A demonstration of using the CV mixer (in averaging mode) to create a changing but self-consistent sequence.

I used three inputs:  a triangle LFO, a slower ramp LFO, and a looped AD envelope, with the LFOs modulating the attack and decay time respectively.

I passed the output into a sample and hold, then into a quantizer (range attenuated).  The sound is just a sawtooth -->VCA with a short decay envelope.

Sawtooth In C Minor

0:00-0:31--Guitar.  50/50 wet/dry mix.

0:32-0:54--Guitar.  No dry signal.

0:55-1:32--Guitar.  Pad employed.  Slow tempo tapped in.

1:33-2:10--Electric piano.  Default settings.

2:12-5:16--Drum machine.  Playing with mutes, changing loop speed & direction.  (Probably would have been more interesting if I hadn't matched the tempos.)

JoLooperExam1

Stringsploits

0:00-2:13--Guitar.  I turn on the bit modulator at ~0:20.  Anywhere else, the rest of the noise if from the sound-manglers.  I switch through different mixes, change the playback option, switch to random mode, noodle on guitar aimlessly and let the patch do the work.

2:14-4:13--Drum machine.  A lot of the above, but with drums.  Drums are panned hard to show how one channel can be used to process the other.

BasementShow

Sounds clip (Minilogue xD, running a stock patch/sequence):
0:00-0:45–Increasing wet/dry mix. Changing buffer size.
0:45-1:35–Increasing reverb mix. At some point in here, I freeze the buffer.
1:35-2:30–Playing with position and grain length, removing dry signal.
2:30-3:55–Increased reverb mix. Adjusting pitch. Changing position.
3:55-4:15–Reintroducing dry signal.
4:15-4:45–Unfreezing buffer. Adjusting grain size and buffer size.

Sound clip, Minilogue xD:
0:00-0:36--Setting layer 1, then 2, then 3, then playing over them with the dry signal.  (Not recorded, but I should have:  You can play through one of the plate reverbs while two other reverbs are frozen.  You can hear it a little as I record the layers, but I don't demonstrate it very well.  Sorry!)
0:37-1:05--Same as above, but this time I remembered to show the reverbs fading away as I cleared the layers (middle stompswitch).  (Whoops!)
1:06-1:55--Setting three layers, then using the right stompswitch to lower the mix (fading them out) then bringing them back as I pressed it again.  Then fading them out again for fun.  (Not recorded, but I should have:  You can play over this with your dry signal.  The fading does not affect the dry signal, only the reverbs.)
1:56-2:49--Using the right stompswitch to set the dry/reverb mix to 0, I record the layers silently as I play (or rather stab at some notes), then fade them in by pressing the right stompswitch again, increasing the reverb mix.

Frozen Time

Audio sample (which clips in places because I wasn't watching my levels):
0:00-2:00--Manipulating a simple synthesizer sequence.
2:05-4:30--Manipulating a drum sample.

Rando Sampler

(Um, loud.  Also, some intentional feedback.)

0:00-0:42--Just some strumming in its default setting.
0:42-1:30--Tremolo on.  It's a subtle effect (as set).
1:30-2:05--Vibrato off.
2:06-2:43--Feedback on.**

Isnt Anything

Sound clip:

0:00-1:05--Old NASA audio.  The first part is spent in "grain" mode, moving around the sample.  At the end, I switch to "multi-grain" mode.
1:05-2:20--Harp clip.  Again, I begin in "grain" mode.  For this section, I make use of the "key direction" option.  Notice how the grain moves forward, then reverses, etc.  I switch to "multi-grain" to demonstrate how the patch can be useful monophonically to change the speed of a grain.  (This can be done in "grain" mode, too, with the speed control.)
2:20-3:20--Using "multi-grain" mode to generate new melodies from the ratios of speed.  Messing around with the envelope some at the end, using a much smaller grain size.
3:20-4:53--Thumb piano.  In "multi-grain" mode it becomes an alien trilling sound.  Then I introduce the "randomize" control to introduce random variations and blips (the sound of the grain size reducing to nearly nothing).  Finally, more demonstrations of the "key direction" control.

Granpoly

Sound clip:

I begin with my sample (a triangle wave from the volca Modular), but it is too long, so I take off the sample gate and use the ADSR, first with a short envelope, then a longer one.  More voices are introduced.

Next, I apply filter, using the ADSR.

Then, I demonstrate the velocity sensitivity, with high resonance, playing one note (except where my finger slipped--also I think the filter dies for a split second because high resonance isn't what Zoia does best).

I take the resonance down and apply the LFO positively, with a low cutoff frequency dialed in for a quasi-tremolo effect.

Let's try something a little different... maybe a little harp... and some reverb... (Sorry for the low volume here, damn levels, watch them)

What about a drum loop?  (Which is much louder... sigh....)

Finally, some cello with a wash of reverb lite to give it ambience.

Sampoly

Sound clip:

I begin with no pan spread, no reverse chance, no pitchshifting.

Then I change the rhythm a little, add some panning, add some reverse chances, and use the +/- 1 octave pitchshifting.

I change to the +2 octaves.  Because the loops are shorter, they loop more, and you get little bell sounds.

Then I switch to -2 octaves (this is my favorite setting) and increase the reverse chance.

Finally, I return to no pitchshifting, but now with pan spreading and reverses thrown in.

Falling Forward

Sound clip:

Doing a comprehensive soundclip for this is hard.  There are a LOT of settings.  These are just some.

0:00-0:22--I begin with one of my favorites, which uses very short taps, (probably too much) modulation, and random panning to give it a sense of depth.
0:22-0:45--This is just a quick overview of the structure.  I begin with four taps, running in parallel.  Then I add the series connections between the taps.  Finally, I include feedback loops.
0:45-1:15--I use the same rhythm as the last section, but I increase the feedback amount and disable the outputs of delays 2 and 3 to the mixer.  Because they are still connected in series, they can be heard as they echo through delay 4, creating interesting rhythms and accents.  There is also some pan spread occurring.
1:15-2:05--Now, I introduce some (very heavy-handed) bit crushing.  This is probably more than I would use under normal circumstances, but I wanted to demonstrate the effect.  Notice how clean delays blend with distorted/crushed delays.  I find the best results use somewhat subtler bit crushing and disconnect delay 2's direct output to the mixer, allowing the bit crushed signal to echo through the subsequent delay lines' feedback paths.
2:05-4:05--It also makes a very interesting looper!  At maximum global feedback, delay 1 repeats forever.  I dove into the "fine-tuning" page and increased delay line 4's feedback to infinite as well (by increasing its feedback amount to 1.000).  Bit crushing travels to delay 4 from the series connection between delay line 1 and delay line 2.  I kill the bit crushing and empty delay 4's feedback loop, then I mess around with different feedback paths, some modulation, turning different connections on and off.

Multi-i-i-i

Sound clip:

0:00-0:20--Sum mode.  100% wet, pitch vibrato flanging.
0:20-0:47--The same, but with a 50/50 wet/dry mix.
0:47-1:00--Heavy use of the "saturation" channel in invert mode to produce through-zero flanging effects.
1:00-1:17--Bounce mode.  Chorus with light modulation.  Mix is about 60/40.
1:17-1:40--Bounce mode.  I switch to my neck pickup (bridge is humbucker, neck is P90, so less "hot") and use some overdrive.  Notice the ping pong effect of the echoes.
1:40-1:54--Bounce mode.  No modulation, very light (15 ms) delay.  Begins with patch bypassed, then on, with about a 55/45 mix.  Very nice stereo widening effect.
1:54-2:20--Switch to a Wurlitzer emulation.  Invert mode, some OD from the saturation channel, through zero flanging.
2:20-2:46--Rhodes MkI emulation.  Using the invert mode, with some light modulation, to produce a slapback that gives the Rhodes a "space" to inhabit.
2:46-3:03--Wurlitzer again, with a stereo chorus using the bounce mode.

Decoratifs

I honestly can't recall the settings I used.  I know I froze the buffer a few times.  A bunch of different modulation. This patch rewards trying different things out!

ShimWow

Sound clip:

I run through each of the settings, in order.  There is a little grain position used for the second setting (-1 oct, -1 oct, -4th), otherwise the only thing effected is mix.

1.  Chorus/detune.  (I thought it was a good idea to start off with something not so crazy, plus I wanted to experiment with the setup for a detune/anti-chorus configuration.  It sounds pretty good!)  Low feedback.
2.  -1 octave, -1 octave, -4th.  Medium feedback.
3.  +1 octave, +2 octaves, -1 octave.  High feedback.
4.  +1 octave, +2 octaves, -1 octave.  No feedback.
5.  +1 octave, +minor 3rd, +perfect 5th.  No feedback.

The fifth setting--I'm not sure it's as successful with intervals as it is with octaves and cents.  That said, I did find a cool little groove that reminded me of something RZA would turn into an entire track so....

Harmonic Pixiedust

Sound clip:
0:00-0:39--Pitch setting five, no reverses, no reverb.
0:39-1:20--Pitch setting four... all? loops reversed, lots of reverb, lower ADSR decay.
1:20-2:03--Pitch setting one.  Trying to show off its "delay" aspects.
2:03-2:34--Pitch setting two.  Some reverb, about half of the loops are reversed.
2:34-3:20--Pitch setting three.  Low ADSR decay, lots of reverb and reverse.
3:20-4:00--Pitch setting five, lots of reverb.**

**The sound clips are a little quiet.  I've since adjusted some connections to make the wet/dry mix a little more even.

LoopDelayErVerb

Sound clip:

I play the various features, using guitar, and then, to show its dynamic range, I switch to... what's that?  It has virtually zero dynamic range?  Oh, okay.  Aliens!

WeComeInPeace

MoodyAfternoon2

Sound clip:

0:00-0:30: I begin with a regular square wave tremolo.  Then, I add FM modulation using the envelope follower.  Mix at 100% to show off the FM more.
0:30-1:05: Mix at 50%.  Using the ADSR to modulate the tremolo.  This results in it mostly cutting off the detuned/delayed sound of the patch, sort of "side-chaining" it.
1:05-1:30: Once again using the ADSR, now with feedback increased, so as the "side-chain" subsides, more of the sound fills out the space.
1:30-2:54: Once again using the ADSR (I like this sound!).  Now the pitch is set to 1.000 and the mix is turned down a little, ~40%.  Then, I switch to a sawtooth.  Finally, I add some FM modulation to the sawtooth tremolo.

Until Later

Sound clip:

0:00-0:23 -- I play around until I find a chord I like, then I lock it into place.
0:23-1:39 -- Then I turn on the arpeggiator, set initially to a two octave range.  I change the octave shift so that covers some lower notes.  Then I change the types, from up, to down, to random.  The ADSR is set to control the VCA, which is why the arpeggio cuts off.
1:39-2:16 -- I change the filter LFO waveform to random.  First I play a chord through it, then I switch to arpeggio, then back to a chord.
2:16-2:46 -- I switch over to a gate controlling the VCA, and I play pitch-tracked chords as the gate creates a rhythm.

Synth Guitarp

Sound clip:

0:00-0:33 -- Everything engaged, just showing off its ability to do soundscape-y things.

0:33-2:25 -- The various parts of the patch are engaged.  Notice when the delay comes on, it begins playing.  The on/offs are not "true" bypasses but rather cheats where the mixes of the effects are zeroed out.  (It saves a lot of CPU, but it does have some drawbacks.)

Then, I freeze the reverb and bypass its input while cutting the distortion.  Then I turn the distortion back on (I forget why--probably to show that the distortion doesn't affect the played notes when the reverb's input is bypassed).  Then I turn off the swell and just play over the frozen sound.

2:25-2:52 -- Switched to manual mode, just fading in a frozen sound a few times.  ZOIA's on my desk, so it's not the easiest to use this way, but on the floor, you can do some interesting things using manual mode.

Swollen Sky

Sound clip:

I honestly can't remember what I did while recording this, other than to say it begins with me using the 'degrade' footswitch control.  There are a LOT of options for getting weird with this one.

Broken Clock

0:00-0:35 -- Mode 1, without reverb.  Just a nice, basic harmonic tremolo sound.  Then I increase the depth (or maybe resonance??? not sure).
0:36-1:00 -- Now with reverb!
1:00-1:40 -- Mode 4, with a lot of modulation going on (pan, rate, swing I think).
1:40-2:24 -- Mode 2, with a light touch to everything.  Harmonic tremolo is great for adding a sense of "movement" over top of something, and here a bit of the pan helps with that.

Harmolo

0:00-0:23 -- LFO modulation.  Then I kick on the fuzz in a relatively low gain setting.

0:24-0:46 -- Envelope up.  Clean, and then I introduce a fairly gated fuzz.

0:47-1:07 -- Envelope down with fuzz on, relatively ungated.

1:08-1:52 -- Using first envelope up, then envelope down to modulate the rate of the LFO.

Candied Pecans

Sound clip:

0:00-0:57 -- I begin with a glitchy delay sequence, then begin to add the other elements of the signal path:  first, the pitch shifter, then the filter, finally the pan.
0:58-1:54 -- I changed the filter LFO's shape to random, then... just messed around, really.  I like this patch; it's easy to get lost in.  I did want to show off some of the higher multiple rates.
1:55-5:39 -- I haven't used a drum machine for a while.  So I did.  I... adjust all the things.  Just, like, so many things.  It begins with the delay sequencer frozen.

Glitch Delay

I just messed around with various settings.  Envelope up, envelope down, LFO, changing the timbre, changing the pitchshifters, etc.  At the end, I play a couple of chords with the pitchshifters set to +1 and +2 octaves.

Fuzz Synth

Sound clip:

0:00-0:45 -- Begins with a clean sound, introduce bit crushing, then sample rate reduction, then filtering, then vibrato, and finally vinyl effects.

0:46-1:55 -- I begin with a more extreme vibrato setting with the "wear" set to not reflect the "wow" LFO.  Then, I begin removing effects and increasing the mix control.  Changing around the filters, etc.

DestroyedVinyl

Sound clip:

0:00-0:40 -- Evenly spaced taps with a fairly high resonance (.300ish) and a lot of reverb--the reverb catches the resonance quite a lot

0:40-1:10 -- First with a LOT of resonance, then with almost none.

1:10-1:40 -- Experiments in inharmonic sounds (string scrapes and plucks)

1:40-2:15 -- A nice little ditty.

2:15-3:12 -- Drum machine.  Changing pitches of the filters as the pattern plays.  (It's superb with a drum machine.)

ResonatingDelay

Sound clip:

0:00-2:03 -- Increasing the time and sway (depth), then the feedback, and adding the sway mod, then bit crushing and adjusting the tone.  Finally, ghost verb is added to the mix.  I went for some extreme settings, but it can produce a pretty wide variety of sounds.

Rommy

Sound clip:

0:00-0:41 -- Some chords, then some chords without sustainer (ew)

0:42-1:06 -- Playing notes after the envelope has opened to give a sense of the 'organ-like' tone

1:07-1:32 -- User-defined pitch tuned to -7 semitones to give a different 'mood' to the patch

StringAndThings

Sound clip:

0:00-0:50 - Notes and chords played with a slow attack/release and no hold time

0:50-1:30 - Hold time increased (~ .7) so notes overlap

1:30-2:00 - Octave down accompaniment

2:00-3:32 - Manual mode with 1 layer enabled (although I use it a lot like automatic mode, so... take my word, you can hold a chord and then play over top of it, then change the held chord); for the last chord, I let it ring out the entire 60s

Sustainer

2 OP

Tesserae2

Reursion Jam 1

MIDI loop sync test:  Record to all

Recorded with "airport loops" patch for ZOIA, using a Squier Bass VI and a Minifooger Drive.  No other processing applied.

Four Basses Impersonating three Saxes and a Synth

Treter

I make things with the Empress Effects ZOIA.

chmjacques

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