Name: Sing This When I'm Gone by dirch blewn
Duration: 6 min 9 s
Description: Taken from the album 'Axis' available from Linear Obsessional Recordings.

in many, many years from now I hope we sing this one together dave!

Taken from the album 'Axis' available from Linear Obsessional Recordings.

Sing This When I'm Gone

VCNO is a eurorack modular noise oscillator implemented using an LFSR (Linear Feedback Shift Register) designed with discrete analog parts and logic ICs - no software or microcontrollers.

Availability: shipping May 2017 to modular dealers around the globe!

It is capable of producing full spectrum white noise. But that’s where its similarity to other noise generators stops. VCNO can be used like a VCO – you can modulate the pitch over CV and use its multiple outputs simultaneously, each with a distinct sonic character. Its method of generating noise is similar to that used in early computer sound chips, except it has been implemented here using discrete logic, without the use of software or microcontrollers.

More information (audio demos, etc.): http://www.hexinverter.net/vcno

Add it to your ModularGrid rack here: https://www.modulargrid.net/e/hexinverter-Electronique-vcno

Credits:
Demo tracks by Aaron Funk aka Dr Snarold Snarington and Adam Ing
Artwork by Hannes Pasqualini of Papernoise.net

Every Montrealer On Every Other Montrealers Face - VCNO demo track by Snarold Snarington

bottom section of the random*source euro vcm in a feedback loop. modulation from a cycling dusg and a pinged low frequency vcfq. mungo c0 and g0 as delay, granular pitch shifter.

vcm selfoscillation

core is a feedback loop of the fsh-1 frequency shifter, inside the loop is c0 and mmf-1. modulated by r*s dsg. rhythm and pads itb.

something like a patch diagram: https://imgur.com/6oNm0yH

one output of the fsh-1 goes into the c0 delay (the delay is crucial in this patch, most of the sound gets produced here), the output of the delay goes into a limiter and then back in one input of the fsh-1.
another ouput of the fsh-1 goes into the mmf-1 filter in dual bandpass mode, from there the signal goes again into a limiter and into the second input of the fsh-1.
this is now the basic closed feedback loop, i listen to the mix output of the fsh-1.
by playing around with all the settings i get different tones, again, the delay is crucial here, how much feedback is determined by the limiter and general volume controls or frequency controls of all three modules... now to get a rhythmic patterns going i plugged this "bouncing ball" envelope into the second input of the filter, that is enough to only get feedback at the high portions of the envelope eg i get a rhythmic feedback pattern. variations in tone by manual control of the bandpass settings and the delay time plus occasional tweaks at the limiter section for louder or more distorted feedback. the patch is delicate, i tried to replicate it and i wasnt able to come close to these tones, but other great ones:) enjoy modular synthesis!

fsh1

Hordijk Modular and other 5U into GigPerformer with Grain Space, BYOME and SpecOps plugins effects plugins. Recorded as a stereo pair.

Please feel free to download this recording and cut it sample it and abuse it. Please credit if you use lots of it.

No Beginning And Never An End

mungo w0 sine wave dynamically phase modulated by a vco-2rm sine wave. simple demo sequence by r*s ssg and dusg envelopes. c0 for delay. spring reverb.

w0 phase modulation

SOMA Lab Soundsystem is Vlad Kreimer and Philippe Petit.
Vlad Kreimer the brain behind the brand SOMA and inventor of today's most interesting electronic instruments plays his Pulsar 23 and this is the very first song using the instrument. 
Historical !
To match I played my Buchla Easel K... Feeling really happy to join the SOMA team which hopefully will soon be rewarded for such inventiveness and intelligence in helping us create some newer sounds...

SOMA Lab Soundsystem

more examples of wind instruments with the d0.
mmf-6 in feedbackloop. on the first example there's a r*s vcm in the feedbackpath too, the middle section, some wavefolding and some dc bias. the instrument reacts on pressure and overdrives.
second example is with noise on the free d0 input.
doepfer spring reverb and g0 an octave down as pitch shifted delay.

flautz

both sides of dunst ping the mmf-1 in dual bandpass mode. dunst "clocks" stepped side of r*s ssg for pitch cv and delay modulation. 
dunst modulates itself. d0 delay with feedback path through doepfer spring reverb.

dunst pings

4 rhythms for Richard Scott

4 Rhythms For Richard Scott

the mighty g0 modulates its own pitch with the now sadly defunct tracking output, a simple drumloop loaded inside the g0, position modulated with dusg envelope, reset from second dusg envelope and grain size adjusted to have it sound "in sync"
d0 as delay.

g0 selfmod

sound artist working with modular systems and large assemblages.

Sing This When I'm Gone

dirch blewn

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