Patch notes:
Pad: Plaits using a swarm voice from custom firmware. Harm and timbre at 10:00, morph at 4:00, sequenced with simple four step line from BSP, goes into Neutron VCF with freq at 1:00, mod depth at 11:00, modulated by a 7 second triangle LFO from Stages.

Lead: Rings in red mode with full polyphony. Shape at 9:00, bright at 10:00, damp at 9:00, pos at 9:00. Sequenced by TB-3po from Logarhythm's Hemisphere fork in major pentatonic, normally at full density. Damp and pos modulated by relatively slow double scroll segments from Stages. Bright modulated by slow triangle LFO from Maths.

Kick drum: Triangle wave with frequency controlled by decay envelope from Stages into VCA enveloped by another decay from Stages with a slightly longer time, both at full exp. Four on the floor via BSP.

High hat: Noise from Neutron into Moddemix enveloped by decay segment in Stages on sixteenth notes with time modulated by Maths with rise and fall at 2:00, full exp, triggered on quarter notes. The key here is that Maths peaks around the back beat, but is slightly off, creating dynamics when combined with Maths re-trigger prevention.

Freezing: Rings is fed into Monsoon which is fully dry most of the time. A very slow clocked bipolar LFO from Stages (something like 1/64 of 1/64 of a quarter note...) is amplified 2x by Maths 2nd channel, which is multed into Monsoon's 1) wet/dry, 2) comparator in hemispheres which goes to Monsoon's freeze (compare level at minimum, 3) the inverter on the Neutron into att 2 into the density on TB-3po, and 4) the reset on TB-3po. The trick here is that Monsoon starts to get a little wet, freezes, then density on TB-3po drops, then TB-3po gets stuck (and reseeds) as Monsoon goes full wet. Pos modulated by double scroll segment from Stages, size modulated by a sum of right channel output and a slow double scroll. Left out is fed into mixer.

All mixed via AI matrix mixer, fed into FX Aid XL on Delay into dual shimmer, with delay at 2:00, feedback at 10:00, shimmer at 3:00, and dry/wet at 11:00.

Groove Cut

Patch notes:

Voice is FM mode on Plaits, freq ~9:00, harm ~9:30 (modulator tuned to clean subharmonic of carrier near that point). Timbre at 0, but modulated (attenuverter at 3:00) by a double scroll segment from Stages (custom firmware) with 50% frequency. Morph at 3:00.

Melody is generated by TM segment from Stages quantized to minor pentatonic by a attenuator segment with attenuator at 50% (should span ~4 octaves). The density of the notes is controlled by another TM segment, modulated the Stairs app from Logarhythm over 32 bars via a VCA on Veils. The TM is converted to density via a timed pulse segment on Stages; TM -> level, clock into gate, with time set to less that a clock pulse. That's then multed to an AD envelope (on Stages) and the quantizing attenuator segment's gate. Thus, an envelope will trigger and a note will hold when the TM is above a certain level, controlled by Stairs via the VCA. This creates the increasing density of notes over 32 bars. Envelope has a relatively quick attack and mid decay.

On Stairs' BOC trigger, a long pulse is sent to the melody TM's probability (via a timed pulse segment in Stages), randomizing the melody every 32 bars. Rhythm stays the same, though this was an oversight TBH. I had intended to randomize both. Oh well.

Clock is from o_C's internal clock, bpm at 22 x1. The core clock for the melody is then from a x16 clock multiplier (range expanded via custom firmware). This locks Stairs' steps into bars while clocking the melody off 16th notes at 88 bpm.

The drone is created by sending Plaits' suboscillator out to a Warps (parasites firmware) in frequency shifter mode (harmonic mode green), with big knob turned to 11:00, timbre at full, lvl 1 at 4:00, and lvl 2 at full.

Drone and melody are mixed and sent to Monsoon. Pos is modulated by a fast, bipolar double scroll segment on Stages. Density at ~40%, size at ~80%, texture at ~20%. Pan cranked up, feedback at 11:00, reverb at 11:00. The wet/dry is flipped every 32 bars via a two step sequencer in Stages. It goes from just below half to fully wet, creating the alternating melodic and spaced out sections.

Density

Sequence: i-III-VII-VI chord progression via two 4 step sequencers in Stages into a custom O_C hemisphere applet. Clocked at some mid-level BPM (from Stages).

The rest of the patch is Beads -> Rings -> Beads via the AI Matrix Mixer. Out R and Out L of Beads are hard panned to audio output, and are summed to Rings' input.

Rings is in orange mode with fully polyphony. Freq is 3:00, shape 1:00, brightness 3:00, damp 3:00, and position 2:00. V/oct comes the above sequence.

Beads is using the sun scorched tape mode with time at 8:00, desnsity at 9:00, size at 2:00, shape at 2:00, fully wet, reverb at 12:00, and feedback at 10:00. Time, size, and shape each have attenurandomizers at 10-11:00. Pitch's attenurandomizer is just barely CCW of 12:00 to give it the warbly, bent record feel.

Rings' odd output is plugged straight into Beads' In L. There is no sound source except for that created by the feedback between the two. There's is no modulation besides that provided by the attenurandomizers and the sequence.

Bryan Head