Once again, this patch started with the Moog Subharmonicon and ended without it. Too much trouble integrating correctly the polyrhythmic sequencer (I'll probably try again very soon). Then Marbles generated this 16 notes sequence that inspired me. I tried by using Rings as a resonator through a overdrive guitar pedal to give a very organic feel to the sound. The title of the track is inspired by a famous sci-fi movie. 

Patch notes for "Temporal Paradox" 04/19/2021 °°°

° Marbles brain of this track. Clocked from Hermod, generating rhythm and melody (t3 and X3), Y as a LFO for Arbhar
° Hermod master clock, exporting Gate clock for Marbles, modulating V/OCT of Ripples
° Tides receiving trig from Marbles, generating envelope for Plaits and Rings (STRUM)
° Rings 1 V/OCT from Marbles, STRUM from Tides, exporting audio on ODD to Links for 2 outputs (Beads and Arbhar)
° Beads receiving audio from Rings 1 on L channel (from Links) exporting audio L and R to the mixer, Dry/Wet and Reverb amount adjusted on the fly during the track
° Ripples filtering in low-pass mode both plaits outputs, FREQUENCY is modulated by Hermod LFO and range is adjusted to taste during the recording, Reso(nance) is pushed to 1’o’clock. Output is attenuated then going to Pico DSP in saturated reverb mode 
° Rings 2 V/OCT from Marbles, in resonator mode, IN(put) coming from ° Ears, ODD (output) attenuated and going to external effects and mixer : overdrive Fulltone OCD and then in Strymon BlueSky reverb,  Mackie 1202-VLZ3
° Pico DSP creating stereo sound from Ripples in saturated reverb mode, output is going to the Erica Synth Black Stereo mixer
° Arbhar used as background granular texture, 4 pre-recorded layers from Rings 1 at different « SPREAD » levels of Marbles, SCAN is modulated by Marbles Y LFO, SPRAY, INTENSITY and LENGHT are adjusted manually to taste during the recording
° Links is grouping both output of Plaits in one and Duplicating ODD output from Rings 1
° Externally mixed on Mackie 1202-VLZ3. Recorded and mastered in Ableton Live.

Recorded in Oléron Island, south west France

Temporal Paradox

Let's dive into the ocean, without a single movement, deeper and deeper until the light is rare. Sinking, surrounded by the glowing jellyfish dancing around me.


Patch notes « Glowing jellyfish dance» 10/05/2021 °°°

° Hermod generating clock for Marbles, modulating with 2 LFOs Ripples Frequency and resonance.
° Marbles generating trigs for Rings 1 and 2 and Tides. Creating fixed melody for Rings 1 & 2 and Plaits. Length at 8.
° Rings 1, polyphony on 4 notes, modal resonator mode, main output split into Strymon El Capistan and Clouds.
° Clouds generating some stereo down pitched delay from Rings 1 main output.
° Rings 1, polyphony on 4 notes, modal resonator mode, main output into Ripples.
° Ripples frequency and resonance modulated by Hermod, low pass mode, attenuated output into Pico DSP in stereo delay. Frequency adjusted manually during the recording
° Pico DSP in stereo delay mode, output directly into the mixer
° Tides receiving trigs from Marbles, generating the envelope for Plaits.
° Utopia adjusting CV level from Marbles to Plaits.
° Plaits generating the deep bass sound and melody. Two operator FM mode. Main output directly into the mixer
° Beads playing the guitar part in freeze mode. Recording mode set to Cold Digital. Time parameter is randomized internally. Size, shape and intensity are adjusted during the recording. All wet signal, reverb pushed to 3.30pm
° Gibson ES 330 played into Beads through Strymon Flint.
° Externally mixed on Mackie 1202-VLZ3. Recorded and mastered in Ableton Live.

Glowing jellyfish dance

Patch notes « The haphazard orchestra » recorded at Oleron island, France on the 08/20/2021

Here is a 17mn long piece of generative music, probably one of the most complex patch and setup I’ve recorded yet. I tried to make a good mix between acoustic and electronic instruments. The idea was to get the most instruments involved at the same time but playing in a random way mostly. The only control I had while recording is muting tracks on different instruments, adjusting volume and playing manually Beads. Tell me what you think ! Cheers !

Instruments involved (sound sources): 
° Fender Precision Bass
° Fender Telecaster
° Yamaha Reface CP
° Elektron model:Cycles
° Elektron Octatrack MK2
° Mutable instruments Rings
° Mutable instruments Plaits
° Mutable instruments Beads
° Mutable instruments Clouds clone
° Instruo Arbhar
° 4ms Ensemble oscillator
° Teennage Engineering OP-1

Roles :

° Hermod, Brain of the patch. Generating notes and variations, randomly played for Rings x 2, Plaits, Ensemble oscillator. Transports and BPM (80) exported via MIDI to the Octatrack and Model:cycles
° Octatrack is randomly playing samples from 7 different tracks with a probability <15%, each tracks used internal filters and LFO to give a different feel.
° Model:cycles is playing 2 different tracks, muted and unmuted manually
° Marbles is used as a LFO to modulate SCAN parameter of Arbhar
° Rings 1st imitating some acoustic guitar sounds, randomly played from Hermod
° Rings 2nd playing a random melody from Hermod
° Utopia is used as a LFO to modulate POSITION for the 2nd Rings
° Clouds in stereo Delay mode from the 2nd Rings.
° Tides creating a very slow envelope for Plaits, MORPH parameter modulated by Hermod (LFO).
° Plaits playing a melody played randomly by Hermod.
° Ripples filtering the audio signal of Plaits.
° Pico DSP applying a reverb effect of the Ripples audio signal.
° Beads in Freeze mode running a guitar phrase, TIME sometimes modulated by Hermod and internally or played manually at some points 
° Ensemble oscillator playing a slow drone, Root, Warp and Cross FM modulated by Hermod with 3 different LFOs
° Arbhar have 6 recorded layers of guitars and Reface CP in different modes, SCAN parameter is modulated by Marbles, layer selection is activated by Arbhar’s Omega layer.
° Ears, used to record and adjust level of the guitars

Utilities : Black Stereo mixer, A138s mixer

Externally mixed on Mackie 1202-VLZ3. Recorded and mastered in Ableton Live.

Haphazard Orchestra

Are we accident waiting to happen ? Well, this track is an happy accident for sure. Here is his story.

I made two very different version of this track, using the same patch. I recorded the first version late at night. I was pretty satisfied with the result, then i went to bed. In the morning when I tried to listen the my new track, I couldn't find what I was happy about ... So, I decided to give it a new try but Marbles did not (of course) generate the same sequence. I spent several hours trying to adjust everything, I did the drums from scratch again and I recorded it ... I just hope I will find it OK next morning ;)

I also spent some hours transforming a picture I took last week of some mist of condensation on my window and transformed it into some haunted forest landscape for the track visual. Of course I had in mind Stanley Donwood work for RadioHead.

Cheers.

Patch notes for "Hereafter" .
Recorded on the 09/28/2021 in Charente, France.

Instruments involved °°°

° Gibson SG
° Mutable instruments Ears
° Mutable instruments Beads
° Mutable instruments Rings x 2
° Mutable instruments Plaits
° Mutable instruments Marbles
° Mutable instruments Ripples
° 4ms Ensemble Oscillator
° Elektron Model:Cycles
° Squarp Instruments Hermod
° Instruo Arbhar
° Happy Nerding FX AID

Marbles, brain of the patch for generating notes and 1 LFO (in yellow t mode, X section is set to yellow mode)
Hermod, main clock for Marbles ,FX AID delay and Elekron model:cycles via midi + some LFOs 
Arbhar is playing 6 layers of pre-recorded Gibson SG (recorded dry through Ears into Arbhar), Arbhar San parameter is animated by Marbles Y LFO, play direction is also modulated by Hermod, stereo output to the mixer
Rings 1 in polyphony and modal resonator mode, V/OCT is driven by Marbles X2 output for melody, ODD output attenuated and ran into FX AID in delay mode
FX AID set to synched Delay, synch is provided by Hermod, into from Rings 1, stereo output to the mixer
Plaits V/OCT provided by Marbles X1 output, Trig from Marbles T1, playing bass mainly. Plaits in Granular formant osc mode. Output into Ripples
Ripples receiving Plaits signal, Frequency V/OCT parameter animated by Hermod, RESO set to noon, LPF output to the mixer
Rings 2 in polyphony and modal resonator mode, V/OCT is driven by Marbles X3 output for melody, ODD output into Beads
Beads in Sunny tape quality mode, receiving signal from Rings 2, pitched up at 3.20pm, stereo output to the mixer
Ensemble Oscillator pitched by Hermod with a fixed sequence of 2 slow notes, TWIST, BALANCE, WARP and CROSS FM played manually, stereo output to the mixer

Hereafter

"In winter's hush, the raindrops dance,
A waltz of whispers, a fleeting trance.
Each droplet weaves a tale untold,
In the chilly embrace, a story unfolds."

°°° Patch note : recorded 01/25/2024

° Sequencer & modulations automations by OXI one
° Rings main melody
° Rings into tapographic delay
° Bass line 1 from Plaits
° Bass line 2 from Ensemble oscillator
° Ensemble oscillatoire into Mimeophon
° Beads processing Plaits signal (dry/wet modulated by Oxi one)
° 3 layers of Ukulele recorded into Arbhar, layers and scan parameters modulated by Oxi One
° Fx Aid processing stereo signal from Arbhar with reverb
° Recorded in Ableton Live with SSL12 audio interface

Frozen Raindrops

It's been a while, I know. Time and energy have been sorely lacking. It's difficult after a period of absence to start creating again. A kind of blank page anxiety, if you will. Anyway, after spending a few days in the studio, two pieces have emerged. Here's the first one.

Patch notes : recorded on Oléron island the 05/12/24

Apathy

Unlike the visual illustration of my track, the weather wasn't great during this long weekend. Nevertheless, I was determined to record a new track. This time, I used the modular synthesizer to manipulate recordings of various elements captured from the same guitar.

A painting’s layers of color and texture mirror my guitar's harmonized layers, creating a rich auditory tapestry. Each brushstroke whispers like a note, blending into a composition that evokes deep emotions. As a painting’s depth conjures feelings, my guitar’s intertwined melodies reveal a symphony of sentiments, creating seamless harmony.

I hope this will allow you to have a good time and escape a little from your daily life.

°°° Patch notes : recorded on the 05/19/2024, Oléron Island studio

° Gibson ES330 VBNH1 (2012) into Fulltone OCD pedal
° Mutable instruments Ears as mono input for my guitar on Lubadh and Arbhar
° Hermod clocking Mimeophon and Tapographic delay
° Poly Hector Generating modulations for Arbhar layers, « corrupt »  on Data bender and « Morph » on Plaits with 3 LFOs
° Mutable instruments Marbles generating modulation for « scan » parameter on Arbhar
° QU-bit Bloom generating melody for the bass line and « melody » for Rings
° Mutable instruments Plaits as a sound source for the bass line
° Mutable instruments Beads processing mono audio signal from Plaits
° Mutable instruments Rings as a sound source for textural ticking effects
° Mutable instruments Ripples processing audio signal from Rings 
° Erica Synth Black Stero mixer compiling Rings(Ripples) and  Plaits(Beads) audio signal to the main mixer  
° Instruo Lubadh as a sound source for 2 asynchronous separate guitar recording
° Mutable instruments Links duplicating audio signal from Lubadh sample 1 and clock from Hermod 
° Make Noise Mimeophon receiving mono audio signal from Lubadh sample 1
° 4ms Tapographic delay receiving mono audio signal from sample 1
° Instruo Arbhar playing randomly 6x10s samples of recorded guitar
° Mutable instruments Clouds with Parasite firmware doing textural stereo reverb for Arbhar samples  
° Happy nerding FX aid 1 processing sample 1 (from Lubadh) as a reverb
° Happy nerding FX aid 2 processing sample 2 (from Lubadh) as a reverb
° QU-bit Data bender processing Sample 2 audio after FX aid 2
° 1010Music BlueBox module centralizing audio on 6 stereo pairs from the different instruments and proving mixing and recording 
° Ableton Live used for final mastering from the 6 different recorded tracks (Bluebox)

Radiance

I have always found it interesting to understand what motivates artists to produce their works. Sometimes it's a simple coincidence that forces exploration and discovery, other times it's hard work. The reason I'm talking about this is that in the case of this track, the process had little to do with the result. Let me explain. A few days ago, one of the modules of my modular synthesizer broke down. I had to send it back for repair or exchange. When the module returned, I made it my mission to test it as soon as possible to ensure it was functioning properly. So, I reinstalled the module (Mojave) in my system and started experimenting from a stereo source. I then used an existing recording on my OP-1 to carry out my test. And that’s how I recycled this sound base to create a completely new piece. Sorry for sharing these considerations with you at such length, I hope you will enjoy the final result.

°°° Patch notes for « titre » recorded on the 05/25/2024, Oléron Island

° OP-1 Playing 2 synchronized loops 
° QU-Bit Mojave processing stereo signal from OP-1
° 1010 Music Nanobox LemonDrop providing pan flute granularized sound
° Make Noise Mimeophon processing Lemondrop signal (not clocked) for textural effects
° Intellijel QuadVCA boosting LemonDrop sound level 
° Instruo « F » providing CV level to QuadVCA
° Hermod sequencing LemonDrop with midi and clocking Bloom
° Bloom sequencing Rings (2 branches 2 paths)
° Rings playing simple texturing arpeggio melody
° Ripples filtering Rings ODD output
° Tapographic Delay processing Ripples (Rings) sound
° Beads processing Tapographic Delay stereo output
° Erica Synth Black Stereo Mixer summing LemonDrop and Beads outputs 
° 1010 Music BlueBox module mixing and recording audio on 2 stereo channels

Slow

The aurora borealis, also known as the northern lights, is a mesmerizing display of natural light in the sky, caused by solar flares. These flares, which are massive bursts of energy from the sun, can take about 18 hours to several days to reach Earth. When they collide with Earth's magnetic field, they create stunning light shows visible near the polar regions. The interplay of solar particles and our atmosphere makes each aurora a unique spectacle.

I hope this 9-minute piece will illustrate in your mind the journey of solar particles to us. The complexity of the textures aims to replicate the magical colors and shapes produced by this rare phenomenon. Undoubtedly, a great way to observe an aurora borealis with your eyes closed.

°°° Patch notes « Aurora Borealis » recorded on the 06/13/2024, Mezzanine Studio

° OP-1 Playing 3 recorded tracks, Main synth, Electric piano, Bass and reel effects
° QU-Bit Mojave processing OP-1 stereo signal
° QU-Bit Bloom fractal sequencer generating the drone notes, Bloom clock used to synchronize Mimeophon & Data bender
° Mutable instruments Plaits playing Bloom first channel V/OCT sequence
° 4ms tapographic delay processing Plaits mono signal
° Mutable instruments Beads processing Plaits/tapo delay stereo signal 
° QU-Bit Data bender processing Beads signal (synched by Bloom clock)
° 4ms Ensemble oscillator playing Bloom second channel V/OCT sequence
° Make Noise Mimeophon processing Ensemble Oscillator sound, « color » parameter processed by Hector’s LFO
° Happy nerding FX aid effect on Mimeophon stereo out
° Poly Hector generating LFOs and Envelops for Plaits and Ensemble Oscillator
° Intellijel QuadVCA executing envelops volume for Plaits and Ensemble Oscillator
° 1010Music BlueBox module centralizing audio on 2 stereo pairs from the different instruments and proving mixing and recording

Aurora Borealis

The morning rises gently, bathing the world in a golden and soothing light. Birds sing joyfully, celebrating the dawn with their melodies. Each sunbeam piercing the horizon carries the promise of a new day, an opportunity to start anew, to dream, and to live fully.

For months, I have been diligently spending time in my music studio to produce new tracks. Between these moments, I ponder what new elements I could introduce. I love designing new sounds and creating a soundscape. In my view, the principle of the modular synthesizer fits perfectly with this approach. Even though I constantly use the same instruments, I find it both fascinating and sometimes challenging to reinvent myself.

°°° Patch notes "Mornings" recorded on the 06/17/2024 at Mezzanine Studio

° Hermod used to clock Marbles (and to be able to stop it from playing)
° Marbles generating bass line and main melody
° Rings playing the bass line
° Tapographic delay on Rings sound
° Beads as a synth voice + reverb
° Mimeophon on Beads for textural content
° Mojave doing his thing on Beads synth voice
° OP-1 used to play a "toy piano" like sound
° Lubadh playing a recorded stereo loop (OP-1)
° FX-Aid reverb type effect on Lubadh stereo recording
° Hector used to generate LFOs for different modules

Mornings

Patch notes for « Rings » recorded on the 06/27/2024

Marbles generating melodies on 3 channels, V/OCT and Gate
Rings 1 playing main melody (string instrument simulation)
Beads processing audio signal from Rings 1
Rings 2 playing 2nd melody part
Tapographic delay processing Rings 2 sound
Mojave Processing Tapographic delay signal
Plaits playing bass line
FX Aid processing effect for Plaits, mono to stereo

Rings

A modem acoustic coupler is a device that converts digital data into sound signals and vice versa, allowing computers to communicate over telephone lines. It works by physically coupling a telephone handset to a cradle with microphones and speakers. This technology was popular in the 1970s and 1980s, primarily before direct electronic connections to phone lines became common.

When I was young, before the internet, I used this technology to exchange data with another computer. At the time of establishing the connection, there was always a series of sounds. This piece is a kind of nostalgic tribute to that technology, which seemed almost magical at the time.

°°° Patch notes for "Acoustic coupler", recorded in the Tiny House Studio at Oléron Island (France).

° Hermod (clock)
° Plaits
° Marbles (clocked) generating melodies for Plaits and Ensemble Oscillator
° Rings
° Tapographic delay (clocked)
° Ensemble Oscillator
° Tides and QuadVCA generating envelope for Ensemble Oscillator
° Mimeophon (clocked) receiving Ensemble Oscillator signal
° Beads processing Plaits signal
° Mojave processing Rings signal
° Bloom generating melody played by Rings
° Poly hector used as a LFO on Rate parameter of bloom
° Data bender receiving Rings audio signal
° BlueBox module mixing and recording audio on 4 stereo channels

Acoustic Coupler

Part 1

A traveler reached a fork in the road, two paths diverging into the forest. Believing his choice would shape his destiny, he chose the path on the right. After hours of walking, he found himself back at the fork, both paths leading to the same place. The freedom of choice, he realized, was merely a mirage.

Thanks for listening.

°°° Patch notes : Recorded at Tiny House Studio / Oléron Island / France 08.01.2024

° Hermod generating Clock Gate and midi
° Bloom generating V/OCT signals for Plaits and Beads
° Poly Hector used for 3 LFO modulating Path and Branches (bloom) and Corrupt (Data bender)
° Tides generating enveloppe for Plaits
° Plaits receiving V/OCT info from Bloom (voice 1)
° Beads receiving V/OCT info from Bloom (voice 2)
° Mimeophon receiving stereo audio from Beads
° Data bender receiving stereo audio from Mimeophon
° Tapographic delay receiving audio from Plaits
° Mojave receiving stereo audio signal from Tapographic delay
° Elektron Model:Cycle playing drums (midi synched)
° 1010music BlueBox mixing and recording

Under Control (Part 1)

"In the heart of an ancient labyrinth, every turn mirrored the complexity of the human mind and the unpredictability of existence. Paths twisted like thoughts, sometimes leading to dead ends, sometimes to revelations. Each step taken was a journey of self-discovery, revealing hidden truths. In the maze's center, the wanderer found not an exit, but an understanding of life's intricate design."

Thanks for listening.

°°° Patch notes : Recorded at Tiny House Studio / Oléron Island / France 08.06.2024

Under Control Part 1 and 2 share the same patch setup. The drum as been reprogrammed and the sounds from voice modules adjusted to something different.

° Hermod generating Clock Gate and midi
° Bloom generating V/OCT signals for Plaits and Beads
° Poly Hector used for 3 LFO modulating Path and Branches (bloom) and Corrupt (Data bender)
° Tides generating enveloppe for Plaits
° Plaits receiving V/OCT info from Bloom (voice 1)
° Beads receiving V/OCT info from Bloom (voice 2)
° Mimeophon receiving stereo audio from Beads
° Data bender receiving stereo audio from Mimeophon
° Tapographic delay receiving audio from Plaits
° Mojave receiving stereo audio signal from Tapographic delay
° Elektron Model:Cycle playing drums, bass line and some other voices (midi synched)
° Additional bass line and melody elements from Model:Cycle
° 1010music BlueBox mixing and recording

Under Control (Part 2)

When nature is the instrument.

I took advantage of a radiant summer afternoon to bring to life a project that I had been thinking about for a long time. In just a few days, I set up a system that uses nature as a sound source to create a piece of music. Two microphones positioned outside the studio, in a rather quiet spot, captured the sounds of nature—the wind, the birds—to trigger my modular synthesizer, which then embraced this new sound source to create a gentle, soothing melody. The result is somewhat like what one might perceive while lying in a hammock in the shade of pine trees, between dream and reality. I hope it brings you a moment of relaxation.

°°° Patch notes for « Resonant winds » recorded on the 08/17/2024, Tiny house Studio

° Marbles driving the two Rings modules, 16 steps pattern, Spread is modulated by Poly Hector
° Hector is used to generate LFO modulation for Marbles’s Spread parameter
° Rings 1 sound going to the mixer with no additional processing. Position parameter is modulated by Utopia LFO at slow rate
° Rings 2 sound going to PICO DSP in tremolo mode, stereo output to secondary mixer
° Ripples low pass filter from a Links to Tapographic delay
° Tapographic delay is processing Links signal processed by Ripples and sending stereo to Data Bender
° Data Bender processing Links signal and sending stereo signal to FX aid 1 in delay+reverb mode
° sE7 microphones (x 2) are mixed by 1202-VLZ3 mixer table
° Meng Qi Winnie 2 receiving stereo signal from the microphones
° FX aid 2 in reverb mode receiving Wingie 2 stereo signal
° 1010Music BlueBox receiving Wingie 2 audio and duplicating it on OUT 1 port (mono) and output 3&4 to Links
° Links is duplicating audio signal to Beads, Mojave, mimeophon and Tapographic delay
° Lubadh receiving audio from Wingie 2 and recording long samples (start and stop from Hermod)
° Hermod is driving record/stop/play of Lubadh (around 30s loop)
° Clouds (clone) processing mono audio signal from Lubadh, output to the mixer
° Beads processing mono signal from Links, then going to the mixer
° Mojave processing mono signal from Links, then going to the mixer

Side notes : Meng Qi Wingie 2 is a multimode resonator stand alone unit. I played it using 2 external microphones as exciters.
I tried to play notes via MIDI using OXI one but I messed up one way or another, so I played it manually for this track. I also used 
the internal Wingie mixer to let the original sound go through and the decay time slider. From time to time I had to lower the 
general volume output to avoid saturation with some loud sounds.

Resonant winds

Nothing to say except that this is probably the time of year I hate the most. Settling into the studio and making music is then a lifesaver.

The instrument by the artist Meng Qi, the Wingie 2, is the main sound source here. It's a resonator, meaning the instrument requires an external sound source to function. In my case, I used the built-in microphones on the instrument to stimulate sound production. The Wingie 2 has two built-in microphones that can capture surrounding sounds or even be directly touched, like a kind of percussion instrument. This is the method I used here.

Patch Notes for «When summer ends » recorded on the 08/30/2024, Tiny House Studio

° Meng Qi Wingie 2 main source of sound, played with internal microphones
° FX Aid reverb on Wingie 2
° Links duplicating audio signal
° Beads processing stereo signal from WIngie 2
° Mimeophon processing stereo signal from  Wingie 2
° Data Bender processing stereo signal from Beads
° Bloom generating arpeggios for Plaits
° Plaits used as synth voice (bass)
° FX aid 2 receiving Plaits signal and adding reverb
° Tides generating enveloppe for Plaits sound
° Arbarh playing 1 layer of Plaits/Bloom pattern
° Marbles LFO used to modulate SCAN parameter of Arbhar
° Mojave generating audio from Wingie 2
° 1010Music Bluebox mixing and recording modular sound
°OXI ONE sequencer sending two different sequences to Wingie 2 via midi (right and left)

When summer ends

°°° Patch Notes for « Twilight Melody » recorded on the 09/24/2024, Mezzanine Studio

° Lyra-8, main source of sound
° QAM receiving Lyra audio mono signal and duplicating on 3 different outputs
° Beads receiving QAM/Lyra-8 mono signal and processing it to stereo
° FX Aid 1 processing QAM/Lyra-8 mono  signal and processing it into a stereo reverb 
° Mimeophon receiving FX Aid 1 stereo signal
° Mojave processing QAM/Lyra-8 mono signal
° Bloom generating melody for Plaits
° Poly Hector used for modulating Bloom Rate and Plaits Morph parameters (also used to tune Lyra-8 oscillators)
° Plaits receiving CV signal from Bloom
° Tides generating enveloppe for Plaits, triggered by Bloom
° Pico DSP in stereo tremolo mode, processing mono signal from Plaits
010Music Bluebox mixing and recording modular sound on 4 stereo tracks

°°° Guitar part (recorded the next day):

° Gibson Skylark lap steel
° Ears receiving Gibson guitar mono signal
° QAM audio signal multiplier
° QuadVCA amplifying audio signal
° FX Aid 1 and FX aid 2 chained processing Gibson signal
° Beads processing guitar signal

Twilight Melody

I had been thinking for a long time about incorporating a recording of radio interference into my music. When I was younger, I spent a lot of time listening to all kinds of radio signals (SWL), including Morse code, conversations, radio stations, and even weather images. For this recording, I used an FRG-7700 radio receiver from the 80s, with an improvised antenna inside the studio. QRM is the Q code used by radio amateurs to describe a signal disturbed by various interferences, especially those caused by human activity. I hope you enjoy listening to this particular piece.

°°° Patch notes for « QRM » recorded on the 10/04/2024, Mezzanine Studio

° Sommerkamp FRG-7700 Communications receiver generation static noise (QRM)
° Ears as audio bridge between FRG-7700 and Lubadh
° Lubadh as a recorder/player for FRG-7700 
° QAM duplicating Lubadh mono audio signal into Poly Hector, Black stereo mixer (Erica Synth), Mimeophon
° Poly Hector on « cabinet » processing sound duty, also generating a LFO CV signal for Morph parameter on Plaits
° OXI ONE sequencing drums on Rample, Rings and Plaits
° Plaits playing bass line 
° Tides generating envelope for Plaits
° Data Bender pressing Plaits signal
° Quad VCA adjusting executing the Tides envelope
° FX aid 1 adding reverb to Plaits processed signal
° Rings playing lead melody, mono signal into Mojave
° Mojave processing Rings signal
° Rample on drums on 4 mono channels
° Deeper A-138s on panning and mixing the 4 drum channels
° FX aid 2 adding reverb on drums
° 1010Music Bluebox mixing and recording modular sound on 4 stereo tracks

Last days of the year 2024.

Oneiroi, from BEFACO, is my latest addition to my Eurorack system. I'm just scratching the surface for now, but I can already tell that I like it a lot. After spending a long day figuring out why a brand-new module wasn’t functioning properly, I finally discovered that the module wasn’t calibrated. So, my journey with Oneiroi began with a calibration process, involving a voltmeter and a lot of patience.

Despite that, I really enjoyed myself during this first test of the module. I used a 16-note sequence generated by Marbles, with some variations, played by Rings and Plaits. I adjusted the panning of these two voices to create a stereo source for Oneiroi. From there, everything you hear in the track comes from Oneiroi. I really appreciated how easy it is to interact with the module and the results it delivers. I’m now eager to test it under different conditions. I hope you enjoy this first experiment.

°°° Patch note for Oneiroi : recorded on the 12/29/2024, Tiny house studio

° Hermod generating clock for Marbles and Oneiroi
° Hector used as a clock divider and LFO for Start position of the Oneiroi mini looper
° Marbles generating a 16 steps sequence
° Rings as a voice
° Plaits as a voice
° Stereo mixer to adjust panning
° Oneiroi from BEFACO
° Mixed and recorded on one stereo voice with 1010Music Bluebox module

Oneiroi

Year swap ballad / Recorded on the 01/02/2025, Tiny House Studio

It has become a tradition—every New Year, I always try to record a new track. This time, my Gibson SG runs through the modular system, whether for effects or granular synthesis... Drenched in the complex delays of Oneiroi, I offer you a melancholic and mysterious ballad to start 2025.

Take care, and thank you for listening to my music.
-- Pascal

°° Patch notes
° Gibson SG guitar
° Hector as a looper on 3 guitar tracks
° Oneiroi on delays and filters
° Beads processing Oneiroi sound sometimes
° Mojave processing Oneiroi sound some other times ;
° Fx Aid used as a reverb

Year Swap Ballad

Passionate about astronomy, I have always been drawn to the sense of vertigo that this activity evokes. Of course, the scientific aspect interests me, but above all, it is the observation, the admiration it entails, the deep reflection on oneself and one's place in this vastness, and ultimately, the sense of existential perspective. This does not take away from the pleasure of capturing images with a telescope and processing them myself. My maternal grandfather gave me my first telescope when I was under ten years old, and I hope to keep this passion for the rest of my life and pass it on to my daughter.

°°° Patch Notes, "Univers" recorded on the 02/03/2025 at Mezzanine Studio, France.

° OXI one on sequencing the all piece
° Bifaco Oneiroi sine wave voice, delays and textures
° Tides generating envelope for Plaits
° Plaits on bass line
° Rings on textures and melodies
° Mojave generating textures
° Tapographic delay and mimeophon creating ambient background
° Data bender generating texture
° 1010music Bluebox module recording and mixing 5 stereo channels
  

Univers

Modern-boring-world escape generator. Welcome.

PascalMusic

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