𝘖 𝘙𝘜𝘉𝘖𝘙 𝘚𝘈𝘕𝘎𝘜𝘐𝘕𝘐𝘚
after Hildegard von Bingen
in collaboration with Maren Schwier

One of the tracks of the project VIRIDESCENCE with soprano Maren Schwier — which reinterprets chants of Hildegard von Bingen for amplified voice and modular synthesizer.

𝘖 𝘙𝘜𝘉𝘖𝘙 𝘚𝘈𝘕𝘎𝘜𝘐𝘕𝘐𝘚

Just a quick demo of the "Divine CMOS" module by Non Linear Circuits.

NLC Divine CMOS demo

Demo showing some of the sounds from the Non Linear Circuits module "Plague of Demons".

NLC Plague Of Demons Demo 1

Second demo showing some of the sounds from the Non Linear Circuits module "Plague of Demons".

NLC Plague Of Demons Demo 02

Demo showing some of the sounds from the Non Linear Circuits module "Brain Custard".

NLC Brain Custard Demo

Severin, aka Jens Konrad Barrett of Lyra Valenza, drops his physical and emotional debut EP, exploring the topic of social media stalking.

Find the full review here: https://secretthirteen.org/severin-safe-following-distance-petrola-80

Safe Following Distance

Severin - A Distance In Between - Petrola 80

Demo of the (bad) Digital Filter Simulation module from Non Linear Circuits.
www.nonlinearcircuits.com
http://nonlinearcircuits.blogspot.com/2018/12/bad-digital-filter-simulator.html

Notes here:
https://www.muffwiggler.com/forum/viewtopic.php?p=2978798#2978798

NLC Digital Filter Simulator Demo

Demo of the GENiE (GEneralized Nonlinear Extrapolator) module from Non Linear Circuits.
www.nonlinearcircuits.com
http://nonlinearcircuits.blogspot.com/2018/12/genie-generalized-nonlinear-extrapolator.html

Notes:
https://www.muffwiggler.com/forum/viewtopic.php?p=2979572#2979572

NLC Genie Demo

Demo of the Spasm module from Non Linear Circuits.
www.nonlinearcircuits.com
http://nonlinearcircuits.blogspot.com/2018/12/spasm-ldr-controlled-jerk-chaos.html

Notes:
https://www.muffwiggler.com/forum/viewtopic.php?p=2980252#2980252

NLC Spasm Demo

short demo of let's splosh as a rectification distortion for audio rate signals.

the signal path here is clouds > splosh > mixer. clouds (parasites, reverse buffer, 2 sec, steady grain stream) has a 550Hz sine wave from an MCO and some quanta noise frozen in a buffer, which is pitched all the way down. the MCO then is pitched all the way down itself to around 17Hz and its second output is being quantized by an attenuverted intellijel scales (that has notes selected and deselected manually,) at audio rate, which then sequences the grains on clouds creating chords. the more the audio rate signal is let through, the higher in pitch the grains are sequenced (octaves more or less)

the left and right out of clouds feeds the first two inputs on lets splosh, and the first two outputs in the first + column then go out to a mixer. the third input of splosh is fed with an offset from a quadratt. at around 3V, you get as clean of a signal out of splosh as possible (given that its all rectified,) but as you decrease the offset closer to 0V and below, the signal begins to break up. this can be heard around the middle section and towards the end when the grain density is reduced as well, turning the cloud into clicks.

Untitled XIII

a quick test of the nlc dp filter (headphones recommended):

a bunch of chopped up noodles from a doepfer system stuck inside a squid salmple, the mix of which is randomly addressed, reduced, and crushed, then sent to the dpf, and plays alongside a main sine noodle from an a-143-9. the diode half of the dpf has a high-ish q setting (which is kinda tame compared to other filters) and a low cut off, and later is modulated by a low rate of digital noise from the a-117 and a sine lfo from a second a-143-9. the transistor side (which has no input and is internally fed by the diode side via photo-couplers) has a maxed out q  and an even lower cut off, and its cv2 is randomly assigned the 2 oscillators section from the a-117 808 source via a switch, which gives it that wild feedback sound. the output of the dpf is monitored from the sum output, and a tiny bit of reverb is added in ableton.

this filter is very  touchy, and depending on how its built, can have a very narrow range on control (as mine does,) and the transistor ladder only really gets fired up if the diode ladder is hot enough (mine uses MCT9001 photo-couplers,) so you can get all these really interesting 'edge of breakup' sounds, to use the dirt-pedal/guitar amp parlance of the day...and its quite nice if you can dial it in, but it does takes some patience.

it also gets *real* bonkers when you start swapping the q path and monitoring different outputs...but i haven't really figured out how to bend any of that to my will yet...

Untitled XV

raphaël languillat
• composer / electronic artist
• curator Naxos Hallenkonzerte
• based in Offenbach/Main (DE)
• part of Studio Wäscherei

𝘖 𝘙𝘜𝘉𝘖𝘙 𝘚𝘈𝘕𝘎𝘜𝘐𝘕𝘐𝘚

AËL

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