Evolving drones with modular synths. Hertz Donut MKII trough tyme sefari + tyme sefari MKII + Makenoise ECHOPHON + Double Andore + Polivock VCF + Double Andore + Qotile Ultimatum + A sound of Thunder 1&2 = mixed with Ableton LIVE   jamm session is Robotopsy & Evoid

Evolving

Ｃｉｂｅｒｃｏｎｓｃｉｅｎｃｉａ．
Ｓｕｂｉｒ ｔｕ ｃｏｎｓｃｉｅｎｃｉａ ａ ｕｎａ ｍáｑｕｉｎａ．
Ｓｅｒ ｉｎｍｏｒｔａｌ．
Ｔｅｎｅｒ ａｍｉｇｏｓ ｐａｒａ ｓｉｅｍｐｒｅ
ｄｅ ｍａｎｅｒａ ｃｕáｎｔｉｃａ．

Ｃｉｂｅｒｃｏｎｓｃｉｅｎｃｉａ

I was experimenting with no-input feedback patches using the A199 spring verb and RES4 resonator a lot recently. It's a bit hard to control the feedback bursts so I wanted to get a compressor into the feedback path. As I don't have one in modular land I decided to patch the feedback loop out to my Warm Audio WA76 to tame the feedback. 

The patch is relatively simple, it's just a RES4 in the feedback loop of an A199 without any input source, with the WA76 before the RES4. It's really smashing the sound with the "all buttons in" mode to tame everything. Three bands are used from the RES4, tuned to three different octaves. An RG6 is at the center of the patch, selfmodulating and also syncing itself (with the gate out, relatively high threshold) which brings a bit of repeatability to the random generator. The RG6 clock output triggers a Maths envelope which gates the RES4 via the internal master VCA. An S/H output from the RG6 is sent to a Quantimator in "arpeggiator" mode and then the three quantized outputs to the three RES4 frequencies for the rotating melody.

I've added a gated noise (from the MS20) after the feedback loop to produce some attack transients at each start of a new "note". So it's not in the feedback loop but just mixed in with it afterwards. It's triggered by the second Maths envelope and fed through a SPH2 for a bit of variation. I find it nice to signify new notes and also give a bit of a "overblow" feeling like in brass and wind instruments. 

I'm changing a few things here and there, mainly the envelopes, RG6 frequency (i.e. master clock speed) and the master pitch (via Maths offset into RES4 master frequency input). Bit of Ableton EQ and compression to further tame those transients and some reverb and delay for the spaciousness. Minimal editing in this one. The A199 and WA76 squashing raise the noise floor quite a bit, cannot do much about it but I like the patch nevertheless.

Hope you enjoy it, cheers! 

Jan 15: Springverb Orchestra

wharfend_before_secretmastervip

Selekt Sessions 004:// @alidemirr
hosted by @katharine-motiontheory

@distraktaudio
Mix recorded from Contrast Festival hosted by @dj-ezeo

Selekt Sessions 004:// Ali Demir

vignettes 1

Bionic Lester mk1.5

klangbauköln twin peak + röhrenvca, randomsource vcfq, spacecase tapeecho, one percussion layer and one aalto track itb.

sherb

3 Double Andore used at audio rate, Lester and Polivoks used as filters. Zorlon Cannon clock output used to trigger one half of one DA, EOD and EOA of others used to trigger the rest. Qotile Ultimatum ( connected to ZC ) output modulating event frequency on ZC. Gate output from ZC ran into Evin 209. Evin 209 outputs modulating Polivoks CV in 1, Both Bl cutoff frequencies, and Tyme sefari loop end. 1 Hertz Donut secondary oscillator modulating attack and deacy on one DA(sqr wave out), same HD secondary oscillator (sine wave) modulating loop start on TS. 1 HD secondary oscillator (sawtooth) modulating attack on one half of one DA and periodcity on ZC. Both HDs synced to ZC clock out. all audio mixed with Manhattan Analog mix and input into TS. Direction, loop, and record input triggered by ZC gates. Eventide Space room reverb used. additional modulations done by hand. no post processing.

Andore Audio

Getting familiar with the wonderful Cwejman SM-1.  All sounds are solely from the SM-1. 

The two VCOs are tuned in a fifth, first one is a SAW, 2nd a PWM Saw. The PWM is done by LFO2. LFO1 modulates the cutoff of the filter as well is the spacing of the filter.

I'm playing through several filter settings, first clean and at the end SAT1. 

I've played keyboard through a Yarns in ARP mode to provide the pitches.
Recorded in one take in Pro Tools, added bit of delay (Echoboy) and reverb (Adaptiverb)

SM-1 arp

Echolalia

Anesthesiatic

Puscha is an experimental electronic artist and film composer from Naarm/Melbourne, Australia. With minimalist compositional approaches employed with hyperactivity, they create hypnotic, post-ambient auditory spaces and musical impressions that eschew background and dancefloor prosaic. Taking wide influence from 20th century classical to psychedelic, deep global music to ambient techno and beyond, their music explores psychoacoustic and acousmatic modalities with the aim of provoking catharsis and deeper listening.

jcbsrichards[at]gmail[dot]com

Anesthesiatic

PUSCHA

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