The core of the patch is Mutable Instruments Marbles, which is constantly sending bernoulli gate triggers, uneven clocks, and random slewed CV to several parameters across almost every module. the first Braids is running a triple sine pluck through Chronoblob 2, which is sent into Clouds clocked to T1 from Marbles. Every parameter on Chronoblob 2 is modulated a little bit by every slewed CV output from Marbles. The signal is sent from Clouds into Plateau, with the decay time being modulated by a 3-minute long saw LFO, and the size being modulated by øchd. This is then finally sent to the mixer, along with another clone of the sound coming straight out of Clouds, to keep a consistent backbone to the plucks. All of this is layered with a clone of Braids, pitched 1oct up. This copy is not synced to an envelope, which makes it constantly pitch-bending. This layer is slowly faded in by a 3-minute LFO. On the other side, Voxglitch Digital Sequencer XP is sequencing pitch sent to a pluck from Plaits triggering 16th notes, which is being run through another Chronoblob 2 with slight time modulation for a warble effect. Plaits is then run through Plateau, which is sent to another mixer. The real magic of the patch happens here: both mix outputs of both sides are sent to a BogAudio XFADE, which very, very slowly crossfades between the two, running off a VCV LFO set to 0.0062146hz, or about 2.6 minutes. The LFO is clocked from Marbles' T3, which is uneven. This is what creates the constant dynamic movement of the patch, and adds a level of evolution and movement to the patch not seen in any of my previous work.

The patch can be downloaded here: https://patchstorage.com/knives/
If you're missing any modules, go here: https://vcvtools.glitch.me

#modular #ambient #relaxing

named after knives chau, for no reason

knives

used as the music for the finale of the vlog

hand covers bruise (cover)

This song is indebted to Yubi and holden cathcart, and was heavily inspired by the album blossom. I don't really remember making it, and I know that sounds like I'm trying to be artsy but it's true. I just kind of zoned in one day after making the intro, and a couple hours later had the track. I really don't know what more to say.

ANGEL

A version of Silicon much more in line with the original vision of a future bass drop. I used a lot less Playbox this time, in an attempt to really try and improve the original version, and I think it came out really similar to the future-bassy idea I had at first.

Silica

An old lofi beat I made for my EP concrete jungle, which never made it to streaming. This is an improved version of the original, and I just really want it to be available for people to stream. Winterchaser provided guitar for both the original and improved versions of the song.

Apollo w/ winterchaser

This was a track I made for a game I was working on, but never really finished, and so here it stays. It's very chill, and is derived from an inversion of the chord progression from Verv - Vivid, from Atlas Vol. 1 (can you tell how much this whole record was inspired by Atlas?).

Interlude

I've just really always wanted this song to be on streaming services, and, since this is my last album, I've nowhere to put it but here. I originally made this song for my EP Tokyo in Snow, which was never finished, and it eventually was released on Merk'd Season 4. I still quite like it.

Morning Of

This track is a tribute to Verv/winterchaser's Atlas series, which are some of my favorite collections of music ever. I don't really know how good it is in comparison with the rest of the album, but I like the general vibe a lot. It really does sound like something I would've made back in that era. Also, it was the first song I ever wrote in 3/4, so, there's that.

Atlas

I made this song really, really late at night on a camping trip in the middle of the woods. It kind of reminds me of Aphex Twin, and is based on this really frenetic pitch-shifted delay effect throughout the whole song. It's one of those songs you really just can get lost in. I started the track as an attempt at writing a lofi hip-hop song, but the chord progression quickly grew too complex (plus, I don't like writing drums). Instead, I shifted to an attempt to recreate the delayed/distorted chord effect seen on most of the songs on Minecraft: Volume Beta, which I think worked out well.

Syre

This is the most Minecraft-inspired song on the album. I used parts of the chord progression that didn't make it to Hand Covers Wound, and built the track up around 3 stock instruments. I read on C418's blog that he likes the track Minecraft because it slowly builds up and slowly fades away, which is what I tried to replicate with this.

Sverige

This was the first song I made for the album. I was just testing out some piano plugins I had found while rebuilding my sample library (I hadn't made music in 2 years), and came up with a nice chord progression that reminds me of the Minecraft soundtrack (I wouldn't say the final version does this. It's a bit too sad). The name is a reference to Hand Covers Bruise, a song off the soundtrack to The Social Network, and one of my favorite score pieces of all time (the main chords are just inversions of the opening notes of Hand Covers Bruise).

Hand Covers Wound

This is, I think, just a better version of Atlas. It was SUPER fun to make, and I think, is one of the best tracks I've ever made. The switch-up at the end is my favorite part. I tried to push Native Instruments Playbox to it's absolute limits in this track, forcing it into modes that I could play melodies with, and using it for everything from risers to drums. It was originally supposed to go into a future-bass drop, but I ended up doing the fake-out key switch instead. Silicon is a really, really old name I've had laying around since Inertia I, it was originally meant for a song on Inertia VII. Imagine if I had actually gone on with that naming scheme.

Silicon

INERTIA ANGEL OUT NOW
THANK YOU FOR 7 YEARS
the song continues as @glasskiwi

LASTRA

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