Drum is plaits. Drone and chord mix go through mimeophon with occasional euclidian to rate. Weird noises are pinging stereo dipole into fx aid black hole into beads. Dipole left is getting fm from right, 1v/o from stages random through VCA and left spread gets various modulation routed via planar2.
Drone is LI through 603, two filters panned hard left and right. Modulation to all 3 params for each filter and LI's damp and morph are from cross-modulated cycling maths envelopes, ochd, hypster. Overall volume of both and LI fold controlled by planar 2. Weird sounds are plaits granular cloud through optomix opened by quadrax triggered by maths EOC. Rise modulated by hypster. Timbre, morph, harmony controlled by ochd and hypster. That goes through uburst and then mimeophon (longest zone, skew, pingpong). uBurst v/oct and pos modulated by noise. Mimeo flip hit by stages red pulse triggered by maths EOR. Cs-l lower sine is FMing plaits to varying degrees, all hand controlled. Periodically the gate button on planar 2 is used to trigger the cyberdemon death sound, grain stretched to 5x, through terci ruina. Everything mixed in vortices into FX aid black hole.
Meh. Chittering is ensemble oscillator, weird background sound is feedback between filter 8 and generate 3 with a maths envelope increasing expo fm occasionally. Crashing is a kick drum sample through reverb and then two stages of terci ruina. Synth sound is recombination engine through stinggy filter, sequenced by marbles, given some panning by hypster at both CV and audio rates. A bit of a mess.
Drone is cs-l, top sync, bottom getting exp fm from top, final out -> SS shaper 1, grain 2 bank -> polaris LP + distort -> ruina versio -> DV. Weird noises are all er-301. can crushing sample in manual grains with tons of randomization -> (parallel wet delay -> bp filter -> ring mod). Sample from nebulae factory set in manual grains with tons of randomization. vulgate in varispeed player, ring modded by holy shit piss sample, into several delays in parallel. Stages patched as 6 sliders for performance control of er-301.
First voice is mix from piston honda, linked, 1 osc -OCT, the other -4. Slow modulation from just friends to X and Y. That goes through ruina versio which gets brought in later, with wiggling, especially maxing out doom. Second voice is odessa with FM from kermit mk3 into morgasmatron. Sequence from permutation. Third voice is Cs-L, with maths envelope controlling exp fm, final out into polaris into mimeophon. Almost everything is done by hand.
Started out as just testing odessa and it ended up playing a fairly minor part. Background drone is exp crossfm in cs-l, final out, into morgasmatron LP. Cutoff is being modulated by kermit LFO, fold amount being very slightly modulated by ochd. Occasional metalic crashing is plonk. Weird rattle sound is stereo dipole being pinged by a very erratic (rand skip + slop) pam's channel, fm from dipole b to dipole a, full out. That goes through mimeophon and then VCAd in vortices. At times a sine from cs-l modulates diploe a spread and uRate on mimeo. Occasional distorted bursts are self oscillating delay no more into optomix. High pitched glassy sounds are from odessa, enveloped from tides. Tons of weird modulation from sloths+ochd+hypster+let's splosh.
Plucked voice is recombination engine through optomix, stringish voice is shapeshifter cello bank with occasional FM just through a VCA. Both envelopes are from quadrax, with modulation over length and shape from a feedback loop between ochd and sloths. Occasional droning blare in the background is self-oscillating reseq with an envelope opening a VCA and killing the feedback. That goes through stereo dipole. Everything mixed in vortices, first two voices in mono and then mono mix into mimeo and back into stereo, drone into stereo. Whole mix into DV.
Started out as just a simple test of the recombination engine. All sound comes from there. Main krell envelope is on quadrax, with CV over rise, fall, and shape. A secondary envelope is a quadrax burst that is triggered by EOR of the other. It opens optomix and, maxed with a channel from ochd, another optomix. Those are fed from positive and negative dna from recomb. The main out vca goes to stereo dipole and then vortices. There's some feedback patched on the mono mixer which is then fed into mimeo and then back into the stereo mixer. The optomix channels are mixed in panmix jr then go into IV and then FX AID black cloud, then into vortices stereo.
Vocals are varispeed player on er-301 with vulgate revelations, with slices all over the place. Position is modulated by stages unipolar random. Triggers come from pink noise filtered in filter 8, into compare 2. One output triggers the player, the other hits kinks S&H which is modulating playback speed. A cycling maths envelope selects the slice on EOC using entropy s&H. That envelope opens optomix which is getting the er-301 output through AM on Cs-L. That then passes through very wet mimeo. The 301 out also goes through lyra-8 fx on it's own. Drone is SS cello subosc with fm and folding, through res eq and DV. Tons of modulation from sloths and ochd plus wiggling.
Very long recording of a krell patch I listened to for ages beforehand. Starting from the basic patch described in the make noise video, with Cs-L for all sound and additional modulation from ochd and sloths. Cs-L pitch is linked. The main voice is Cs-L upper final with sloths modulating fold amount and one of the smooth randoms modulating fm index. Notable parts include running the pitch random through contour 1, with an inverted, rectified ochd lfo to rate. Everything is tuned so that when ochd is near the peak there is very noticable slew on pitch. The EOR from the modulating maths cycle strikes optomix for a 2nd voice - a crossfade between bottom Cs-l final and multiply -> fold 6. It also runs through compare 2 where the FF output triggers the flip input on mimeophon. Both voices are mixed in panmix jr and then run through mimeophon (longest zone, skew, ping pong) and then fx aid black cloud reverb. I increased the range of the pitch random near the end, I wish I had done that earlier.
The name is in finnish, an enemy from Noita. Electrical glitching sound to the left is a weird feedback loop involving various Joranalogue modules and Cs-L. Center drone is shapeshifter with a gate from permutation into fm index - BitCr1 bank being fmed by BiPulse bank, out from fold. Mod a is phase mod 2 and is turned up a bit. Detuned unison chord. Right drone is just friends with modulation from cs-l, a cycling maths channel, and an occasional quadrax envelope triggered from permutation. It runs through res eq and straight into right channel. Weird sound that sometimes shows up on the left is a cymbal sample pitched down and played backwards, through stereo dipole. Glitching, middle drone, and cymbal all go through DV. Finally a vocal sample playing backwards is run through stingy filter and then into fully wet IV. Both DV and IV have feedback at 100%. Permutation is being clocked slowly from a channel of stages.
filter 8, fold 6, generate 3, compare 2 in a glorious feedback clusterfuck -> dipole (spread mod from ochd) -> mimeo -> fx aid black hole. Revelations in vulgate latin from er-301 -> soma lyra fx -> res eq -> fx aid black hole. Ochd was the only automation. Everything else by hand.
Some module experimentation that turned into a fun track. Background drone is Ensemble Oscillator modulated by ochd through a stereo vca for voice control into DV. DV has a manually triggered envelope on size. High pitched feedback caterwaling is one output of ens osc into angle grinder with a bit of modulation from ochd. The rest is white noise enveloped by zadar through res eq into mimeophon, usually in zone 1 with high feedback. Gate for zadar and rate control for mimeo comes from metropolis. Lots of manual wiggling of mimeo and angle grinder. How on earth have I slept this hard on angle grinder god damn.
Drone is gen 3 -> fold 6 -> filter 8. Filter 8 is opened by contour 1, fold 6 is modulated by ochd, gen 3 phase modulated by planar 2. End of rise on contour 1 triggers one shot of muxlicer which triggers/sequences LIP. Clock out from uxlicer running permutation which sequences Cs-L, 2 outputs going to optomix with 2 triggers from permutation hitting the strikes. Outs go to mimeophon panned hard left and right. Everything mixed in soundstage and then into fx aid black hole. Lots of distortion and I have no idea why, it didn't happen with filter 8 straight into fx aid, but as soon as any mixer was in between it distorted. Weird.
Just some noise. The only really interesting bit is the distorted pinging. That's filter 8 being pinged, run through 2 stages of tanh3 into DV with left and right outs going through separate channels of terci ruina. I recorded without the compressor in the loop and made a hash of the levels. Recorder clipped a bunch.
Weird background sounds are the old squish track played from two manual loops, one through optomix, the other ring modded with Cs-l. Both are played by euclidans, panned hard stereo into DV. Thumping is a snare sample played very slowly. Rising metalic sound is crash cymbal sample played slowly backwards. Spoopy lead is both outs of piston honda through Stereo Dipole and then 2 VCAs as stereo signal. PH wavetables are modulated by sloths. Sequenced by permutation. Run through mimeophon with skew and pingpong.
Drone from LiP -> stereo dipole. Sounded a lot better before I added in all the other elements.
Panning noise is white noise -> compare 2 -> polaris -> er 301 as mixer. The panning is due to modulation of stereo dipole at the end of the er 301 mix. The weird background is manual grains on a sample I recorded earlier, pitched up an octave and generally slowed way down. Modulation for that comes from diode chaos. I occasionally manually change playback speed and the speed of the triggers for the grains. ER-301 stereo out goes through stereo dipole and then fx-aid chorale (which has a randomly skipped LFO from pam changing the vowel). The other voice is LIP->erbe-verb->mimeophon.
Some amusing generative slop. Main voice is NTO sometimes being FMd by Cs-L. Using the variable output which is getting stepped modulation along with pitch. That is going through Stereo dipole quad pole output. Both spreads are getting modulation and both res are up quite high. Finally that goes into optomix. Left vocal mess is the robocop sample getting some speed modulation, into flexshaper into optomix into lyra-8 fx. Right vocal mess is the genesis sample getting some speed modulation, into a VCA opened by zadar, into stinggy filter bandpass with high res, diode clipping, and distortion. That goes into fx aid grey hole heavy. The whole patch is driven by a krellish thing using maths, ochd, and sloths. That is driving 8-bit cipher and permutation as well as stepped random from kinks.
Both comb outputs from Res EQ into mimeophon. One output of Res Eq into erbe-verbe, left out into Res EQ in 2, right into mix. Cs-L lower final into Res EQ in 1. Using the Cs-L wavefolder as a VCA as well. Exp FM from Cs-L upper, also mult is going into optomix. Control from maths, ochd, compare 2. Patched in some drunken walk from quadrax to fold symmetry and changed waveforms in the mult section later in the patch.
A whole lot of random stuff mashed together. Buried in the mix is the neat technique of runnning a square wave through an allpass filter to make it foldable. That's the drone on the right, from Cs-L lower. Cs-L upper is going into the fdbk in on ultrafold. The LP output from polaris is going into angle grinder, VCA, resonant eq, erbe verbe. EV size is being modulated by rene, clocked by mimeophon. Into mimeophon is pinged stereo diploe into springray (this also goes directly to the mix) on the right, into the left is the drone on the right through optomix, being struck by a burst from quadrax. The hole mess is controlled by ochd, compare 2, contour 1, sloths, but mainly permutation. Mimeophon is getting color, zone, and hold CV and is being both skewed and pingponged. It's being clocked by the EOC from the quadrax burst. Soundstage final VCA (everything but the stuff from angle grinder) is getting AM from filter 8.
A second take. Added in some more weird effects in er-301, some panning weird noise, a rythmic pulse. Had a ton of trouble with the bwaaaa for some reason. No idea what was different.
Started out as a simple test of some new modules. Generate 3 fundamental through ultrafold into one part of optomix, full through two stages of tanh3 into the other. Triggers (with mutes) on the strikes, envelopes from maths on the ctrl inputs. Everything controlled by 8-bit cipher. Both outputs are panned hard left and right into lrmsmslr with side into springray (with slots controlling feedback, also through tanh3) and mid into a delay on er-301 with one of the cv outs from 8-bit cipher through a slew limiter controlling delay time and a divided trigger from same into feedback. One of the 8-bit cipher outs is divided by 20 and triggers Cs-L through takaab 2lpg into erbe-verbe.
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
latin revelations slowed down -> low pass -> stereo delay opens. fm'd zpo sine -> natural gate -> mimeo -> er-301 low pass w/ occasional modulation from pink noise. shaker sample -> lfo'd wasp BP -> fx aid gray hole. vortex -> qpas -> beads. ss oboes + fm -> morgasmatron -> cv panning in er 301 (later at low audio rate). Manual control from tetrapad and planar. The usual mess of generative stuff.
Both voices are osiris - normal and -2 sub out. The former through wasp, the latter through morgasmatron. FM amount on morgasmatron increased later. Samples and compression on er-301. Main voice through mimeophon. Everything clocked by rampage, melody is quantaized rampage through japanese scale. Bass clocked by two divisions, switched by a third.
First recording off the blackhole seven 60. Got a lot more out of it than I expected though the cost is lots of fiddly multifunction modules. I can imagine lots of different configurations for this case though. Main voice is plaits through resonate modulated by krach rumble. Drum beat is two clock divisions from stages anded together in kinks, into ping input of mmf fed with krach hiss. That goes into vca and then into beads as a clocked delay. Clocked modulation of mmf resonance. Rumble is benjolin with envelope for vca and LP cutoff. Final voice is unison osc from kermit. Everything through desmodus.
Melody from quantized zadar env. Plucked voice osiris -> natural gate. Side voice osiris sub -> blades (sometimes noise into Q CV) -> cva. Right voice tides -> er-301 trash tape. 1st voice through mimeophon, other two through chorale reverb with CV over vowel. Also some velvet noise from 301 for texture.
Core voices are generate 3 -> zpo zero point -> bifold. ZPO sub out is bass voice, bifold out is main voice (FM is occasional), generate 3 core out is trains of woodblock sounds. Generate 3 soft synced from zpo. Other woodblock sound is from plonk. Core control from weird rampage/rndstep/orbit 3 mess. Sequencing of various things from er-101. Wind sound is brown noise through qpas with a little modulation from ochd.
Filter pings are good. Percussion is pink noise and oscillating res eq through optomix. Everything is clocked from wogglebug. Background noise is recordings of weird feedback patches on morphagene. Main sound is benjolin-alike. Pulse from NTO is triggering s&h on noise tools, input is generate 3 fundamental. S&H out is going to EFM on NTO, generate 3, and filter 8. NTO variable out is going to filter 8. Filter 8 1/vo and resonance are being sequenced from permutation, NTO 1/vo is being sequenced from muxlicer. Everything goes through springray2.
All voices from cs-l. Final, ring, 2sub+tri. Latter through wasp, other 2 through natural gate. Bottom getting some fm from hard synced top, with some fm of its own from an lfo. Main voice through imitor, others through mimeo. Sequenced by marbles, clocked by cycling rampage envelope with speed controlled by random selected by other cycling rampage envelope. Actually it seems I never unmuted the 3rd voice. Brilliant.
Left voice is ensemble osc -> blades -> vca, Right is tides -> natural gate. Each controlled by a cycling rampage envelope, each EOC triggers teletype to get 2 random CVs, one for rise, one for fall. Left falling triggers bass which is staticly tuned SS saw subosc chord through wasp, env from quadrax. B>A output from rampage triggers teletype as a burst generator which triggers natural gate with cs-l bottom final. Extra noise from samples on er-301. Mimeophon on mix aux, whole mix through fx aid spooky.
This started out as just some flailing to try some new modules. Sequence is 3 euclidians from pams, triggering quadrax. Each is a different length and has one rest so that they shift around. 2 separate clocks run permutation and cviliziation. permutation and an LFO from pams are combined and quantized in cvilization, 2 outputs going to pitch on both cs-l oscillators. Both sines go through tanh-3 post-vca for some saturation. Sub out goes through static polaris and then vca. All are mixed in soundstage and then run through imitor versio and desmodus versio.
Initial voice is SS Vocal6 bank, 2Oct chord -> polaris LP -> quad VCA -> panned in dual xfade. Panning by cycling maths channel, modulation from ochd, volume from cycling quadrax envelope modulated by 3 channels of sloths. EOC steps permuation into E aeolian quantizer. EOR clocks muxlicer which is acting as a clock multiplier (which struggles with the irregular clock). That clocks another quantizer with the same settings, input is the same permutation sequence + a variable amount of a triangle LFO from stages. That sequences Cs-L bottom, muxlicer sequences Cs-L top (hard synced). Top is modulating bottom fold depth. Final out goes through stereo bipole -> stereo VCA -> mimeophon. Both voices mixed into FX AID spooky reverb.
Boosh is some kind of nonsense with a slowed down cymbal sample. It's ring modulated by the final from Cs-L, which is getting FM from an envelope that is triggered at the same time as the sample. Voice that comes in on the right is LIP -> stinggy, modulated by Kermit 3. Banging is a snare sample, slowed down, ring modded, LPd. Occasional warble coming in is generate 3 with fm from filter 8 through VCA and then Res EQ. Main noise is SS -> optomix -> morgasmatron high pass -> mimeophon -> FX aid blackhole.
The name popped into my head after I had the full patch running. The background sound is a tiny loop of the duke 3d soundtrack slowed way down, through 601 and then mimeophon. 601 is being modulated by sloths. The mechanical clanking is another, tinier loop of the same sample, through optomix. An envelope follower from 601 is generating gates from a carefully tweaked compare 2 channel. The FF is triggering the clank, the out is clocking a stages LFO which multiplies it. That clocs permutation to generate a sequence for Cs-L. That's just the final output with some light linear FM from an LFO. That goes through a static polaris for fadeouts and the black hole. The electrical bits are random gates triggering LIP which is recorded in 301 and the recording played back with manual loops. Both of those bits go through a HP and then reverb. Later compare 2 is tweaked which throws off the timing for the main sequence, which is in b minor.
Wierd self patched mess. Center voice is Cs-L -> morgasmatron, bottom fold into ring. Some FM on top, controlled by sloths. Various wigglings as time goes by. Panning voice is Dixie2+ sine -> crossfold -> wasp. Wiggling of fold amount, wasp Q and LP/HP mix. Slew on dixie pitch is contour 1. Control is weird self-patched maths mess triggering 8-bit cipher. One voltage from that is controlling times of the math channels.
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.
Begins with weird distortion patched from generate 3 (input into tzfm) modulated by ZPO. That goes through mimeo and then qpas. Kick is sample on er-301, 8/5 euclidian. Snare is noise plethora -> vca. Rhythm is 7/4 and fast clock anded with that, alternating between the two on snare hits. Melodic voice alternates between slower clock and faster 4/3 euclidian. Melody alternates between max of two cycling modulated envelopes and rarely selected random. Japanese c scale. Voice is SS -> natural gate -> terci ruina. Good mood on this one.
Best thing I've done in a while. Lead is osiris -> blades -> mimeo. Drone is LiP -> wasp. Kick + snare are samples on er-301. Weird glitchy sounds are noise plethora -> vca. Lead is sequenced from kria, drums from steppy. Some minor CV modulation from mimetic digitalis. Overall patch controlled by tetrapad voltages mode.
Rhythmic track driven from pamela's new workout. Initial sound is both triangles from cs-l, exponential cross mod, mixed/opened in veils, filtered and distorted in blades. Light modulation to cutoff from hypster. Warbly thing is 2 octave sub from cs-l through wasp with drive and resonance cranked. Freq is at min at opened with envelope from quadrax. That goes into delay vowel on fx aid xl with sample rate reduced a bit and stepped random to vowel. Kick is sample on er-301 through clocked delay and then distorted and filtered in 603. Bell is rings with wet/dry mix in 2x crossfade with flexshaper (with cs-l upper pwm to mid-up) added for fuzz. Light modulation from ochd to fm and brightness. LFO from stages modulates wet/dry on beads. That goes into clocked beads for pitch shifted trail. Right side voice is ensemble oscillator into natural gate with euclidian attenuated into warp. Left side voice is shapeshifter sine with unquantized fm from chirp2, 5th chord, into fold. Sequenced from pam's stepped random through aeolian c quantizer, but not tuned. Whole mix through fx aid black hole.
Made on little er-301/teletype system. Droning voice is single cycle with cello waves with a second one tuned up a fifth later. Main voice is formant osc through lpg. Snare and cymbal are samples. Main sequence is short manual sequence with octave up on a euclidian and later randomly adding scale degree. Value of param knob is added to scale degree.
Track made with help from Brian. Base is PH3->603, sequence from quantized planar. Snare is noise through 603, boomy drum is plaits, clicking is 603. Organy pad is SS vocal5 m3 chord through clouds, sequenced with 4 steps from stages. Final voice is SS basrec->polaris->VCA. The entire track is orchestrated with tete/tetrapad voltages mode, mostly toggling mutes/VCAs.
Quick little track. Sequence from marbles + bass sequence from stages (marbles clock /8). Kick and blips are pinged ADDAC 603. Blips are crossfaded dry with tanh -> kinks full rectification. Hats are white noise through the last channel of 603 -> VCA, env from quadrax, marbles modulating release. Bass is loquelic -> terci ruina -> VCA, env from maths.
The name? No clue. Background weird ass prop drone is generate 3 getting EFM from audo rate hypster and also 0FM from Cs-L. All lead voices are the various outs from recombination engine - center is built-in VCA, left is positive through optomix, right is negative through optomix. Left and right are euclidians from pam's, center is slow euclidian switching between two clock speeds in paths. Recomb is getting some FM to negative from hypster, FM to positive from sloths, PWM from entropy smooth out. Fast hats are from plonk, pinged sound is stereo dipole with a different gate out from permutation to the FM of each side. That goes through mimeophon. Everything but the drone mixed in vortices and through DV.
Just a quick recording of an ok patch before tearing it down to try other things. All voices from Cs-l, one osc sequenced from permutation, the other from a sequence derived from that using flexshaper. Flexshaper is modulated by a cycling maths channel. All rhythms from pams or permutation. Center voice rhythm is straight clock and permutation output in sequential switch. That voice is Cs-l top PWM+final into filter 8. The other two are lower final+sub and pwm. Both through optomix. Drums are all samples on er-301. Center voice through lyra-8fx, side voices through mimeophon, everything mixed through mscl and then DV.
CVilization was really pissing me off, the reset behavior of the switch is really unintuitive and the drum track not in sync for some insane reason. Bass is SS through optomix, sidechained by kick which is EQed kick sample from er-301. All the other voices are from Cs-L. Top hard synced to bottom with envelope to upper FM. Middle voice is upper sine -> flexshaper -> multiply -> polaris -> vca. Side voices are lower final -> pinged optomix and lower square -> enveloped morgasmatron -> vca. Melody is a CVilization switch sequence that goes constant (which I improv a bit with) -> muxlicer sequence twice with different levels -> permutation sequence several times with different levels. The other channels of cvilization switch the kick between a permutation output and a steady clock. The side voices are using permutation gate outputs. Everything quantized to D phrygian.
Cs-L lower cross FM sine into portal. Euclidian gating upper sine intobias. Euclidians into feedback and wrap. Wrap and spike outs mixed into DV. Output sidechained by morgasmatron kick. Vulgate revelations through enveloped VCA into 603 with distortion maxed, two channels out as stereo. Same vocal sample and Cs-L mix into fold 6 -> filter 8 as additional noise brought in later. Cs-L upper sequenced by muxlicer.
At this point I'm just using the first thing that comes to mind for names. Sequence in muxlicer with last step from unclocked LFO, mixed with clocked LFO. Rhythm for main voice is euclidian 15/x where x is changed by hand a lot. Hat is sample triggered by clock with random skip, kick is sample triggered by steady clock. Weird other voice is another euclidian. Main voice is Cs-L bottom PWM+2sub into optomix. That goes through flexshaper for distortion with dual xfade for wet/dry. Other voice is Cs-L top hard synced to bottom, tri out, with static filter to take the top off. Everything mixed and EQed in er-301 with an additional clocked delay that is brought in sometimes. Stages faders used as level controls in 301.
Feelings of both 'where did this name come from' and 'why do I have a big system?'. Backing sound is SS detuned saw chords (octave, suboctave) -> polaris (controlled manually). Other two sounds are Cs-L lower with very light FM from LFO upper. Droning sine and final through optomix. ochd into fold symmetry and amount. Pitch for backing from mimetic sequent using a euclidian for measure, mixed with another slow pams channel before quantizer. Other voices sequenced by permutation. final->optomix voice using two different pams outputs with 25% skip, switched manually. SS envelope triggered by either the MS clock or a euclidian that also is using quadrax to open internal FM. Switched manually.
Kick is morgsmatron sample, clap thing is white noise -> polaris BP -> VCA. Everything else is Cs-L. First voice is saw through Res EQ. The rest are final through 603 with each band into a separate VCA with different panning. All from top osc, hard synced to bottom. Top pitch from muxlicer. EOC triggers MD X. MD T triggers contour 1, with MD 1 changing fall rate. Contour 1 opens FM index on Cs-L. Trigger pattern for 603 voices from permutation.
Quick little jam. Kick is a sample from morgasmatron on er-301. Hats are filtered noise. First voice is Cs-L top final through optomix with kermit mk3 tempo LFOs controlling fm/fold amount index as well as another optomix channel with a soft synced waveform intofold offset. Second voice is just SS dstr3 through morgasmatron. Everything but kick mixed and run through DV.
Can't believe this actually worked. Two channels from MD into the inputs of Compare 2. All outputs but the nots going to both optomix strike inputs and all 4 quadrax envelopes. 6 outputs from Cs-L, some through filters or other processing, into all those channels. The other 2 channels from MD into the pitch inputs of Cs-L. All outputs mixed in soundstage -> mimeophon -> DV. Sometimes a euclidian hits the random input on MD, and another channel from pams hits origin to keep things on track.
Kick is morgasmatron into clocked mimeophon, bass is SS dstrt3 with fold into polaris. Sequenced by MS, triggered by a euclidian from pams. Leadish thing is LiP PM mode, sometimes switched to VO, sequenced by muxlicer, using switchblade to change sequence length. That goes through stinggy filter. Both of those into DV. Weird high sound is triggered by muxlicer EOC, snapping Q on morgamsatron which has white noise going in. Also opens a VCA. That goes through FX AID chorus->reverb.
generate 3 through 603 and vca, through ultrafold and optomix, and Cs-L. With mimeophon and DV. Notes from stages TM segment. Plenty of euclidians.
One of my most complicated patches. B minor chord droning from SS - dstrt2 bank, slightly detuned, slight modulation to shape and fm amount. Sample is played through addac 603 and then uburst, occasional envelope to bandwidth on one filter, lfo to cutoff of another. Cs-L lower final through VCA triggered by one euclidian, Cs-L upper final, tuned a 5th higher, through another VCA triggered by another euclidian. 2 oct Cs-L sub through stinggy filter comes in on a slow clock. Cs-L AM out through optomix -> mimeophon for tribal percussion. Another rhythm triggers LiP for more percussions. Main Cs-L outputs and LiP through DV. Randomly sequenced generate 3 through ultrafold -> VCA -> black hole reverb is the last voice. Could probably use another take - the key change didn't work as well as I hoped, and I forgot I had a slow clock patched through a mute to the FSU input on DV.
Main voice is piston honda mk3 through polaris with 2 quadrax envelopes opening the VCA and the filter. ochd modulates x and y. The melody and rhythm come from 3 gate patterns (and nothing) into one side of paths and 3 signals (lfos and noise) (and nothing) into the other side. Both sides are set to random step and are triggered by a slow clock. The output of this voice is multed through stinggy filter and a dub looper -> manual grains -> spread delay -> filter chain in er-301. A crossfader from tetrapad operates the filter cutoffs to switch between them. Manual grains parameters modulated by diode chaos. Kick is morgamsatron, hat/snare thing is noise through morgasmatron. Drone is shapeshifter -> erbe-verbe -> stereo dipole. Slight bit of shape modulation on ss from sloths but most of the movement is wiggling and instability from fm->pm crossmod.
Eh. Managed to knock cs-l out of tune in the middle and then scrambled to set it back. Not good enough to rerecord. NTO->terci ruina->reseq->vca->lyra8fx->erbeverbe is one voice, pinging filter 8 is another (with a trigger sequence made using a switch), and the last is Cs-L into optomix. Sequence is from permutation and then 2nd two voices get theirs from that via shifty.
Weird drone that starts first is a weird mess of joranalogue modules. At various points tetrapad + select 2 is used to switch some modulation from contour 1 to the kick. Main voice is Cs-L ring mod with the top hard synced and pitch linked with various modulation to expo fm of top. Mult out goes into VCA and then all stages of terci ruina, then mimeophon. Sequence is from Permutation. Hat sequence is muxlicer, sound is just white noise through polaris into VCA, with no envelope. Kick is morgasmatron as usual. Everything is driven from pams and everything but the drone is mixed in soundstage with some AM from angle grinder.
Background drone is SS fold and out 2 into M/S inputs of LRMSMSLR (!) and then into FX Aid black hole. SS is being modulated by ochd. It's being sidechained by the kick which is plonk 4/4 into erbe verbe. Bass is Cs-L saw into polaris. A saw LFO and some stepped random modulate the cutoff. The main voice is generate 3, sometimes with PM from filter 8. Even is ring modding fundamental, odd is being modulated by ochd. That is going through wasp. The sequence is permutation through a E minor quantizer, the pattern is a clock from pams and 2 gates from permutation into a switch. The main voice goes through mimeophon. I though of a bunch of additional things I could do after recording so I might do another take.
Good times with teletype. Bass is piston honda root, 5th, octave mix into 601 with 2 bands being AMed by the a&b outs. Sloths modulates other bands plus Y cv. All of that goes through LXD and then clocked mimeophon. The sequencing is teletype selecting c# minor pentatonic notes and sometimes adding an octave. Every 4 notes it changes the clock division between 1, 2, and 4. With 4 being half as likely. The other voice is Cs-L final, triangle, and sub square through filter 8, all crossfaded in planar 2 before the VCA. VCA env is multed to the filter and fold cv. Sloths is touching fold symmetry. The melody is generated in the same way as the other voice, the rhythm is two euclidians XORed together with the fill of one of them changing based on a tetrapad switch. Kick is plonk 4/4 with saturation, snare thing is a weird feedback sample on er-301 through a vca.
Sequencing from marbles and teletype. Voice is generate 3 core and fundamental into crossfold, using it as a VCA. That output goes gets a dry/wet mix with addac 601 in planar 2. One of the 601 bands is getting AM from the generate 3 even output. Kick is dixie2+ and hat is pink noise into filter 8 bandpass.
Making actual music is hard. Really short because I figured I would just ruin it if I spent more time on it. The interesting part is the drums. The big one is just the gate run through crossfold into erbe-verbe. The smaller one is just pink noise through a highly resonant bandpass. The sequencing is two euclidians, alternating using switchblade, xored with a third, for the big one, and ored for the small one. The lead is just Cs-L lower final ring modded and slightly linear FMed by the upper in LFO mode, with pitch linked. Background sound is piston honda through filter 8. The rhythm modulating it is one of the alternating ones in switchblade.
A track using only filters (and noise) for sound. Filter sweep is oscillating polaris with multi distort in terci ruina into filter 8. Occasionally feedback FM from filter 8 to polaris is applied. The kick is morgasmatron being pinged and FMed by the same contour 1 envelope. Hat/snare/whatever is pink noise into highly resonant morgasmatron BP. Lead is both halves of stereo dipole being pinged together, one FMing the other. That goes into a clocked mimeophon. Sequence from marbles.
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.
A bunch of different CV into let's splosh with some outputs feeding back into the CV sources. Controlling a bunch of stuff, mainly Cs-L. Delay no more providing PT delay breakup sounds.
Ochd->compare 2 pinging morgasmatron. Sloths occasionally pushes morgasmatron Q into self oscillation to make the bird calls. Maths envelope opening optomix also controls pitch. Everything through mimeophon.
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.