Patch using the optomix strike inputs and control inputs as accents. Sequence was made by Maths cross-modulating a Sport Modulator and using the EOC out of Maths as the Accent gate.

Optomix Rhythms

Similar patch using my trusty combo of sport mod and maths to strike the optomix and make the sequence

Optomix Rhythms 2

Optomix Rhythms 3

Optomix Rhythms 4

Jamming on the ER-101, Tyme Sefari, Echophone, 4ms VCAM and Hertz Donut

http://www.fabricastronaut.com

New Modules Test

Learning more about the ER-101. Sequencing this patch and using the $ms VCA matrix as a mixer to send the different sounds to the Echophon. 

Repeat Pattern

Patch using the reverb out of the Doepfer A-199 Spring Reverb.

This patch is basically an FM'd VCOb's different wave forms being sento 2 different filters which are being pinged by some adsr's. The sub out from an AFG (which is FM'ing the VCOb) is being send to a third filter which is also being pinged. These sounds are mixed and then go into the Audio in and feedback in on the doepfer A-199. The reverb out then goes to the soundcard. The rhythm is made using the A-150 VC switch which is randomly switching (using the random out of a A-118 Noise module) between two different trigger rhythms (from a MFB seq-01) and then fed into channel 2 of the A-150 which semi-randomly (lfo sine controls the VC of the switch) sends the clocks to a different ADSR channel which pings 2 different Filters.
I then mess around with the filters cutoff as well as the adsr knobs plus switching between Lin and Exp FM. Finally there is a LFO connected to the 1v/oct of the VCOb which I bring in from time to time with an Attenuator on the input.



Doepfer A-199 demo

Today I was messing around with using the Sport Mod to generate semi-random, clocked rhythms using the end and comparator outs, while the module was self-cycling in hold mode, clocked from my midi interface.
I then sent the out from the bottom channel into the input of a VCOb which was FM'ing another VCOb and got some nice FM melodies going. There's some stereo delay coming from Logic just to space it out a bit.
The more repetitive drum sounds are sequenced by my Seq-01 but the main part is all made by the Sport Mod.

Sport Mod 1

AUD 405 Assessment 2

My piece titled “4 8 12 16 20” was inspired by the work of Gyorgy Ligeti and Karlheinz Stockhausen. It is a modern take on the idea of serial music whereby a series of processes are developed and implemented into a system that when set in motion, creates a piece of music. In my system of processes I chose to use mathematical divisions of rhythm and pitch based on the number 4 to control random number generators used to trigger each event. I am aware that the number 4 is not the most adventurous number to use in music, however given the random nature of the piece; I selected this number so as to provide some order amongst the veil of chaos. Each time the piece is generated it is different.
The pitched sounds I used came from a recording of a music box, recorded with my laptop mic. The rhythmic sounds are made by a novelty sound box that makes sounds such as missiles exploding, people burping, cash registers, gunshots, applause and various other random sounds that I recorded by micing up the box with a Rode NT3. The final sound source was a recording of me typing on my laptop, recorded using the laptop mic.
I used Max/MSP to program the algorithmic patch that generates the song and also added a graphic score to accompany the piece a la Ligeti’s graphic interpretations. The moving shapes are actually phase inverted oscilloscope emulators that are linked up to each individual sound and are shaped by the frequency content of the sound itself. 
The idea is that the music is to start off slowly and as the piece evolves, the rhythmic and pitch variations increase. This also incorporates the idea of additive rhythms, as with each 4 bars the rhythms build in complexity by incorporating previous note divisions into a growing number of rhythmic possibilities. There are ten samples being used in the song: 5 rhythmic sounds (pitched up to sometimes as high as 43 times their usual speed which makes them sound like percussion) and 5 melodic sounds, the rhythmic sounds begin in quarter note divisions and by the end of the generative process they include 1, 2, 4, 8, 12, 16, 32 and 64th note divisions of the rhythmic plane.
For the melodic sounds I use only one sample during the first 4 bars, which is randomly pitched each time it is triggered into divisions of 1/4, 1/2, 3/4 and 4/4 of the original speed that the sample was recorded at. After every 4 bars following that, a new sample is added to the piece, which is also randomly pitched at divisions of 4. On top of this, the rhythmic complexity of the random number generators triggering the pitched sounds is also increased by a factor of 4. 
To maintain a sense of consistency, I added another melodic part that repeats a 3-note, 4-bar loop using the same melodic samples pitched at quarter speed continuously throughout the piece. I felt that this made the song much more listenable and less chaotic.
My goal was to build a song that incorporated the ideas of serial music into a computer based algorithm that would be able to generate a different version of the same song each time, but without sounding too random during the process and I believe that I have succeeded in doing so.
However my fellow JMC’lings you are the judges, not me so let me have it.

Here is the video:

http://www.youtube.com/watch?v=i-8ROCCsRSY

4 8 12 16 20

A patch using the END outs and the comparator out of my Sport Modulator in cycle and sample and hold mode to add variation to a simple 16 step sequence which alternates between 2 chords. 
Whenever the comparator goes high, the entire sequence is transposed making the sequence shift octaves in time with the clock. Adding in the other gate outputs yields more transposition changes and I've then used the same gates into a VCA to gate the VCA's of 3 oscillators receiving different transpositions of the same arpeggio. I've found this to really liven up a basic arpeggio sequence but I really need a quantizer(s) as it took me ages to tune the thing by ear and its still pretty off.

Arpeggio Sequence

Same as the last one but using more LPG action and the sub out of the AFG instead of the Modulation Oscillator of the Hertz Donut

A patch using the END outs and the comparator out of my Sport Modulator in cycle and sample and hold mode to add variation to a simple 16 step sequence which alternates between 2 chords.
Whenever the comparator goes high, the entire sequence is transposed making the sequence shift octaves in time with the clock. Adding in the other gate outputs yields more transposition changes and I've then used the same gates into a VCA to gate the VCA's of 3 oscillators receiving different transpositions of the same arpeggio. I've found this to really liven up a basic arpeggio sequence but I really need a quantizer(s) as it took me ages to tune the thing by ear and its still pretty off.

Arpeggio Sequence 2

Modular Improvisation

CV and Audio Feedback patch. 

Section 01

Modular Patch based on the sample and hold functions on the Toppobrillo Sport Modulator on a short sequence. The gates come from Maths EOR and EOC outs. Blah blah blah.

Matthew Williamson

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