experiment using only IFM modules with absolutely no effects or post processing.  

IFM Bubbles & Clicks

Testing the Synthesis Technology E580 Resampling Mini-delay

E580 Test

Live modular performance on 10.27.2017 for Strange Stage @ Muchmore's in NYC

The Clamp

Exocomp #5

This was done for the Disquiet Junto weekly project disquiet0373.  It was composed entirely on a small 7u eurorack modular synth.  Recorded in a single take in stereo with absolutely no post processing.

The heart of the patch is 3 random sources in a complex web of feedback patching.  Each modulation source was affected by another in an interlocking generative system. Inspired by the somewhat famous "krell" patch, but expanded and iterated upon.  The main sound source was the Piston Honda MKIII through a Three Sisters filter.  There are two secondary sounds coming the Hertz Donut MKIII, one though an LxD and the other through a regular VCA.  This is all summed and then multed to two final VCAs each independently controlled by different envelopes.  Those are routed into the left and right channels of a micro clouds which is also under somewhat heavy modulation.

I really enjoyed this exercise as I so often make somewhat tonal music that is on a grid.  I decided to leave both of those behind to delete my inherent cognitive bias toward human music production.

Gravimetric Distorsion disquiet0373

Live modular performance from Dysonant with video synthesis by Photon Bath for East Branch Tapes at Flowers for all Occasions in Brooklyn.

Antimatter Injector

do while echo #1

First real jam with the Analog Rytm.  Also features Korg monologue, Dreadbox Abyss and Ieaskul F. Mobenthey modular.

dys-tracks #2

Created for New York Modular Society Patchable-0001

The three modules used for this patch are Maths, QPAS & Mimeophon.  Not other modules, effects or post processing was done.

Patch Notes:
The basic idea is Maths channel 4 clocks the Mimeophon and output goes to QPAS level and Freq 1 so the audio and delay are synced.  I am using Maths ch1 as a VCO into the QPAS. I also mult the Mimeophon output into Maths ch 3 to control feedback going into Freq 2 on QPAS. There was an awful lot of knob turning and button pushing happening in the patch.  

This is the main patch, but does not cover everything.
- Maths ch 4 in cycle, slow
- Maths EOC out to Mimeophon clock in
- Maths ch 1 in cycle, fast (audio rate)
- Maths ch 1 out > QPAS left in 
- QPAS stereo lowpass out to Mimeophon
- Mimeophon right output to Maths ch 3
- Maths ch 3 output to QPAS Freq 2

Mimqpaaths-PATCHABLE-0001

This track was done for New York Modular Society Patchable 0002.  "What would music sound like if humans evolved underwater?" https://nyms.love/2019/09/05/patchable-0002/

I thought about this question from many different perspectives.  What would humans look like?  What kind of instruments would they play?  How does sound work underwater?  Eventually I figured mammals with more complex appendages might gather in a cavern for a performance.  The cavern might have several instruments performers would swim at or against to create sound.  I took a bit of an echo and doppler effect approach for the sound.

The patch itself used the the DPO and Benjolin as sound sources. The DPO when into the FxDf and out from RxMx to use a harmonically rich sound that shifted constantly in frequency spectrum.  The output then went into a feedback loop in this order: DPO > FxDF & RxMx > Mixer > Mimeophon > E560 Freq shifter > QPAS band pass back into the Mixer.  The Benjolin LP out went in the Mixer also and was injected in the feedback path.  The left and right outputs of the QPAS were my only outs.  Wogglebug, Brains, Pressure Points, QPLFO and Maths handled modulations.

Some light mastering was used to bring up levels a little, but other than that this is all modular, all done in one take, no mixing or editing.

Submergence-PATCHABLE-0002

Little is known about the reclusive Joystick Attack. Only that it attempts suicide through sound.

All sounds, except the vocals, created on a modular synthesizer.

DRUMS
- Kick made by mixing waves from Hertz Donut MKIII and Piston Honda MKIII.  Pitch envelope sent to 1c/oct for transient. Another ENV for tail.  Stacked with a kick from Befaco KickAll.
- Snare made by mixing Zorlon Cannon MKII noise and Hertz Donut MKIII.
- HI Hats and Ride made from Zorlon Cannon MKII.

All drums were sampled and sequenced inside Ableton Live. Drum mix was sent back through the Bastl / Casper Dark Matter for recording.

BASS
Piston Honda MKIII, modulated the pitch on VCO 1 with an attenuated clock divider. VCO 1 & 2 were tracking at same pitch but VCO 2 down 1 octave. Modulated X wavetable axis with 2 mixed LFOs.  Modulated Y wavetable axis with a random sample and hold. Sound went through Double Andore MKII for shape. Sequenced by ES-3 from Ableton Live.

LEAD
Hertz Donut MKIII.  This sound was more about the internal FM patch on the VCO.  OP A modulating main VCO at a ratio of 7.  OP B modulating main VCO at a ratio of 6 with a little phase modulation. Sound went through Double Andore MKII for shape. Sequenced by ES-3 from Ableton Live.

VOCALS
Recorded three takes and stacked them. Ran them through distortion, compression, EQ and reverb.

RECORDING
Recorded all audio on separate track in Ableton.  Did some light editing, mixing and mastering.

Created for New York Modular Society https://nyms.love/2019/12/07/patchable-0008/

Joystick Attack - Eyes Up - PATCHABLE-0008

All sounds in the patch started with some form of noise.  
Main noise sources were:
* Zorlon Cannon
* Pink Noise
* White Noise

Kick  = Pink noise into Bionic Lester MK III in Comb Filter mode with a bunch of random modulation
Percussion = Two channels of lower half into two channel on LxD.  Ran that into Tyme Sefari with feedback loop going through a band pass filter.
Hat things = White noise going into Bionic Lest MK III in High pass with a bunch of random modulation.
Deep drone = Pink noise into Fuzz Factory then reverb.
Pitched Noise  = White noise heavily FMing VCOb Sine wave out

Patchable 0012 - NOISE - ZorlonCannon & Friends

zero sequencing. lots of knob turning.  done in a single take.

deep bass drone
This was mainly the Hertz Donut MKIII being modulated by really slow LFOs and knob turning.  It was also being amplitude modulated by the Piston Honda MK III. The Piston Honda top OSC was being FMd by it’s lower OSC.

mid freq drone
This was a mix of the STO and VCOb routed to Fuzz Factory to the FXDf out the 692 and 1411 to left and right channels.  I had the VCOb sine wave routed to a VCA to control the Linear FM on the STO with a randomly triggered very slow envelope.

chaotic texture
this was provided by both the trogotronic m679 and the benjolin both routed to their own channel in the mix to manually control volume.

The whole mix went into LRMSMSLR
I sent the mid to a EQ and cut the highs and boosted bass a little.  I sent the side to a multiple. One mult went to an EQ to boost the highs and cut the lows then to the Tyme Sefari.  The other went to Erbe Verb.

forever of - Patchable 0013 - Hertz Donut MK III Drone

Created for New York Modular Society Patchable 0017. 

The challenge was to create a modular drum machine and create all percussion noises from scratch.

 This is really a break down of the audio path mini most modulation.

Kick = 
Instruo Trokia VCO 2 slight frequency modulation by VCO 1 >
Schlappi Engineering 100 Grit LPF > 
Instruo Vinca VCA > Output

Snare = 
Schlappi Engineering Interstellar Radio >
Zlob Modular TH SVF >
Instruo Vinca VCA > Output

Hi Hat = 
WMD/SSF DPLR feedback >
Mutable Instruments Rings frequency modulated by pink noise > 
Instruo Vinca VCA > Output

Boing = 
SSF Zero Point Oscillator frequency modulated by Troika VCO 3 >
Makenoise LxD > 
Makenoise QPAS >
Makenoise Mimeophon > Output

Wet Robot Wood Block = 
Instruo arbhar as wavetable VCO >
Mannequins Three Sisters Center In/Out Formant mode > 
Instruo Vinca VCA > Output

Using tons of envelopes, a lot of sample & hold and some floss for modulation.

Patchable 0017

Electronic music & noise made with modular synths.

dysonant

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