Julia Govor is one of those artists who can take the fundamentals of techno and make it sound hers. At this point in her career, the Georgia-born, New York City-based artist has established a style that feels half-Rome school, half Japanese hypnotic techno, but fully Julia Govor. Her label Jujuka has become a home for the stuff, featuring plenty of her own work along with like-minded folks like EMIT and Victoria Mussi, and she recently put out the biggest and best release of her career with the hefty Laika And Ulka Were Here on Semantica.

Her production style carries over to her DJing. Govor's RA Podcast is made up over half her own tracks, and the cuts she picks from others match her style: twirling arpeggios, rushing cascades of synth, heavy but groovy kicks. Much has been made of her childhood in a military family, and how she fell in love with techno via her classical musical education, where she felt drawn to the darker, romantic shades of composition. You get some of that here, but to call Govor's style "dark" would be overly simplistic. Instead it's sleek, aerodynamic and fluid, the kind of techno that gets you lost in a wormhole.

@juliagovor

Read more at https://ra.co/podcast/937

RA podcast

RA.937 Julia Govor

https://www.youtube.com/watch?v=aKUiIU8RZxc

Rene is being driven by Tempi.   Pressure Points switches through 3 different states on the Tempi, which create variations of the sequence on Rene.

Macbeth Micromac is the main sound.   Sequence goes the Synthesis Tech Quad Temporal Shifter and from there goes to a Cwejman VCO-2RM and a Modcan Triple Osc.   Both of those are fed into the MMF1.

Circadian Rhythms triggers an Audio Damage Neuron on kick, TTA snare and cymbals.

There’s some Dub Jr. on the Micromac and Erbeverb on the output of the MMF1.

Sometimes The Feels

The Mind's Eye (Original Motion Picture Soundtrack)

Titles

And the Patching Workout continues. So far, I started the year with a no input reverb / resonator feedback loop, so let’s continue that tradition. I wanted to give this a try with the Space Echo and Cwejman QMMF4, so here is the RE201 QMMF Loop.

The patch is fairly simple. For the feedback loop, we have the QMMF4 main MMF output going to a Warm Audio WA76 for some compression. From there, it goes to the RE201 and then back into the modular to the QMMF main audio input (using an Intellijel Audio Interface for going in and out of the rack). The internal RE201 feedback is not used, a slight bit of the RE201 spring verb is added. The main QMMF notch out is used for recording. It’s routed through a Doepfer A199 first for some further spring reverb outside the feedback loop, into a GAP Pre73 DI input for some gain (as it was a bit quiet after adjusting everything nicely), and finally to a Mutator to smooth out the highs a bit and for some mono to stereo conversion and LFO panning (also a bit of envelope following on the filters - you can hear it all working on the noisefloor, haha). It was harder than I expected to get the gainstaging right without killing the loop or just utter destruction, but in the end I got something that I enjoyed. 

In terms of CV, we have a Cwejman RG6 at the center of everything. A bit like the Reverse Cwejman Krell patch, the RG6 provides the main clock and triggers a CTG-VC, which controls the main QMMF VCA (and thus the dynamics within the feedback loop). The RG6 random saw modulates the RG6 clock for the bursts; to get the dynamic envelope, the inverted random saw is attenuated on a VCA4MX and controlling the CTG attack and decay rates. Thus, the envelope times get faster when the clock gets faster. The normal S/H output of the RG6 modulates the main QMMF frequency. 

Finally, a PH8 controls all individual QMMF frequencies with the sine outputs and two of the QMMF bands with two (90° spaced) saws. It’s synced from the RG6 gate with gate sync, creating kind of a “LFO delay” effect (in combination with the gate length on the RG6). The PH8 is FMed from the RG6 random saw so that it also gets faster according to the clock and envelope. The quadrature sines produce the “delayed” sweeps and the saws the plops.

On the recording, I mainly tweak the QMMF frequencies and resonances (all bands are set to BP filter and in resonator mode to see how it compares with the RES4). Little bit of cutting out some boring things afterwards and some reverb, delay, EQ and compression as usual. 

Hope you enjoy it and cheers!

Jan 17: RE201 QMMF Loop

Simulating Granular playback by feeding a square wave to the speed control of a sample module.

The frequency of the oscillator determines the grain size
The PW of the oscillator determines the speed through the sample

Orthogonal Devices ER-301 - Quick 1 - Granular Track

A patch centring around a Cwejman PH-8 modulating four VCO-6's.

Chords: 
MIDI keyboard -> MI Yarns -> four Cwejman VCO-6’s / Pulse output -> VCA-4MX -> two DMF-2 -> MX-4S. 
- a Cwejman PH-8 modulates the PWM inputs of the VCO-6s via the triangle outputs. The Pulse outputs of the PH-8 modulate the VCA-4MX creating the distorted FM type pulses.
- the pulse outputs of the PH-8 are also modulation the two DMF-2s via CM1.
- the offset CV of the PH-8 is modulated by the S&H output of a Cwejman NS-4
- a Cwejman PH-4 modulates the panning of the 4 voices on the MX-4S.

Rhythm:
The Master-clock is a Cwejman D-LFO. One side is triggering a 4ms QCD, the other side modulates the PWM input of the PH-8.
- a Modcan QuadLFO is synced by the QCD. The module is in Quad mode and the 4 outputs are modulating the RES inputs of the two DMF-2s. This creates the Arpeggio that sometimes fades into the chords. 

The QCD outputs lead to the modules that create the drum sounds:
- bass-drum: Cwejman BLD -> DP-2 -> MX4S
- hihat/shaker:  Cwejman NS-4 (white noise) -> VC-FC -> FSH-1 -> MX-4S (opened by ADSR-VC2 via QCD)
- snare/rim:  Cwejman RG-6 (pos SAW) -> MX-4S. |  QCD -> MI Branches -> ADSR-VC2 -> MX-4S.  Slope on RG-6 modulated by NS-4. 

The DMF-2s are in low-pass mode for excerpt 2 and 4, and in bandpass mode for excerpts 1 and 3.

I wiggle the frequency of the PH-8, and the divisions on the QCD. I mute/unmute the percussive elements. I also wiggle the frequency of the two DMF-2s opening and closing the filters. And I wiggle the output level of the QuadLFO to add an arpeggio now and then.

Everything is recorded in one take and played live. No overdubbing. This was a 2 hours wiggle trip that I’ve cut to 4 short excerpts. 
Recorded into Protools via a Neve 5059 and Prism AD. Bit of reverb (Adaptiverb) and limiting (Ozone 7) added.

Pulsating

8 Voices

Maryanna

HQ recording of the Manther monosynth currently in development.

Malekko - Manther Audio 1

stone garden tweak with two softcut buffers

SG Flip

About:
Dudadius is the electronic project of scoring composer, Bryan Rheude. He calls it Electro Humanism, even if we’re not entirely sure what the hell that means. There’s an undercurrent of cinematic vibes to his music, probably owing to Rheude’s day job creating scores for film, tv, and adverts. The Dudadius releases under the Collisions Minimal series are one-off modular performances, the others are traditional productions using a combination of modular synths and vintage poly synths; bringing it all together in Ableton. During the last couple years he has focused on performing live with his 
modular—driven by some of the Monome devices—including a real hoot at Moogfest this last spring. Dudadius also maintains an active Youtube channel, including a new series called Circuits with Feelings that features a combination of interviews and technical deep dives.

Links:
https://dudadius.bandcamp.com
https://www.youtube.com/playlist?list=PLOrNss1QKPXC-ZFpm_YFIiTRU8gAnXL3x
https://open.spotify.com/artist/476BOCuCceYJUmKCETcEtYsi=J7F1tUJfQUWaqD3ThtgPbA
http://www.beekermusic.com
https://www.instagram.com/dudadius/

Data Cult Audio 0139 - Dudadius

New album:
https://dudadius.bandcamp.com/album/ppp-fff
Mainstream modular synth musics. 
https://play.spotify.com/artist/476BOCuCceYJUmKCETcEtY
https://itunes.apple.com/us/album/drowzium/id806201502


Sometimes The Feels

DUDADIUS

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