Wow! Sounds very classic. And man… PPG the Great!

Such an excellent track! Found it in an old thread on GS regarding PPG Wave synths.

A little demo of how to get complex seeming counterpoint out of a single note sequence (here just a minor ninth arpeggio) and the Verbos Harmonic Oscillator. No echo here, just different partials with different gate sequences and a couple of no-feedback delays on two of the partials.

VHO Counterpoint Demo

as promised to people that pm'd me.
made approx 2006-07

feat Kawai K5m

2nd Neotek Test Trac Omc

Audio demos for the upcoming Tasty Chips Electronics GR-Mega granular workstation. For more info: www.tastychips.nl

1 Time Vortex [Sampler + Chord Memory]

part two of one-take ambient improvisation. spring 2014.

© & ℗ HDS ZAMP, Tomislav Babić

Astronaut of Featherweight (part two)

Akai ax60 extended

Kawai K3 - Analog Brass
Cutting K3 brass sample with soft solo parts inbetween. The instrument’s dynamic range is impressive.

Kawai K3 - 3 Track Layer
3 Kawai K3 tracks. Organ-like sound, random filter modulation effect and PPG-like track.

Kawai K3 - Robert Wittek Patches
Part of Robert Witteks excellent K3 audio workshop. 

Kawai K3 - Stereoping Live Editing 
Stereoping programmer used for K3 realtime-access. This knob-per-function environment turns the Kawai in a much more flexible musical instrument.

Kawai K3 - Vangelis
… sure, this is no Yamaha CS-80. Anyway, the K-3 can produce some tasty lead sounds à la Vangelis.

Kawai K3 Robert Wittek Patches

The first half hour with my new Grendel Drone Commander 2 (Eurorack format + expander) yielded a quite non-done-ish result ;-)

Grendel Drone Commander 2 -- First Tune

(combination of earlier sketches)

The Cwejman MMF-1s is the only sound source in this patch. It is pinged with a short pulse of the Modcan Quad LFO, this is first cranked up with the Cwejman DP-2 and then fed into the audio input of the MMF-1s. The MMF-1s is set to dual bandpass mode. The resonance was modulated by a Cwejman D-LFO. The D-LFO was in random shape mode (2nd from the top) and synced with the Modcan Quad LFO. This creates the tremolo-type effect in the resonance of the MMF-1s.
A Turing Machine (Hybrid v2) was patched via a uScale to the CV1 input of the MMF-1s and creating the pitches. One of the other outputs of the Turing Machine was routed to the ‘Spacing’ input of the MMF-1s. This created the double tone/resonance. Often a bass type sound combined with a stead pulse/click in the higher frequency regions. Once I heard a pattern I liked on the Turning Machine I locked it and continued wiggling the other modules in the chain. This is creating the repeating pitch/timbre patterns.
The ENV-F output of the DP-2 was routed to the CV Mix input of of the MMF-1s and creating more percussive attacks.
The VCA-MIX output of the MMF-1s was split, one line going straight to the Cwejman MX-4S mixer, the other one was going into a Cwejman FSH-1. This module was in ring modulator setting and also receiving pitch information in CV1 from the Turing Machine.  The stereo outputs of the FSH-1 were then routed to the MX-4S. The FSH-1 levels were quite low on the MX-4S in the faster sections, and more prominent in the slower movements.
These are six excerpts from the same live patch, no multi tracking. I’ve cut up to them to make them slightly less boring and alternate the tempi. Recorded in one go into ProTools. A bit of limiting and reverb added.

Pinging the MMF-1s

Percussive patch featuring a Cwejman RG-6 as the rhythmical brain. A trio of Cwejman FSH-1, RM-2S and MMF-1S are used as sound sources, modulating each other, and shifting between skin-type sounds and glassy or metallic tones. The FSH-1 is wiggled between ring-mod and freq-shift modes. The MMF-1 is in dual slope mode and its spacing and resonance are modulated by the RG-6. The RG-6 also modulates the rate and lag of a Cwejman NS-1. The S&H output of the NS-1 is routed to one of the audio inputs of the FSH-1. The gate output of the RG-6 triggers a CV-CTG that feeds a percussive pulse to the other input of the FSH-1. A Turing machine is synced to the RG-6 and locked into patterns, its Seq output modulating the pitch of the MMF-1S.

Recorded straight into ProTools via a RND 5059 summing mixer and Prism ADA-8XR. No overdubbing. Bit of Reverb (Adaptiverb) and limiting (Ozone 7) added.

Shards

Just a little drone for the sad boys and girls and nonbinary sad folk.

Droneboy

here is a download gift / sneak tease for the fans, to show the kind of quality I'm extracting from my old cassettes using mega high quality cassette decks.
Because I've added vari-speed, I get to choose what speed I encode them at, I've done a few different versions of all my fave ones and it's usually just what I think sounds good at the time or just different to what I'm used to.
This one is from a That's cassette labelled copy III , i used a lot of the VX90 tapes in that period of my life.
It is the 12th track on side a.
Even though I used to write COPY *.number, they were actually the original masters.
Think was one of the first tracks that had a small section with intentional microtuning, [harmonic series sec]
Encoded with Nakamichi CR7e cassette deck.

+added, it cuts out at the end coz the tape ran out :)
I remember sometimes recording tracks to cassettes, I'd be looking at the cassette nearing the end and try and finish the track before the tape ran out :)
bit different from todays recording methods .

earely cassettes

a12. ab3 .215061.

freelance composer - music for film,tv & theatre.

this account mostly contains electronic improvisation pieces and few synthesizer demos.   for theatre scores and contemporary music visit www.babic.com

Astronaut of Featherweight (part two)

Clusterchord

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