Ocillate

ESTIM FILES

Generated using a little python script I wrote.
Based on two simple waveforms (tri and square), add phase shifting, duty cycle modulation (on tri waves, so duty cycle modulation probably isn't the right term) and modulated linear interpolation between the two waves, and also a little frequency modulation. 

I intend to eventually implement this in some sort of dedicated real-time controllable device. Right now I'm waiting for some hardware so I decided to start experimenting in python.

Oscillator Experiment #1 - Dancing waveforms

Get wired up to your ET312 and plug this in for size!
A collection of tracks for your erotic pleasure. Let me know where you like it. I'll be creating more tracks using Tracktor and other toys. Enjoy! 
NOTE: This track is remixed from tracks composed by E Stim Audio on Bandcamp. [https://estimaudio.bandcamp.com]

2014.0204 Venusian Hum

Partie A+B non stop    —>   intensité de  50 à 100% ( + 50% )
ICI_HERE free -> https://mega.nz/#F!hwRi0JYa!6w5_a1bVXckqLutI2yk39w

Partie NON STOP

All the talk about phase cancelling (and sync and FM) in the PH8 thread (https://www.muffwiggler.com/forum/viewtopic.php?t=166419&postdays=0&postorder=asc&start=0) made me want to do a fun patch with using the PH8 as an osc, which it does extremely well. Using the phase cancelling as an advantage is good fun! In this example, I patch the phase cancelling up for a nice stereo tremolo effect.

The patch is very simple: Mainly, I play with the phase cancelling in stereo. To do so, all four PH8 tri outs are routed to a VCA4MX, with the 0° and 180° outs going to channels 1 + 2 and the 90° and 270° outs going to channels 3 + 4. Those two channel pairs are then used as the stereo output (with some A199 Spring Reverb from the total sum of the VCA4MX mixed in as well, using a VCA2P). It is possible to fine tune the two channels (left and right) so closely that the osc is basically cancelling - since the waves are mixed with phase flipped versions of themselves. Now, the fun starts: I’m using a PH4 to modulate channels 2 and 4 on the VCA4MX. Firstly, it has to be carefully finetuned to cancel the audio with the PH4 offset all the way up - basically making sure that the waves still cancel when the PH4 is used (i.e., when all levels are up). I managed to get the levels down to the noisefloor (well, the noisefloor of my A199). So, the audio is cancelling despite all oscs being up in volume. That also means that pushing down the PH4 offset will mute the inverted waves, resulting in only the “main” ones (and no more silence). Furthermore, using the actual quadrature oscillation of the PH4 creates the stereo tremolo: The 0° out controls channel 2, the 180° out channel 4 of the audio VCA4MX. So basically, for each left and right channel, the audio cancels when the modulating LFO is at the center position, it gets louder in the positive phase and more quiet in the negative LFO phase. Since I’m using two PH4 channels for this, it will create sort of a ping pong stereo effect.

Furthermore, I wanted to apply simple examples of FM and sync to spice things up a little bit. I have the 90° PH8 square out FMing itself to shape the main audio waveform a bit. Furthermore, there’s sync from a D-LFO square that is routed through a second VCA4MX (to be able to turn the sync on and off). And to give the PH8 slave some motion when synced, a second PH4 is set up to do some frequency sweeps (also routed through a VCA4MX channel to be able to bring it in and out). Finally, I’m using the sustain offset from a CTG-VC to “play” the PH8 and D-LFO, basically only tuning up a fifth manually - I enjoyed doing that a lot in last month’s patch, so I thought it would be fun here as well. That’s the whole patch.

I start with the level of the tremolo PH4 all the way down and the offset all the way up - resulting in the osc cancelling and silence despite all levels being up. Then, I first tune down the PH4 offset, resulting in a steady drone on both L and R channels. Next, I patch in the self-FM (resulting in the first pitch shift). Then, I slowly bring up the PH4 offset, lowering the osc in volume, and bringing in the PH4 level as well, resulting in the stereo tremolo. Furthermore, the sync is brought in - firstly without modulating the PH8 slave, then after some time bringing in the second PH4 modulating the PH8. After that, I break down the whole thing, ending again with the waves cancelling (despite being all up in volume). All done in one take, no editing but a bit of reverb, EQ and compression in Ableton (probably the first Patching Workout without a delay). 

The whole thing is best listened to on a nice stereo system, summing the whole thing to mono cancels stuff also a bit with all the stereo stuff going on… Hope you enjoy it and cheers!

11- Which Way To Nirvana (patch to nirvana)

paul annie