Nice

beautiful stuff i run into on muffwigglers or just browsing soundcloud looking for module demos etc.

modular synth pieces

Awesome ambient & soundscape

demo of Synthesis Tech E340/E350 polar opposites

E340/E350 experiment

2 Track live. I boiled my system down to 1 6u case to play with a Qunexus.  Besides a little reverb, all the ambience is provided by the Wow and Flutter, which is on the "lead".  The envelope follower seems to push the delays slower into nearly inaudible range while the line is playing and then springs back in the gaps. Also, the WET output feeds an LPG to create the "tuned percussion".  The lead line itself is e350 played through an SOB.  Qunexus pitch straight into the 1v/oct, gate into the SOB vactrol input.
I used the PTG to "pluck" the Verbos filter (verbos vactrol response very fast by itself) The extra control and life the PTG brings makes me wish SSF would just make a damn LPG. Pressure points/brains combo plays with the snare pitch and fm amount. SSF mix mode saturation is all over the place..the Verbos also saturates nice too.

Clock - Noisering
Triggers - Triggerman
HiHats - TipTop808
Low end - Subcon M15 Fm'd by the morph output of 2nd M15 through Verbos amplitude and tone controller.  
Snare/Rim - subcon m37 fm'd a bit, optomix.
Tuned Percussion - WET output of Wow and Flutter through optomix. 
Main Line - e350 morphed by slew'd Noisering.  Filtered by SOB. Run through Wow and Flutter.

Disarray

Generative patch with lead voice created by wave folding a filtered oscillator.

Bark Lee Bug Face By Dcramer

Fields

A pensive semi-ambient track, based on an 8-bar mostly generative sequence that changes slightly with each repetition.

The sequencer is generated by using a Doepfer A189-1 in XOR mode (mode 4) to transform the Verbos Voltage Multistage's Ref output into a more complex pattern, which is then quantised to form a melody. The VM's two CV outputs drive the A189-1's BC CV and a VCA between the Ref output and the A189-1's signal in. This means that each step of the VM has a different variation of the main melody, creating an 8-bar motif with common elements. The Ref out also pings a PEG channel, which is used as a clock multiplier to get 8th notes to trigger the A156 quantiser.

Further variation comes from the fact that the CV driving the VCA that attenuates the Ref output ALSO goes through a VCA! This is modulated by an A149-1's 2^n output, which is clocked every 8 bars to introduce slight random variation into the range of the melody.

The main melody is played by a Braids in WTBL mode, using its internal envelope to drive its own VCA as well as Timbre, into Erbe Verb. The Color is modulated by the A149-1's bottom half, clocked so that each bar is played using a different wavetable.

There's also a sort of bassline sequence that chugs away (Rubicon saw, double saw and sub into Pitts Filter), using Klasmata to vary its rhythmic sequence (with Klasmata's Fill CV driven by VM's CVb). Finally, there's a dirty kick drum (Pitts Generator into Optomix, opened by Maths) and hi-hats (white noise through resonant HPF into Optomix). The rhythms of those come from a combination of clock dividers, logic and Turing Machine.

Sun 189

4 vco, nonlinear circuits 329 phase/flange, lfo

Phase Drone

I'm using the S/H out of the modulation to get noise FM of VCO1 and VCO2. 

This is kind of a complicated patch. The S/H can get some cool noise sounds when clocked at audio rates, but you need to use a fair number of patch cords to get the most out of it:

- KB OUT goes into the MODULATION RATE IN
- MODULATION WAVE OUT goes into the NOISE IN of the mixer.
- Turn the MODULATION RATE up to a useful frequency / chord interval.
- MODULATION S/H OUT goes to the ATTENUATOR INPUT
- ATTENUATOR OUT goes to the HIGH PASS INPUT
- HIGH PASS OUTPUT goes to the left side of the MULT
- Take two patch cords from the right side of the MULT, and put them in the PITCH IN of VCO1 and VCO2

By adjusting the ATTENUATOR level, and the HIGH PASS cutoff, you get some really cool noise modulated VCO sounds. I tend to adjust the amount of modulation via the HIGH PASS cutoff. Higher cutoffs result in a subtle noise modulation, while lower cutoffs turn the VCO into more of a pitched noise signal.

3 tracks: the moving chord, and 2 higher drone notes.

GrandmotherNoiseMod

very simple patch of two wavetable oscilators slightly off tune to get the frequencies beating. frequency bands on the serge resonant eq are then tweaked by hand. 

Serge Resonant EQ Beat Frequency Drone

Both of the comb outs on the Serge Resonant EQ fed back into the inputs and the out straight to the DAW. Nothing else in the modular signal path except an attenuator for control. Once inside the box there was reverb, delay and panning to taste.

Warning: This is pure feedback it gets pretty full on. Watch your cones!

Disarray

_madcap_