Really nice rendering of this - I hadn't realised it was by Karl Jenkins.

An Equal Reaction

This is the first third or so of Tallis' motet Salve intemerata for five voices, performed and recorded using a modular synthesizer. Modules by Synthesizers.com, MOTM, SSL, Grove Audio, and MegaOhm Audio were used. Reverb is Valhalla Room.

Video here:  https://www.youtube.com/watch?v=mpeRajLFfs4&list=UU8zXDyZko3PY-5ZhLhRvosQ

Salve intemerata (Thomas Tallis)

Clockwork Orange Theme

Harmonic electronics - my interpretation of Karl Jenkins' piece "Palladio".
All Eurorack modular (Verbos & Make Noise). 

Harminor

The Bleecker Brothers - Recordings w/ Al Sunseri in New York City - Bleecker & Bowery - circa 2000

A Clockwork Orange (Theme)

A seven minute exotic vacation, just in case you don't have the quarter million for Virgin Galactic's space ride.

Mastered by Shawn Hatfield 2020

A World Beyond

There And Back Again (a sub-orbital fantasy)

this is the amazing batumi LFO from xaoc devices controlling 4 sine waves on a verbos harmonic oscillator. in addition to the LFOs patched into the verbos sine VCAs there is one controlling the center parameter and three cross-patched signals of the Batumi modulating itself.

it's recorded through a pitch shifting program on an eventide h7600 for further harmonic niceness.



october 20, 2015 (batumi meets the harmonic oscillator)

I Made it Out of a Mouthful of Air

A complete version of John Williams' The Imperial March in a Major Key!

Also on YouTube: https://www.youtube.com/watch?v=B9MShtCg4fk

Vader's Redemption: The Imperial March in a Major Key

The finished piece from my previous Hordijk Sketch.  Multi-tracked, musique concrete style editing. Headphones highly recommended or studio monitors cranked up.

Hordijk Phantasma

Polyphonic patch featuring four Cwejman VCO-6’s and two Cwejman PH-8’s as modulators. 

Chords are played via a MIDI keyboard into MI Yarns. Four voices via Cwejman VCO-6’s. I use two outputs per VCO-6; PWM Saw, and Saw. The PWM Saw outputs are routed into two Cwejman DMF-2’s (Low pass mode), then to MX-4S. The Saw outputs are routed into a QMMF-4 (low pass/OSC SAT), those are then patched to a second MX-4S. Two Modcan Quad Envelopes take care of the velocity on the MX-4S’s. A Cwejman PH-4 pans the voices on both MX-4S’s.

Modulation happens through three modules; two Cwejman PH-8s, and a Modcan Quad-LFO.
The four Triangle outputs of PH-8 number 1 are modulating the PWM of the PWM Saw of the four VCO-6s. The Quad LFO is sending pulses through the CV1 inputs of the DMF-2s, this causes the arpeggios. 

The four Saw outputs of PH-8 number 2 are FM-ing the QMMF-4 (via a VCA-4MX). Sometimes in audio rate, sometime LFO speed. This PH-8 is in Saw -direction switching mode, one of the pulse outputs of PH-8 number 1 is modulating the Saw direction of PH-8 number 2. 

Then there is a 5th voice, the ostinato bass, this is a Cwejman BLD routed through a DP-2 for some compression, and then routed into the main audio input of the QMMF-4. I wiggle the level and at some points add this voice and mute it again.

A Cwejman D-LFO is the master clock, syncing the Quad LFO, and both PH-8s.

Recorded straight into ProTools via a RND 5059 summing mixer and Prism AD. One take, no overdubbing, just cut down in time a bit. Reverb (Adaptiverb) and limiting (Ozone 7) on the masterfader.

Harminor

Hanz

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