Getting into the realm of frequency (pitch). This combines some of the lessons I learned from my amplitude experiments with some new ideas about how pitch can be dealt with.

I am using two VCOs for this. VCO 2 is a simple sine wave drone going through a wavefolder that is being modulated with an LFO. VCO 1, however, has a few more things going on. 1 V/O input is being CVed with the Quadra (F 1 on self cycle), and the attack and decay on F 1 are being modulated with an S/H. This is passed to VCA 1, which is being controlled by F 2 running on self cycle on its own, so the output CV from VCA 2 broadens and narrows the width of the output pitch as it goes. The audio out from VCO 1 goes to a MMF. An LFO is used to trigger the pluck response on the filter. The filter V/O CV is coming from F 1 (which is actually split between VCA 1 and 2, but unlike VCA 1, VCA 2 has no CV going in, it is just open). The LPF output of the MMF goes finally back to the mixing VCA, where along with the drone, is passed over to the reverb pedal before heading for the mixer.

Frequency Experiment 1

I am going to start by appologizing for the transients. I did my best to squish them in the mastering, but they stuck around. I am sending random LFO signals from my PM SV-1 to the VCA that is creating the panning (see Bastl's video on how to do VCA panning, although I am using Intellijel and MI modules here), and these signals seem to be causing the pops you hear. Even attenuated they stuck around, so at present I do not know what to do about them.

At any rate. This is a panning demo using two voices (both the SV-1 sines)- the base drone (whose amplitude is controlled by one of the LFO signals), and the panned signal (panned and attenuated by the same LFO). The pitch of the panned signal is being changed by the 2hp TM, which again is clocked to the LFO. Everything then gets fed to my trusty EHX Cathedral, where I fiddle with the dials to create timbral variations here and there.

Amplitude Experiment 6

Simple composition using the BSP. Not much to it, and done more to learn the basics of the BSP than anything else.

Using the BSP to sequence envelopes (Intellijel Quadra) and pitch (both osc in the PBM SV-1). A sine is sent to the WMD/SSF ultrafold and a square wave to the MMF, both modulated with the envelope. Reverb is the EHX Cathedral. Post done in Cubase Wavelab, mostly EQ and compression, but tried a tad bit of tape saturation for the heck of it.

Brief Composition

Working with an ALM MCO's square output and a variety of notes provided by the Serge Random Source DivN Com (passed through an attenuverter, which is why the notes are not simply a rising arpeggio). This is quantized to a minor scale.

Latice

Testing out the ALM Boss Bow Tie (VC switch). The envelope is triggered with the Modbox's 3 LFO outputs going to the switch and out to the Quadra. In post, I was aiming to create a bit of space, as if being heard in a somewhat large arena at a distance.

Ambient Folds

Utilizing a sawtooth wave set to about 20 Hz through a fixed filter bank. These head for a VCA, controlled by several envelopes. This all winds up going through a delay, with some extra fussing in post.

Soundscape A

A basic ambient track using several techniques. Using a sine wave through a wavefolder, I pass the signal through a fixed filter bank. I mix the outputs using a mixer to customize the final waveform. This is joined in by variously filtered sounds. The entire composition is clocked at various divisions of 80 bpm (8th and 16th divisions for the most part). The final product is sent through a dual delay set to approx. 400 ms and 800 ms. At the mastering phase, EQ is used to cut away some of the heavier low and high end. A reverb and tube compressor was used to enhance the overall audio field.

Isolated City

Semi-generative track utilizing the PBM VRL as the main voice. Lots of help from Pam's, as well.

Transit

I endeavor to create soundscapes to take listeners to different places of thought and emotion. Here on SoundCloud, I have placed many early experiments in using primarily Eurorack modular equipment to explore the four realms of sound: frequency (pitch), amplitude (loudness), waveform (tone, timbre), and space.

Droopy vibe