Patch based on Keen's wonderful 268e. Digging into the sequencing world, no samples this time, pure muscle from all four oscillators of the 268e being processed by the rest of the system.

Paesi Lontani

Written by ANASTAZIA
Co-produced by Igor Gromadsky and ANASTAZIA 
Mix and master by Igor Gromadsky

Vendetta

Weekend patch with the new Braids firmware 1.8. The new HARMS mode is my new favorite synth model. It can almost sound like a piano at high notes.

Recorded in one take. Direct input of my camcorder. 
Video on youtube 
http://youtu.be/QzT1Duk8x84

Other sound sources:
Shapeshifter: Synth sound (from 0.13 onwards)
Braids in HARMS mode: Piano like sound from 1:14 onwards running through clouds in looping delay mode
Elements in ominous voice mode: Pad sound from 2:10 onwards

Main sequence by make noise Rene (+quantimoator in chord mode) and pressure points (pad sound)
Bastl instruments little nerd providing clocks (+expert sleepers ES3).

Drums, guitar loop and vocals from the DAW.
Big Sky and Red panda particle providing additional reverb and delay

Modular Eurorack Piano jam (mutable instruments braids 1.8 HARMS & clouds)

So I decided to give this another go in 2016. To start things off, I wanted to do a similar patch as last year in January, with a no-input reverb feedback loop including a RES4 in the feedback path to shape melodies. However, I wanted to see how my trusty Alesis Midiverb 3 performs in this role (as opposed to the A199 spring verb in my rack that is conveniently and often patched to do this). 

So, the patch is actually rather simple: The Midiverb is routed into the modular via an Intellijel Audio Interface. From there it is multed to the two inputs of a Cwejman VCA2P; one VCA2P output goes straight to the DAW for recording, the other makes up the feedback path: First, it goes to a RES4, from there out of the rack to a Warm Audio WA76 compressor to squash everything together and keep the gainstaging under control. Then from the WA to the Midiverb. On the RES4, I'm just using two bands with high-ish resonance, tuned an octave apart.

In terms of control, a self-modulating RG6 is at the center providing a clock and a melody from the S/H out to the RES4 master frequency; the clock triggers a CTG-VC, which in turn controls the RES4 master VCA to gate the feedback path. The WA76 is right after this gated VCA and limits it rather heavily with the "all buttons in" mode, very fast attack and long release. Furthermore, an offset from a Makenoise Maths is used to transpose the RES4, and finally there is also some vibrato from a D-LFO to the resonator (the three CV sources are mixed with a SSF Mixmode). 

It's a very delicate act of gainstaging and the compressor is crucial to get it right, without distorting the Midiverb or RES4. I found that the "all buttons in" mode or at least the 20:1 ratio works well - i.e., a limiter setting. The Midiverb can be fine tuned much more conveniently than a simple spring verb, for example the decay and delay settings make a huge difference. The nice floor is also much cleaner. One day, I'll have to try this with my Lexicons.

Everything was recorded in one pass in Ableton, tweaking the Math offset, RG6 frequency, vibrato amount from the D-LFO and CTG attack and decay. I had to cut out some parts where it still distorted. Also using some Ableton delay, reverb, subtle chorus and phaser on the track to fill out the spaces and bring a bit of stereo life to it. Finally a bit of EQ and compression in the box to glue it all together and bring up the levels.

Hope you enjoy it and stay tuned for the rest of the series this year.

Cheers

Jan 16: Midiverb Feedback Birdsong

This is a simple example of polyphonic use of the 268e Graphic Waveform Generator by Keen Association from Moscow, Russia.

If you like harsher sounds, go to the middle point and listen from there. Audio rate modulation makes for great noise.

See the tags within the playback stream for annotations regarding what is happening. However, the quick rundown is that:
•  I start in Motion Detector mode and use the "manual" knob to adjust the timbre. 
• Tape Speed is manipulated throughout the demo by an LFO and/or by hand.
• The track switches to Continuous Mode via the orange pulse input jack (thanks for including this feature, Alex)
• In Continuous Mode, I have each oscillator set to "INDIVIDUAL" in terms of their respective modulation sources.
• Modulation comes from the quadrature outputs of a MkII Cyndustries ZOe.
• The backing sequence is the other lovely Preset Management-capable non-Buchla oscillator, the Studio H Dual Programmable Oscillator.
• The VCAs are the Eardrill q.vca. No LPGs.

I believe this to be a lovely oscillator that allows for 4 unique sounding oscillators in a very compact form factor. It adheres to and leverages the Buchla USA Preset Management system as well as having a limited degree of onboard memory.

Early wishes? More CV inputs for use with the 223e. It would be nice to have discrete inputs for use with the discrete outputs of each 'voice' on the 223e. This is to say, the ability to leverage polyphonic "Location", "Pressure", etc.
With that stated, it is early days for this unit. Alex may well add more to the menu in terms of features. I just got this thing and it has been my case for about 4 days. I'm still figuring out where the beauty lies.

Keen Association 268e Graphic Waveform Generator

just messing with digitone and recording of some drums testing 1 overhead mic, in my unfinished studio..
a few promising sounds to futher play with thought id share it with afew of you x

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