Entropical Paradise, designed by Douglas Leedy in 1969 on the Buchla 100 system, as notated in Allen Strange's 1983 book, and realized here in Eurorack. Certain elements relating to the bird calls have been changed.

Douglas Leedy Entropical Paradise Rby Dcramer

Drone piece created by summing four sine waves into a wave folder 

Additive Bathrobe Rby Dcramer

Generative patch with lead voice created by wave folding a filtered oscillator.

Bark Lee Bug Face By Dcramer

Eurorack patch featuring Elements and Shapeshifter paired together with Z-DSP and Dual Delay echoes.

In The Realm Of Spectral Ghosts

Interesting take on a generative modular synth patch based on a polyphonic Krell patch.
Logic and voltage quantizers are used to snap the modulation voltages to musical rhythmic and pitch values.

Qurell

Eurorack live track featuring solo sounds from the Makenoise tElharmonic module

TelharmonicSolo

Modular synth patch that makes use of Brainseed's ability to capture different lengths of step sequences on the fly.
Generative patch designed to mimic the playing style Rob, infamous member of the electronic trio, The Bugs.

St John's Wood

A brief tribute recording created entirly with Don Buchla inspired Eurorack modules.

Voyage Of The Don Threader

Additive synth patch created with the 4MS SMR simply using a narrow duty pulse wave into the SMR, sequencing both the pulse wave and the SMR with the same CV signal, and using lock to lock onto 6 harmonics.
4 different envelopes and 2 LFOs control the gain of the 6 partials and a sine fundamental is added.
Part way through this track you'll hear the resonance, reverb and sine decrease, so you can hear the pulse wave that drives the SMR.

Of A Princess Power

Simple little ditty in which a Ladik Derivator is used to fire off two function generators, one rising and one falling. Thee two are summed and fed through a slew and back into the Derivator, creating a tail-chasing CV feedback loop. This complex CV is sampled by a Doepfer A-148 which in turn is fed to an Intellijel quantizer to create the melody. Harmony is supplied by the Shapeshifter Osc which is being fed through the 4MS SMR for use as a phaser. The entire patch is driven by an Elby ChaQuO, chaos generator running very slowly.

The Ghost Inside

Very weird generative patch in which two LFOs (one half as fast) are mixed with voltages from a very slow sequencer which biases the LFOs up, moving the whole melody and harmony up in pitch. This complex CV feeds the Brainseed CV recorder which punches in and loops playback of a small segment of steps, the loop size slowly changes via another LFO. Brainseed output is then quantized by a Doepfer A-156 to a melodic minor (ascending) scale and drives the lead voice which also pans, correlated to frequency. The interesting attack timbres of the lead voice are created by patching two sine waves into an A-116, the modulator being patched through a separately enveloped VCA. The quantized output is patched to a clock divided Sample and Hold and from there is distributed through a Doepfer A-152 Track and Hold switch to three more oscillators to create background harmony. These 3 oscillators, PD, Wavetable. and FM, are patched to filters and seem to echo the melody voice somewhat although no audio delay is used. The A-156 provides the clocks which are in tempo but only fire when the pitch changes. At the end of the very slow 8 step sequence, a burst of noise is triggered and the reverb is modulated by an envelope to be fully wet, creating the crescendo chord at the end of each cycle lasting about 2:20.

The Brood

Six voice polyphonic modular patch designed to sound like a bowed strings. Patch pitches are controlled by the ver 5 4MS SMR in 1V/Oct output mode.
Echo and Reverb are driven from a Doepfer A-189-1 and all are mixed in the new Doepfer A138p/o system.

MACABE

Here's the Doepfer A-110-4 thru zero oscillator being modulated by two Shapeshifter sine waves, each of whose Modulation Index is being controlled by a Double Andore Envelope and VCA.
The modulation oscillators are tuned quite high, with one being very short to add a "tick" to the pluck.
The key to minimizing the pitch bend some have experienced when doing FM with this Thru Zero Osc is to completely minimize DC offset.
In this case I tweaked each modulating Osc for gain and offset using a 4MS SISM and a Doepfer A-138c.
Tiny amounts of DC offset are very noticeable as the Modulation Index is increased so you really need to find the sweet spot!

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