A magic moment with the Make Noise Morphagene, Pladask Elektrisk Dradd, Bizarre Jezabel Mimosa, and Dreadbox Darkness.

OxI One Sequencer

Make Noise XPO
Make Noise QPAS
Make Noise Maths
Make Noise Wogglebug
Make Noise Morphagene
AI Synthesis Stereo Matrix Mixer
Knob Farm Ferry
Pladask Elektrisk Dradd
Bizarre Jezabel Mimosa
Expert Sleepers ES-9
ST Modular SVCA

Recorded in AUM on an iPad. There was an AUv3 reverb on Dradd.

Morphagene - Dradd - Mimosa Matrix Improv.m4a

A beautiful soundscape made from the Soft Piano multisamples on the Expert Sleepers Ex, run through delay and reverb. Wet delay is fed through Panharmonium.

The stereo dry signal is being run through a VCA in order to pan the sound to different delays. This idea was inspired by DivKid’s FX send section of his Stereo Strip video. The envelope controlling the panning is 40 seconds long which slowly fades the dry from one delay to the next and back again throughout.

Modules Used:
MI Marbles
uO_C (Quantermain)
Expert Sleepers Disting Ex
Xaoc Devices Warna II
Xaoc Devices Zadar
Intellijel Quad VCA
AI Synthesis 018 Stereo Matrix Mixer
Nonlinearcircuits The Hypster
Nonlinearcircuits Divide and Conquer
Nonlinearcircuits Stochaos
Nonlinearcircuits Triple Sloth
Holocene Electronics Non-Linear Memory Machine
Venus Instruments Veno-Echo
Rossum Panharmonium
ST Modular SVCA (2)
Knob Farm Ferry
Oto Bam

Improvised and recorded in AUM via the Expert Sleepers ES-9 in 1 take.

Piano Breeze

This is a reworking of my last patch. There are quite a few changes, mostly having to do with how I routed audio to the delays and through to the Panharmonium. This recording is much cleaner in the progressions. Ugliness was cut down substantially by removing the Sofia from the delays.

Basic patch:
Pianist pitch CV to Odessa and Sofia. Odessa is sent to the delays with slow panning from one delay (Non-Linear Memory Machine) to the other (Veno-Echo). The dry Odessa signal is then mixed in stereo with Sofia before being sent to the stereo matrix mixer. Delays are sent to Panharmonium.

Delays, Panharmonium, and the dry Odessa/Sofia mix are all sent to dual EF-X2 tape delays for some more smearing, and a whole lot of distortion.

The mix is improvised throughout, with everything being sent to the Vongon Ultrasheer for some modulated reverb action.

Recordings

Chordal Soundscape Redux

This is about as simple a patch as can be made.

2 operators from the Humble Audio Quad Operator > Bard VTG (tube lpg), enveloped by CalSynth Changes (MI Stages). The envelopes are being triggered by Xaoc Devices Batumi II. The shape of the 2 operators are slowly being modulated by Triple Sloths. The v/Oct comes from the Bindubba, while the Ratio of the second operator is being modulated by a CV output from Stochaos (both via Quantermain). The output of the VTG > stereo matrix mixer.

This is being sent to the Olivia Arts Modular Time Machine for some fancy multi-tap echo, which is creating the rhythm of the patch. The Time Machine does most of the heavy lifting in the patch. The melody itself is rather sparse and pretty boring. The delay makes it interesting, especially with moderately high feedback. The delay output goes to the matrix mixer.

From there the delay goes to Panharmonium, set at Xfaded sines, -1 octave, a little blur and glide. It has a tap tempo that is roughly the same as the melody.

This is also sent to the Bizarre Jezabel Mimosa for some serious destruction that gradually comes in then fades away.

Time Machine First Patch

A pretty simple patch.

The 4 Addac508 Swell Physics outputs > the 4 RYK Algo level inputs
RYK Algo > Stereo Matrix Mixer
—- Stereo Matrix Mixer 
      RYK Algo > MI Beads
      MI Beads > Bizarre Jezabel Blossom
      RYK Algo / MI Beads / BJ Blossom mixed to output

There is heavy modulation on both Swell Physics (patch programming the Avg out to 3 CV inputs via the Intellijel Quad VCA. There is also heavy modulation of Blossom by the Joranalogue Orbit 3, via MI Veils

Reverb by Vongon Ultrasheer.

Performed and recorded in 1 take in AUM on the iPad via an Expert Sleepers ES-9.

A Swell Physics Study

A 4th revision of my earlier Swell Physics Study.

I’ve very much enjoyed this patch, and have gone through several revisions. The base, Swell Physics controlling the RYK Algo and being the modulation heart of the patch, has not changed at all. In fact the knobs on Swell Physics have not been touched. There has been some slight detuning, panning, and timbre changes with the Algo, but the notes and levels are still the same.

I’ve changed filters several times, and landed on the Bizarre Jezabel Pkhia, a stereo multimode filter (using the LP outputs). I previously tried the Instruo DAPF, Xaoc Devices Zagreb, and Bizarre Jezabel Seju Stereo. Even if the dry and the filtered output of the Algo are in parallel in the mix, the filter is crucial, really taming down annoying harmonics created by the wavefolding/waveshaping on the Algo. Running in parallel allows them to not be totally lost, but also not grating your ears.

A huge addition was to use the Olivia Artz Modular Time Machine to give some length and body to the ocean spray as well as the waves. A pretty slow delay time and moderately high feedback gives everything some depth and a more natural decay. And since the taps are all at different levels, it helps create some movement in the stereo field.

I’ve also given it a performative aspect which creates some drama outside of the ever-rolling waves, primarily by improvising on Beads, giving it feedback from the mixer, as well as changing the grain length and size. This latter change lends and almost orchestral type timbre to the output and mixed in reverb.

I’ve also added HP filtered blue noise, which is brought in and out according to the Average output of Swell Physics. Although I am not going for a beach sound, open ocean spray can be mezmorizing.

There were various modulation tweaks throughout the multiple revisions. Sometimes adding, sometimes removing, and sometimes just dialing it in. Almost all of the modulation in this patch is from the Average output in various attenuated/verted forms. Joranalogue Orbit 3 plays a small role with modulating the level of the Average output which controls the wavefolding/waveshaping. The Auza Wave Packets, triggered by the 3 > 4 gate output on Swell Physics, also plays a small role by modulating the Density CV input on Beads.

One of the best additions was by using the Walrus Audio Slöer for reverb. In fact, when I realized after my first recording that I wanted an octave down reverb, I purchased the Slöer (knowing full well that I’ll use it more than plenty). The octave down really gives it body and fills out the sound, with the waves and Beads occupying mid and high frequencies. The lo-fi DSP and modulation really add some beautiful texture to a scene constantly in flux.

Swell Physics - rev4

A July Experiment

I started this track as a 4ms exercise. Trying to suss chords out of the EnsOsc in a pleasant way. I was initially going for an ambient track. But as soon as I heard the Music Box samples go through the OAM Time Machine, I knew there was a trance-y track hiding beneath.

There’s a lot going on with this patch in just the EnsOsc part. Panning between 2 delays, granular treatment with dual Dradds, all being filtered through the Bizarre Jezabel Blossom. Modulation ahoy! We have loads of chaos, plus every output on both the 4ms Dual EnvVCA and the Shaped Dual EnvVCA. 

The Music Box samples are from the Disting SD Multisample algorithm being triggered by one of the < trigger outputs, which goes through the Time Machine and out to the mixer.

The kick drum is via pinging (ringing?) in the Frap Tools Cunsa. A Falistri envelope to the input, with an attenuated version of the same envelope to the FM. This filter is set in LPG mode. 

Hats are using white noise from Sapel to 1 of the Cunsa filters, also in LPG mode.

I found that in filter mode, the harmonics were just too much.

Everything is run through the Walrus Audio Slöer reverb.

EnsOsc - Music Box - Frap Tools Jam

A rhythmic patch, driven by chaos. This chaos driven sequence is prone to drifting in very organic ways, but always falls back in line. It’s a beautiful dance of real life incursions into the everyday.

Everything in this patch from the gate sequence to the pitch sequence, and everything else, is derived from 4 chaos outputs from the Nonlinearcircuits The Hypster. They feed Let’s Splosh and Numberwang, and both control the entirety of the patch. All modulation is either direct from Let’s Splosh, or triggered by Numberwang, sometimes both.

4 Generate 3 outputs go to Natural Gate inputs, which are gated by Numberwang. The NG outputs are mixed to stereo en route to the stereo matrix mixer, and are sent to Time Machine and Dradd. The Dradd and Time Machine outputs are sent to Panharmonium, which uses the Bizarre Jezabel Mimosa as an insert. All outputs are mixed together and sent to the final mixer in AUM on the iPad.

The kick is a simple filter ping in CUNSA (with a FM envelope). Hi hats are high pass filtered white noise from Sapel, enveloped by a lightly decay modulated Schlappi Engineering Boundary.

Reverb is the always beautiful Vongon Ultrasheer.

Rhythmic

Drifting Numbers

A performed, evolving drone using 2/3 of the Make Noise 0-System.

0-Coast
Strega
Stratosphere Cloud Reverb (iPad plugin)

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