I don't really know anything about lofi hip-hop.. in fact I just found out about it a few days ago. I thought it was a neat aesthetic that I could mimic in more of an experimental electronic style. This is a recording of a performance I did with a live audience earlier this week.

The guitar sample is something I sampled off a friend and spliced it for the Morphagene.

The rhythm is a volca sample loaded with roland td-808 samples and then fed through the qpas.

The vocal sample is from a leaves on the stream mediation and played by an iphone.

The aside from the volca sample and iphone notes everything here was the Make Noise Tape and Microsound System.

lofi? modular

A patch created for the January 25, 2020 NYMS show @Muchmore's in Williamsburg, exploring audio-rate modulation, morphagene real-time twiddling, and bytebeats+turing sequences generated by the uo_C in makam eviç triggering a piston honda, instruo ts-l, and joranalogue filter 8 in oscillator mode. Recorded live in 1 take, no overdubs.
http://nyms.love

Folding Eviç (NYMS live@muchmores)

I don't listen to techno and don't know much about it, so I set out to make a song that sounds like what I think techno is,

All done live one take on modular synthesizer.

w-y- No Tech Teck No

Incomplete attempt to recreate Grendel Drone Commander without some of the requisite features.

modules: 
maths, dpo, mmg, quadratt

patching:
dpo-a triangle to quadratt-a
dpo-b square to quadratt-b
maths-4 unity to mmg freq-1 (+/- at 2 o’clock)
maths-4 eoc to maths-1 trigger 
maths-1 (+/- at 2 o’clock) variable to mmg q (=/- full cw)
quadratt-B to mmg ac in

panel settings:
dpo oscillators = OSC1 & OSC2, tune from 07-12 o’clock = f0-f4 approx
quadratt a/b = OSC MIX
maths 4 cycle, rise 10 o’clock, fall 2-3 o’clock(= LFO (rate)), log/exp linear ~ SHAPE (but also affects rate)
maths 1 cycle, rise 10’oclock, fall 2 o’clock, +/- 2 o’clock (= PULSE), log/exp 11 o’clock (~ 2, 4, 8, 16 but have to multiply manually)
mmg in ‘bandpass’ mode, mode = lp & mode cv full cw
mmg freq +/- = lfo depth (but negative values invert)
mmg freq = FILTER
mmg resonance 9 o’clock 
audio i/o = VOLUME

to do: 
both oscillators should offer triangle & square wave
lfo2 should be a pll driven clock multiplier at x2, 4, 8, 16 to ping filter (currently is a second lfo multiplied by ear and clocked by lfo1)

performance:
osc1 & osc 2 tuned together (duo follow full cw)
bringing in lfo1
bringing in lfo2
tweaking resonance and detuning osc 2 by hand
driving the OT inputs into the red a little

clone commander

made for http://NYMS.love PATCHABLE collab

late night offices paper cups [patchable-0013]

https://nyms.love/2020/03/02/patchable-0013/

Throughout the course of our daily lives there is a continuous influx of aural stimulation. We naturally filter out many of these distractions in order to remain focused on the task in front of us. This patchable asks you to turn off those filters and listen to the droning sounds around you. Pay attention to distant white noise hum of a highway, the sound of a refrigerator condenser or your own breath. Let these long, unceasing noises be the inspiration for your next patchable.
THE CHALLENGE

Create a drone patch inspired by the everday sounds around you. There is no limit on modules or external gear used. Simply that the sounds your create should be classifiable as drones.

My Patch Notes:
I'm playing the two oscillators on the Pittsburgh SV-1 with Pressure Points. Each oscillator receiving its own CV from rows one and two of the Pressure Points.  Before CV reaches the input on the oscillators, I have them going through channels 1 and 4 of Maths for some slew/portamento.  Also, row three of Pressure Points is being split to modulate the both-rise/fall input of channels 1 and 4 of Maths to fine tune the slew for each pad of the Pressure Points. Also I have oscillator 2 of the Pittsburgh FM-ing oscillator 1.

The Pittsburgh oscillators are being mixed with noise from sample and hold from the SV-1 and noise out of the Telharmonic. Sample and hold Noise is going through the SV-1's filter, and the Telharmonic noise is going through a Pittsburgh LPG in filter mode. The Degree and flux on the Telharmonic are being modulated by the pitch CV and velocity CV of the DFAM (no noise is coming from the DFAM, just using its sequencer for modulation)

The two noise Sources as well as the two Pittsburgh oscillators are all being mixed to a single output and going through a Pittsburgh Binary filter before going to a Make Noise Mimeophon the Mutable Instruments clouds. Neither the Mimeophon or Clouds have any modulation going to it.

All 8 oscillators on the Dreadbox Antiphon are going. 2 oscillators are being used for modulation. An audio rate oscillator is modulating an the VCA and an (attenuated) LFO is modulation global pitch CV. This LFO is also modulating filter cutoff for the the noise from the Pittsburgh Sample and Hold.

All filter cutoffs were being played by hand with the exception of the SV-1 noise's filter which was a combination of CV and playing by hand.

Finally I have the output from a 4MS Spectral Multiband Resonator as a sound source just kind of droning away as the low-ish end rumble.

w-y- Indiana Drones - Patchable-0013

make noise DPO  has learned to scratch/spinback.

modules:
dpo, benjolin, telharmonic, maths, mysteron, quadratt, mmg, mult

patching:
dpo-a final to quadratt-d
benjolin pulse-b to mult-b (clock signal)
benjolin triangle-a to dpo-b 1v/oct
benjolin lp tp quadratt-a
benjolin xor to telharmonic tonic
telharmonic gate to mysteron excite-1
telharmonic-n to mmg ac 
mult-b to maths-4 trig
mult-a to telharmonic degree (+/- = 12:00) & mmg freq-1
maths-4u to benjolin mod-f
maths inv to mult-a
maths or to mysteron excite-2
mmg out to quadratt-b
mysteron out to quadratt c

panel settings:
dpo oscillators = min, follow = max
dpo fm bus = max, dpo-b expfm = max
dpo mod bus = max, angle & fold = max, shape = sine, no cv input
telharmonic tonic = max, interval = min, degree = 14:00 centroid = min, flux = max
mysteron pitch = max, mutation type & depth = min, generation = 10:00, impulse = 12:00
maths-4 rise/fall = 12:00, log/exp = 09:30, ch-4 =/- = max (ch4 only used)
mmg in lp mode, frees = 12:30, freq-1 +/- = max, q = 12:00, ac in = 12:00
benjolin mod a/b, rungler a/b/f = min, osc-a = 11:00, osc-b = 08:00, mod-f = 03:00, freq = 09:00, loop = 03:00, res = 12:00

performance:
quadratt a-d to bring parts in/out
benjolin mod-f min to 03:00 to bring in filter pulse
dpo fm bus min to max to bring in spin/scratch effect
dpo follow to adjust rate of spin/scratch to a frequency sweep

euro scratch

Sliding harmony

I make music for people trapped in the middle of nowhere. 

In addition to my albums, this page includes my experiments with modular synthesizers, music composition, and noise. It includes improvised and sequenced compositions. Experimental tracks have not been edited.

lofi? modular

Lost Ingénue

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