unedited, unmastered 2 ch. recording sessions
various gear used

Mydra

A study using various Frap Tools modules, centred around the Brenso Analog Through-Zero FM complex oscillator.
The sequence is an 8-stage, 10-step USTA sequence leveraging pitch probability.
Brenso is set with green VCO providing thru-zero modulation to the yellow VCO, with the Final out being mixed with white noise from Sapèl with Happy Nerding Dual XFade into an LPG channel of Rabid Elephant NaturalGate.
The primary V/Oct input on Brenso is passed through Falistri slew limiter(blue) from USTA pitch CV sequence.
Extensive modulation:
- Sapèl being clocked from USTA's gates, stepped random to Natural Gate envelope length and Brenso ModBus depth;
- Sapèl smooth random to Brenso Yellow VCO FM depth (linear);
- Sapèl n+1 to Brenso Green VCO pitch (added to V/Oct input arp, USTA/Falistri); and NaturalGate level CV;
- Sapèl 2n controlling crossfade CV of Dual XFade, adding more white noise with high voltage;
- Falistri Yellow channel is being triggered on the first stage of USTA, via second Gate output, and is passing an envelope to Brenso Symmetry and Ring Modulator offset;
- Falistri Green channel is looping and passing LFO CV to Brenso wavefolder amount.
--
Valhalla DSP VintageVerb and Delay added for taste.
Roland TR-909 kick and TR-808 hats for some foundation.

20230205 Frap Tools Brenso And Family - Study

DSI Pro 2
Elektron Analog Rytm
Robert Durst

Beverley Hills

Short mangling with volca sample loop 

original volca sample loop dry - Room - Hall - Plate - Ambient - Chorus - Non Linear - Primitive 

BAM Test Drums

Richie Hawtin: Decks, Efx & 909 CD Version (Full Mix) (1999) MINUS4CD

Demonstration of the Mercury 7 on drum sounds. First the dry drums play and then a series of effected sounds. Drum sounds used (in order): Roland 808, Roland 909, Linn Drum, and Roland 606. Samples taken from Arturia Spark, sequenced and recorded in Cubase 8.0 using a Universal Apollo Twin Duo. All audio was routed through the Apollo outputs, to the Mercury 7, and back. The final waveform was raised in volume using Slate FG-X, but all other processing was bypassed (in other words, I did not use FG-X for anything except raising levels). No other processing, plugin, effect, or hardware was used.

Meris Mercury 7 - Drums

Some more improvisation with the modular; trying to see how long I can keep playing one patch, tweaking on the fly.

Improvisation Test 2

This recording is the product of me experimenting with step sequencing the Pyramid's arpeggio function. If I recall correctly, I'm using the step sequencer to modulate the arp style, rate and octave parameters.  

This was a "freestyle" where I simply hit record and noodled about with the Pyramid and effects. Nothing was planned, and it can get repetitive. But i thought it sounded nice and that someone might enjoy it. 

Thanks for listening!

//GEAR//
Squarp Pyramid sequencing a Pittsburgh Modular Primary Osc running through a Make Noise Optomix low pass gate. All effects (saturation, delay and reverb) provided by OTO Machines BOUM/BIM/BAM.

Peacefully Oscillated Arpeggios

Instruo Cs-L (loads of FM, AM, and wavefolding)and Ts-L oscillators with Make Noise LXd low pass gates, Instruo I-o47 filter, and Make Noise QPAS - all being triggered, modulated and transposed by Frap Tools Falistri, Intellijel Quadrax and Tetrapad, and ALM Palamela's NEW! Workout. 
Speed of the primary envelope is controlled by the combination of a sine wave from Quadrax and a S&H from Intellijel Noise Tools.
The bonus for my experiment was using the dual flip-flops (frequency dividers) on Falistri: the first one will halve the clock cycle fed to it, and then that cascades to the second flip-flop, which halves it again... creates an interesting pattern.
No function generators were harmed in this experiment.

20200204 Dueling Function Generators

An experiment with two fantastic Complex Oscillators, the INSTRUō Cš-L, and the new Frap Tools BRENSO.
I have tried to set up both oscillators the same:
I have tuned the modulators slightly higher than the carriers to create a metallic bell tone. In each test, I first do a demo running a wavefolder - on the Cš-L it's the lower/carrier wavefolder. This is the more abrasive sounds. Then I noodle around on each oscillator while adjusting the amount of envelope drives the CV/Index of Linear FM modulation from Modulator to Carrier. The FM is driven along with the VCAs by a single Falistri envelope.
The first test is on the Cš-L, followed by Brenso. At he very end I return to Cš-L to further demonstrate the detuning effect at higher FM levels - it is my understanding that this effect is caused by the lack of through zero modulation capability on the Cš-L.

20200728 Cš - L Vs Brenso

Duelling Complex Oscillators!!!
USTA sequencing, 808 and 909 beats on Ableton Live/Push 2.
Bass: Cš-L VCO2 with linear FM from VCO1 and wavefolding, Quadigy ADSR envelopes on VCA and wavefolder. Mutable Ripples with Pamela for clocked cutoff modulation.
Lead: Brenso Green VCO saw wave, Yellow VCO final output with manual modulation of shapers, wavefolder; manual adjustment of linear and exponential FM between both VCOs, envelope from Falistri, VCA and Mix in stereo on CGM group channel.
FX from Lexicon and the Eventides.

Peacefully Oscillated Arpeggios

Arsenal Electronics

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