Name: Melody FM by pixelmechanic
Duration: 3 min 54 s
Description: From 2002, when I still made things with tunes in.

nocturnal

Performance from the set of 'curse tablets' scores in St Swithun's, Worcester, on 10th December 2022. 
Organ: Lauren Redhead
Electronics: Lauren Redhead and Alistair Zaldua

(quite a lot of hiss on the recording that is from a present noise in the room - sorry!)

Curse Tablet St Swithun's Worcester

Recursive Audio Weaving 1

From 2002, when I still made things with tunes in.

Melody FM

structuur

Patch featuring the Serge STS Klangzeit panel. The master clock is one side of a DTG. It pings a VQVCF. The bandpass output is routed into a WAD. The flanging output of the WAD is routed into the frequency shifter via a crossfader module and then back into the AUX feedback input of the WAD. 

The DTG also triggers a sequencer and Clock-divider. The A output of the Sequencer is routed to the VC Delay of the WAD. One of the outputs of the Clock-divider samples the stepped out of a SSG, the stepped output is routed back to the VC-in of the DTG. This creates the sudden speed bumps of the pulse. One of the outputs of the clock divider is routed back via a MI Branches (build in 4U by the wonderful Loudest Warning) into the reset input of the divider. 
Another output triggers a DTG that shapes the volume of a NTO, this creates the bass drops (sine output). The NTO is FM-ed by a precision-VCO. The output of the NTO is routed via a R*S timbre section to create some extra weight to the bass drops.  The variable output of the NTO (Sine) is also routed to the WAD feedback input. I wiggle the Sine wave based sounds with the Flanger output of the WAD with a crossfader module. When selecting the NTO/Sine site the output becomes more chime-like and when choosing the WAD Flanger output (via the Frequency Shifter) the output become more ‘wooden’ and percussive.

I wiggle the frequency of the VQVCF and the frequencies of the WAD and Frequency Shifter. I also vary the speed settings of the DTG.

This patch is recorded in one take, no overdubbing. I’ve cut it down a bit to make it less boring. Tracked into ProTools via a Rupert Neve Designs 5059 and Prism AD.  Reverb (Adaptiverb) and limiting (Ozone 7) were added on the master fader.  Listen with headphones or good speakers!

Calling Mr Wilson

Rung divisions patched similarly to a benjolin with a Twinpeak filter on the output.

Melody FM

pixelmechanic

Related tracks