NYMS Patchable

Alpha Juno 2, bunch of pedals, DFAM, Primary Osc, Local Florist, Ikarie, Monsoon

Counter Will

Fox Mask

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

please visit https://nyms.love/2020/01/19/patchable-0010/ 
to get a clue on what this is all about

live "video" of performing this: 
https://www.youtube.com/watch?v=rgDjSOY0X8w

[patchable 0010] new

There Is Someone Outside My Window  PATCHABLE - 0011

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

Silver-grey Hybernating Stacker Factory | PATCHABLE-0012

https://nyms.love/2020/03/02/patchable-0013/

Throughout the course of our daily lives there is a continuous influx of aural stimulation. We naturally filter out many of these distractions in order to remain focused on the task in front of us. This patchable asks you to turn off those filters and listen to the droning sounds around you. Pay attention to distant white noise hum of a highway, the sound of a refrigerator condenser or your own breath. Let these long, unceasing noises be the inspiration for your next patchable.
THE CHALLENGE

Create a drone patch inspired by the everday sounds around you. There is no limit on modules or external gear used. Simply that the sounds your create should be classifiable as drones.

My Patch Notes:
I'm playing the two oscillators on the Pittsburgh SV-1 with Pressure Points. Each oscillator receiving its own CV from rows one and two of the Pressure Points.  Before CV reaches the input on the oscillators, I have them going through channels 1 and 4 of Maths for some slew/portamento.  Also, row three of Pressure Points is being split to modulate the both-rise/fall input of channels 1 and 4 of Maths to fine tune the slew for each pad of the Pressure Points. Also I have oscillator 2 of the Pittsburgh FM-ing oscillator 1.

The Pittsburgh oscillators are being mixed with noise from sample and hold from the SV-1 and noise out of the Telharmonic. Sample and hold Noise is going through the SV-1's filter, and the Telharmonic noise is going through a Pittsburgh LPG in filter mode. The Degree and flux on the Telharmonic are being modulated by the pitch CV and velocity CV of the DFAM (no noise is coming from the DFAM, just using its sequencer for modulation)

The two noise Sources as well as the two Pittsburgh oscillators are all being mixed to a single output and going through a Pittsburgh Binary filter before going to a Make Noise Mimeophon the Mutable Instruments clouds. Neither the Mimeophon or Clouds have any modulation going to it.

All 8 oscillators on the Dreadbox Antiphon are going. 2 oscillators are being used for modulation. An audio rate oscillator is modulating an the VCA and an (attenuated) LFO is modulation global pitch CV. This LFO is also modulating filter cutoff for the the noise from the Pittsburgh Sample and Hold.

All filter cutoffs were being played by hand with the exception of the SV-1 noise's filter which was a combination of CV and playing by hand.

Finally I have the output from a 4MS Spectral Multiband Resonator as a sound source just kind of droning away as the low-ish end rumble.

w-y- Indiana Drones - Patchable-0013

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

https://nyms.love/2020/03/02/patchable-0013/

My response to the current New York Modular Society Challenge which is a study in drones.

patch notes:

Morphagene drum loop (left)
	* OUT > Q-PAS > Mimeophone > Xpan 
	* cv out to QPAS Radiate Left
	* Maths > Gene size
	* Maths > slide
	* Tempi > Shift
* Telharmonic (drone 1 - center )
	* H > Erbe-Verbe > X-Pan Aux
	* Maths Inv > EV Depth
	* Maths (2) INV > EV PRE
	* PLANAR Y > EV Decay
* STO (drone 2 - right)
	* Tri > QPAS R > BP > Mimeophone > X-Pan
	* Wogg Smooth > Q-Pas Freq 1
	* Maths > Q-PAS Q
	* Morph CV > Q-PAS Radiate L
	* Maths Sum > STO Shape
	* Wogg 2 Smooth > STO 1V/Oct
	* Planar > Expo
* Tempi
	* 1 > Wogg tempo
	* 1 > Morph Shift

Undulation Patchable - 0013

not many notes here, it’s literally 208r (both oscillators doing squares) and ciat lonbarde plumbutter together, feeding back to themselves, triggering and FM-ing each other and that’s it. it’s a variation on a krell patch but pitch is not random. no post edits, no eurorack, a touch of reaper’s built in convolution reverb.

patchable 0015 [square waves]

[NYMS Patchable 0016]
it's very simple — e352+LxD and 208r are the only sound sources, er-301 ("Sloop" bespoke unit by tomf) and norns shield (excellent pools reverb) are processing. seq — er101/102 and 208's 5 step.

patchable 0016 [alien club]

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

My submission for the New York Modular Society's RE: DRUM MACHINE patchable contest. The idea is to compose a drum track with a modular synthesizer--but WITHOUT using drum modules. So all the sounds come from oscillators or noise. (The artwork is my original watercolor of the undercarriage of the Gowanus Expressway).

Here's the details:

Voice 1 (bass drum): Low pitch sin VCO amplified by a fast envelope modulating Lin FM on STO, through North Coast Coiler VCF with a slower envelope and an even slower envelope on the last VCA. Through Pico DSP mono delay and (sometimes aux Mimeophon too). Triggered by Out 1 from a White Gallop, with CV from Voltage Block.

Voice 2 (hi hat): Blue noise from Dystopia. Filter and VCA receiving same envelope. Triggered by Out 2 on White Gallop. Pico DSP mono delay.

Voice 3 (snare): Bitcrush from Dystopia. Triggered by Muxlicer in ratchet mode (sequencer slide pots determine multiple gates per beat, which can be attenuated globally). Gates 3 and 7 add accents to the Dystopia cv in. Maths envelope receiving cv on fall from tilt Y on WiiChuck for WILD CRUNCHES. Pico DSP mono delay.

Voice 4 (wailing metal chimes). Hi pitch sin VCO FMing uPlaits in waveshaping mode with low waveform, low folder and high asymmetry. CV from Voltage Block. Gates from a Non Linear Circuits Divine CMOS (XOR clocked between X4 and /2). The /4 output triggers the FM envelope, while the sum output triggers the audio envelope. Audio amplified by a Maths envelope receiving cv on fall from Wiichuck Tilt X. Through Mimeophon, orange zone, which is clocked and modulated on color (half bright full positive attenuator) and rate at 10 o’clock with 3 pm attenuation and skew.

Voice 5 (zap gun): IO Instruments Euporie VCF self resonating, receiving the same audio as the bass drum FM source into CV one and the same envelope from the Tilt X modulated Maths into CV2. Sweeping the cutoff to launch intergalactic civil war. Pico DSP mono delay.

Drafts

Fifth Fortress PATCHABLE-0017

Electronic music & noise made with modular synths.

Submergence-PATCHABLE-0002

dysonant

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