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

(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

I usually have fairly detailed notes, but honestly, I played some notes, changed some settings, played some more guitar, changed some arpeggios.  Toward the end of the guitar section, I use my favorite setting, which is a fast speed, with the octave up and the envelope mode.  Call it the "pixie" setting.  At the end, I play a little bass and a little electric piano.  There are a lot of interesting sounds in this patch (and admittedly some not interesting ones).  Play around.

I didn't think to document it, but the patch does interesting things with chords.  Most of the time, better than I expected.

Arpulator

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 try out a few different sounds.  The only aspects of the clip not available via the front panel are the second patch (I used a basic arpeggiator from a MIDI controller) and later on, where I changed the shape of the filter LFO to a fast random LFO, lightly applied.  The last clip is an example of the default settings of the patch.

PolyPoly

Sound clip:

0:00-1:10--Rhodes from Yamaha CP-1, recorded directly.  
The first sound is the sample in its entirety, then I apply a slow attack envelope to give it a more "bowed" sound.  Then, I demonstrate polyphony, as well as the aftertouch vibrato.  Notice the quaver!  So quaver-y!  I follow that with a more dramatic performance of the vibrato (this is at about ~.600 on the vibrato amount, it can go even farther).
After that, I slide down a few octaves to show how the distortion/"crunch" that comes from the sample-stretching can make some nice bass sounds.  I follow that up with a demonstration of the aftertouch pitch sweep, here sweeping up.
1:10-2:05--Our old friend the cello sample!  First, the sample as recorded (and trimmed), then a demonstration of polyphony.  After this, I apply some subtle tremolo.  Then, I use a very light tremolo and some aftertouch vibrato to make the sample more "lively."  Then, some... not very light tremolo is applied.
2:05-2:18--I use some pitched toms and a dramatic pan spread to show one application of the feature.
2:18-2:53--A sample from... I think it was a Prophet 08.  Some synth.  I'm trying to ramp up the pan spread as the sample plays, but it's too short for me to do a full sweep, so I keep repeating the note until it's maxed out.
I use the same sample to demonstrate a pitch sweep, this time down.  As I release, the pitch sweeps back up.
2:54-3:57--Okay.  I never, ever use other effects for demos.  It's a choice, not an accident, that my demos sound dry as bones.  I want someone who downloads my patch to know what it sounds like with as little processing as possible, so they can imagine how they might use it.  So I go direct in to my Komplete Audio 6, and right to recording.  But, I just couldn't resist...
Acoustic piano with plate reverb from an Eventide H9.  I demonstrate some of the velocity sensitivity (as well as I can in its current implementation).  Then, I remember, "Oh right, it does reverse."  So, reverse piano!  Which the plate reverb sort of struggles with, if I'm honest.  But it sounds pretty with the forward piano!

Sampoly6

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

MoodyAfternoon2

Sound clip:

0:00-0:27 -- resonance at ~.8 for a shorter sustain.  You might hear a "chirp" from one of the later notes--there's a little glitchiness that comes through the filter every now and then (I think it has to do with where in the sawtooth's cycle the VCA opens, but I'm not sure).
0:28-1:10 -- resonance at 1.  It ends up somewhere between a toy piano and vibes (and maybe a bit synthetic, but I like it!).
1:11-2:00 -- delay on (resonance at about .85, if I remember correctly).  I play around, then loop the delay, finally I allow it to empty by unlatching the stompswitch.
2:00-2:20 -- some of that deep bass (use headphones!)
2:20-2:33 -- "wooden block" sound, with resonance at ~.6.

toy piano

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

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

0:00-0:28 -- First I use the envelope follower to control the crossover point (note the distortion produced by the envelope follower).  Then I switch to the ADSR to create a sense of "movement" behind the tremolo signal.
0:29-1:00 -- The LFO is used to modulate the filter separation, creating a sort of phase-tremolo.  Then, I change to an ADSR, which gives the sound a sort of "rising" sensation.
1:00-1:16 -- Using the envelope follower to affect the rate of the tremolo.

Env 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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