Name: ping sisters 01 by seuil
Duration: 6 min
Description: 3 sisters pinged by ladik r-110 which is clocked by SSF URA, 3 sisters out to wmd:ssf Dplr for some bbd vibes, modulation using Maths only.

This track highlights the Rossum Panharmonium. The main voice (plucked stringish) is Elements, and the corresponding organ sound is from the Panharmonium. Melody provided by Stochastic Inspiration Generator, with live manipulation of notes and loop captures.

Reflective Empathy

DO_1 - Oberheim Key Knobby

A1 - Oberheim Key Knobby
A2 - Tesseract Phunk
B1 - Hyperspace Routine
B2 - Polygum Data (ft. GGGG)

Digital out on 08.04.2022, record out soon at online shops, Bandcamp, & at your local record dealer !

Mastering & lacquer cut by MB Mastering.
Distribution by @yydistribution

© D.KO Records - 2022

"DO_1 delivers their first EP on D.KO Records with their own cosmic take on electro grooves. GGGG joins them for the final frontier ..."

D.KO31 - D0_1 - Oberheim Key Knobby EP

(lip) service edt. 3 ābnamā

Polyphonic patch featuring four Cwejman VCO-6’s and two Cwejman PH-8’s as modulators. 

Chords are played via a MIDI keyboard into MI Yarns. Four voices via Cwejman VCO-6’s. I use two outputs per VCO-6; PWM Saw, and Saw. The PWM Saw outputs are routed into two Cwejman DMF-2’s (Low pass mode), then to MX-4S. The Saw outputs are routed into a QMMF-4 (low pass/OSC SAT), those are then patched to a second MX-4S. Two Modcan Quad Envelopes take care of the velocity on the MX-4S’s. A Cwejman PH-4 pans the voices on both MX-4S’s.

Modulation happens through three modules; two Cwejman PH-8s, and a Modcan Quad-LFO.
The four Triangle outputs of PH-8 number 1 are modulating the PWM of the PWM Saw of the four VCO-6s. The Quad LFO is sending pulses through the CV1 inputs of the DMF-2s, this causes the arpeggios. 

The four Saw outputs of PH-8 number 2 are FM-ing the QMMF-4 (via a VCA-4MX). Sometimes in audio rate, sometime LFO speed. This PH-8 is in Saw -direction switching mode, one of the pulse outputs of PH-8 number 1 is modulating the Saw direction of PH-8 number 2. 

Then there is a 5th voice, the ostinato bass, this is a Cwejman BLD routed through a DP-2 for some compression, and then routed into the main audio input of the QMMF-4. I wiggle the level and at some points add this voice and mute it again.

A Cwejman D-LFO is the master clock, syncing the Quad LFO, and both PH-8s.

Recorded straight into ProTools via a RND 5059 summing mixer and Prism AD. One take, no overdubbing, just cut down in time a bit. Reverb (Adaptiverb) and limiting (Ozone 7) on the masterfader.

Hand-held sonar

Patch featuring the Cwejman RG-6.  All sounds are generated with three modules in a feedback chain; Cwejman RG-6, MMF-1s and FSH-1. 

The RG-6 does most of the triggering and sound generation in this chain. The MMF-1s is in dual band pass mode (24db). The negative Saw of the RG-6 is routed to the Audio-in of the MMF-1s, the HIGH of the RG-6 into Spacing CV of the MMF-1s, and the Gate of the RG-6 into Q-peak of the MMF-1s. The MMF output is routed back into the Ext signal input of the RG-6. 

The VCA-mix output of the MMF-1s is routed into the FSH-1. The Gate output of the RG-6 is routed to CV-1 of the FSH-1. The mix output of the FSH-1 is routed back into the CV1 of MMF-1s. 

It’s a highly unstable feedback loop uncovering the Swedish wild-life in Wowa’s garden. If you listen well you can even hear Wowa on the mond harmonica  :-) 

Recorded straight into ProTools via a RND 5059 summing mixer and Prism AD. There are two layers multi-tracked. Reverb (Adaptiverb) and limiting (Ozone 7) on the masterfader.

Swedish wildlife

Patch featuring the glorious Cwejman DMF-2 (two actually).

There are two voices; 

1) A Cwejman VCO-6 is routed to both channels of a DMF-2. The Saw output of the VCO-6 is routed to one channel of the DMF-2 in low-pass mode. The PWM Saw output of the VCO-6 is routed to the other side of the DMF-2 in bandpass mode with a high resonance. The PWM Saw is modulated by a D-LFO. The VCO-6 is played live via a MIDI keyboard and MI Yarns. Yarns is in arpeggio mode.

2) A second VCO-6 is triggered by a Turning Machine routed through a uScale. The Saw output is of the VCO-6 is routed to a second DMF-2 in low-pass mode. This creates the slower patterns.

The gate output of the Yarns is routed to a 4ms QCD, the gate is subdivided and this triggers two CTG-VCs. These are modulating voice 1 via the DMF-2’s CV inputs.   A Modern Quad-LFO is also clocked by the QCD and modulating the DMF-2 of voice 2.

Both voices are mixed in a MX-4S. A PH-4 modulated the panning of the MX-4S. I wiggle the tempo divisions of the QCD and open and close the DMF-2 filters. Please note that these are just two VCOs, much of the polyrhythms happen due to rhythmical modulations of both filters.  
 
Recorded straight into ProTools via a RND 5059 summing mixer and Prism ADA-8XR. One take, no overdubs, just cut down in time a bit. Bit of delay (Echoboy), Reverb (Adaptiverb) and limiting (Ozone 7) added.

Ended up in Berlin

Noodling with my modular synth (Moon Modular and Synth Tech MOTM modules only). Also Mellotron M4000D Rack controlled by a Roland A-88 keyboard.

test/demo

Caffine Meditations

Drone with Double Andore MKII & Tyme Sefari MKII

Piston Honda MK3 - Drone

The Rota Bene crew is proud to present their first release. Taking a timemachine back to cyberspace, deep into an era of pure rave and cosmic elevation. Destination 001: Defective Bytes. A fine selection of one of the most sophisticated labels out there awaits you. We gathered a 4 track missile with forgotten anthems, heading to a target more clear than ever: planet dancefloor.

A1 O.H.M. - Oceanic

3 sisters pinged by ladik r-110 which is clocked by SSF URA, 3 sisters out to wmd:ssf Dplr for some bbd vibes, modulation using Maths only.

ping sisters 01

seuil

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