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

modular synth pieces

demo of Synthesis Tech E340/E350 polar opposites

E340/E350 experiment

Single take exploration of Piston Honda (dual timbre eery stuff) and Anti-Oscillator (rhythmic) through two TipTop Z-DSPs for delay and 'verb. Also involves Borg and QMMG filters, Maths, RCD, S&H, 2 dual VCA+Inverter panners and a WMD Geiger Counter. 

Piston Honda & Anti-Oscillator Experiment Number 17: The Graveyard

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

war cemetery

Showcasing the Synth Tech E350 Wavetable oscillator - the sole sound source for this project. No filtering/EQ, compression/limiting or LPGs. Some delay & reverb is applied. 

This piece was broadcast on Dan Burke's excellent "Patchworks" program on WNUR, 89.3 (Chicago area). The complete archived show can be heard here: 
http://www.mixcloud.com/soundoferror/patchworks-7-24-14/

Mastered by Tarekith at Inner Portal Studio

Escape Velocity

this modular patch i've made is working so well i practically feel like putting it into a case of its own. this is the exact same setup as yesterday, an OP1 being processed by my "tape loop" setup in the modular. this time i'm simply playing the OP1 live and processing as it goes. the sound goes through a few interesting variations throughout it's nearly 7-minute length.

i love how distressed and worn the processing chain sounds... and now i've got some ideas to further expand on it. maybe tomorrow.

July 18, 2014 (further modular "tape" explorations)

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

From the album and audiovisual performance "False Awakenings"

Relentless and unapologetic. Like rush hour traffic inside electric wires.

False awakenings is a blend of abstract rhythmical patterns, evolving ambient landscapes and detailed sound design. Audible generative structures provide the canvas for a visual interpretation of time - motion and memory. As a measure of disorder an immersive audiovisual world is created, a temporal construct of bass, light and colour.

Premiered at FIBER Festival, Amsterdam, The Netherlands, 2015. Supported by the Amsterdam Fund for the Arts.

www.pandelisdiamantides.com/false-awakenings

False Awakenings

I Never Knew You Cared

Collect

Hailing from Moscow, Russia, P_SH is a multi-disciplinary musician and visual artist. His album "Focus Pocus" was recorded in 2007 and now 6 years later is becoming Squiggle Dot's 3rd release! Utilizing found sound, modular synthesis, dsp effects, and accoustic instruments, P_SH spins playful tapestries reminiscient of domestic life's abstract anamolies. Sputtering sample hold oscillators and highly processed children's giggles weave and splash as ominious guitar recordings trail off into the meta-physical office of the soul. For fans of Markus Popp and Nobukazu Takemura! 

AVAILBE SEPTEMBER 29 via squiggledot.bandcamp.com

https://soundcloud.com/p_sh

SD03 - P_SH - "02"

Simple self-running patch made with just nine patch cords, fed into a delay.

Ba9a

live sonic sculpting of the Buchla Easel and Hordijk Blippoo Box.  a companion piece to
https://soundcloud.com/user7621213/easel-blippoo-ambient

Easel-Blippoo Ambient III

Trying out some Cortini like timbres. Featuring Serge VCFQ and Mutable Clouds.

Sama I

They All Die In This One

Polyphonic patch featuring four Cwejman VCO-6’s and two Cwejman PH-8’s as modulators. 

Chords are played via a MIDI keyboard into MI Yarns. Four voices via Cwejman VCO-6’s. I use two outputs per VCO-6; PWM Saw, and Saw. The PWM Saw outputs are routed into two Cwejman DMF-2’s (Low pass mode), then to MX-4S. The Saw outputs are routed into a QMMF-4 (low pass/OSC SAT), those are then patched to a second MX-4S. Two Modcan Quad Envelopes take care of the velocity on the MX-4S’s. A Cwejman PH-4 pans the voices on both MX-4S’s.

Modulation happens through three modules; two Cwejman PH-8s, and a Modcan Quad-LFO.
The four Triangle outputs of PH-8 number 1 are modulating the PWM of the PWM Saw of the four VCO-6s. The Quad LFO is sending pulses through the CV1 inputs of the DMF-2s, this causes the arpeggios. 

The four Saw outputs of PH-8 number 2 are FM-ing the QMMF-4 (via a VCA-4MX). Sometimes in audio rate, sometime LFO speed. This PH-8 is in Saw -direction switching mode, one of the pulse outputs of PH-8 number 1 is modulating the Saw direction of PH-8 number 2. 

Then there is a 5th voice, the ostinato bass, this is a Cwejman BLD routed through a DP-2 for some compression, and then routed into the main audio input of the QMMF-4. I wiggle the level and at some points add this voice and mute it again.

A Cwejman D-LFO is the master clock, syncing the Quad LFO, and both PH-8s.

Recorded straight into ProTools via a RND 5059 summing mixer and Prism AD. One take, no overdubbing, just cut down in time a bit. Reverb (Adaptiverb) and limiting (Ozone 7) on the masterfader.

Hand-held sonar

This track uses the Synthesis Technology chord table to simulate a 3 voice analog shift register or ASR. As you can see in the pattern below, each note enters thru the first column & with each trigger is pushed to the next, followed by a new note behind (fuller explaination: https://learningmodular.com/glossary/asr/). Playing all these notes at once (i.e. polyphonically) produces a sequence of chords reminiscent of the Tangerine Dream sound. For distinction, each voice uses a different ROM bank/wave table but all the modulation inputs are slaved to osc1's X and Y parameters, respectively, to sweep thru the oscillators' wavetables in a parallel movement. To enrich the mix, I also did a second pass of the pattern, transposed up an octave, and layered it later in the track. 
    The ASR pattern (first audible around 1:30) is based on the first line, slightly transposed and translated into offsets, of a notation by Stephen Drake that I downloaded (from Muffwigglers.com ?) You can cut and paste the pattern directly into a TAB file for your own experiments - I used a root note of C2 for osc1. All sounds from E70 except one part from a Xaoc Kamieniec in self-generating mode. 


0 12 24 0
19 0 12 0
36 19 0 0
31 36 19 0
12 31 36 0
17 12 31 0
36 17 12 0
12 36 17 0
3 12 36 0
22 3 12 0
24 22 3 0
19 24 22 0
2 19 24 0
29 2 19 0
24 29 2 0
12 24 29 0

A S R (E370)

Todd Barton krell patch on a eurorack modular

Def Krell 1

The Krell Muzak Machine. No human interaction.

Etude for Modular Synthesizer, No. 7

This is a serendipitous sketch that arose from preparing for an upcoming live concert with my friend, composer and video artist Robert Coburn.  I did a free improv by looping my small Buchla system and Robert created a video sketch -- the music and video crossed in the email and I merely laid in the music to his video. You can see/hear those results here: http://vimeo.com/57860736
more on the concert SoundImageSound here:
http://go.pacific.edu/conservatory/soundimagesound

buchlidian interstitial space

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

modular synth pieces

Clusterchord