Two Doepfer A-137-2 Wave Multiplier II modules run in series (one on the other) on some waveforms transmitted by a Neutron. Recorded 5 variations of the parameters involved for each of 3 total voices heard in this piece. Various LFOs were used to control the parameters of the two Wave Multiplier II modules.

From there, the new Pitch Shifter and Frequency Shifter VSTs in FLS were used on the otherwise monotone audio recordings to create melodies and bass lines, as well as variations in their respective tones. Four out of the five recordings were spread through the stereo spectrum to widen and enliven their overall sounds, accentuating the variations therein. Polymetric LFOs were also used within each of the voices, fading their respective sub-voices in and out, thereby effecting their overall timbral qualities as well as further contributing to their stereo motion.

The percussion was all selected to fit within the general vibe of the piece, and a sub bass was added to fully round out the sound. Of course, many other things went into the full composition of this piece as well, but the above are the primary, unique techniques yielding the distinctive attributes of it.

Phase Shifter

Up In The Air

Up In The Air [Polygonal]

Befaco Lich module can perform a polygonal-based sound creation program, so I used it to record both synth layers heard in this piece. Other modules making their entrance in this piece are the Befaco Morphader, the Allen Synthesis EuroPi module, and the Neuzeit Quasar module -- all completely awesome modules in their own right.

No time to delineate the exact patching of these modules, etc. Suffice it to say that you are hearing dynamically evolving polygonal sounds moving through three dimensional space. The percussion was produced in the post production, using a happenstance approach to synchronicities.

Soundscape 120 [Subber Mix]

Befaco Lich module can perform a polygonal-based sound creation program, so I used it to record both synth layers heard in this piece. Other modules making their entrance in this piece are the Befaco Morphader, the Allen Synthesis EuroPi module, and the Neuzeit Quasar module -- all completely awesome modules in their own right.

No time to delineate the exact patching of these modules, etc. Suffice it to say that you are hearing dynamically evolving polygonal sounds moving through three dimensional space. The percussion was produced in the post production, using a happenstance approach to synchronicities.

In this variation, the NiftyKeyz was used to channel some polyphonic Eurorack harmonies. The primary oscillators used were those of the Doepfer A-111-4 Quad VCO, made polyphonic by a few other Doepfer modules, the most unique of which were the two Doepfer A-130-8 Octal Linear VCAs which were used to morph between the three waveforms of each of the four oscillators. The morphing was controlled by an audio rate controlled Befaco Morphader, along with a tempo-synced Allen Synthesis module, itself set to the program which creates LFOs in a harmonic series. The Batumi 1974 Quadruple LFO module, whose phase frequency was governed by midi automation, controlled several parameters of the SSF Stereo Dipole module. Within this latter module, a couple feedback loops were created, producing complex and unpredictable waveforms.

Soundscape 120 [Nifty Variation]

Tune based on demo track for electronic music course I done taught. This one is full of the classic 303 synth.

Losers Say Loser

[Chorus]
The love in your eyes
is back inside.
When you look at me,
I can clearly see
how much you love me
how much you love me
ee ee ee ee ee ee ee ee ee ee ee ee

[Verse 1, twice]
Together
we fight
the demons
with the Ho-
ly Spirit
together
forever

His Holy
Spirit
It heals us
It heals us
It heals us
together
forever

Together
we pray
to Jesus and
His Holy
Spirit
together
forever

His Holy
Spirit
It fills us
It fills us
It fills us
together
forever

[Chorus]
The love in your eyes
is back inside.
When you look at me,
I can clearly see
how much you love me
how much you love me
ee ee ee ee ee ee ee ee ee ee ee ee

[Verse 2, twice]
Now closer
to God
through Jesus
and His Ho-
ly Spirit --
together
forever.

His Holy
Spirit
It heals us
It heals us
It heals us
together
forever

Together
we walk
He leads us
with His Ho-
ly Spirit
together
forever

His Holy
Spirit
It fills us
It fills us
It fills us
together
forever

[Chorus]
The love in your eyes
is back inside.
When you look at me,
I can clearly see
how much you love me
how much you love me
ee ee ee ee ee ee ee ee ee ee ee ee

Love In Your Eyes

Love In Your Eyes [Inside Variation]

How can I walk away from you? 
-- when I'd have to walk away from me, too?
How can I walk away from you?
-- When I'd have to walk away from God, too?

I'd have to pretend the sun doesn't shine
every time I think we'll be fine.
I'd have to pretend the demons aren't trying to tear us apart 
to finally force me to depart from this world.
I'd have to pretend the breeze isn't blowin'
every time I think you won't be going.
I'd have to pretend the demons aren't trying to tear us apart 
to finally force me to depart from this world.

I'd have to be crazy not to believe
what the trinity is always tellin' me:
that they brought us together for forever
and we're meant to be.
I'd have to pretend that what they're tellin' me
is not true:
that we'll be together for forever, 
me and you.

I'd have to pretend the sun doesn't shine
every time I think we'll be fine.
I'd have to pretend the demons aren't trying to tear us apart 
to finally force me to depart from this world.
I'd have to pretend the breeze isn't blowin'
every time I think you won't be going.
I'd have to pretend the demons aren't trying to tear us apart 
to finally force me to depart from this world.

How Can I Walk Away From You

Expedition 019 Notes:

Hardware:
Moog Subsequent 37

Software:
FL Studio, Valhalla Shimmer, Eventide Blackhole, TAL Reverb 4, Eventide UltraTap, Fruity Parametric EQ 2, ImageLine Maximus, Fruity Limiter

Process:
I was concerned about whether or not my synth was damaged by prolonged high heat exposure while I was away on vacation, so I needed to check it out and make sure it is still completely operational.  Turns out it is!  Thank Goddess ... .  This improvisation consists of me starting a sound from scratch and testing every knob on this synth.  Of course I did so in a very musical way.  As such, this process is also an exploration of a lovely soundscape that we can enjoy for years to come.

In fact, by the end, near the 23 minute marker or so in this piece, I found a sound that sounds so nice that I spent a few hours after this improvisation was finished to fine tune it and save it as a preset.

I must say, I also became much more acquainted with the ins and outs of what makes this synth tick.

All together, this venture turned out to be quite a rewarding experience.  Of course, I expected it to be as much, given the synth and all -- a truly beautiful instrument, indeed.

Other notes:
I should say that, despite the audible dynamic changes, I never once touched the volume knob on the synth during this improvisation.  All such changes in volume come directly from changes in the sound itself through other parameters.

Also, I decided to explore sonic terrain wherein the Valhalla Shimmer VST was not set to a shimmer effect, per se.  Instead of the usual 12 semitone shift it was set to a more subtle 0.08 pitch shift.

Also also, the UltraTap was configured to act as yet another reverb.

Soundscape 019

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Also find me on YouTube:
I have begun what I plan to be a long term method of sharing my music, i.e. live streaming improvised electronic music productions on YouTube.  So tune into my channels to watch AND listen.

https://www.youtube.com/user/TheSwircle987/videos

Also find me on iTunes, Spotify, etc.:
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============
General: 
============
All of my music is completely original!  Check out my reposts, too ... for they are also mine.
    
============
Bio: 
============
Once upon a time, a long arse time ago ... I began creating music with just my computer, a piano, and a guitar.  During those times, I learned about making music by actually making it.  With the computer, I composed.  With the guitar and piano I improvised.

To this day, these are still my primary music making media, although I have since incorporated hardware synthesizers, DIY instruments, and Eurorack.  I now use digital, analog, and acoustic instruments and sounds to compose and improvise music.

============
Quote:
============
"Reality: my least favorite hobby."

~~ Swircle 987

(And, yes, feel free to quote me on this one.  ^_^)

Soundscape 120 [Nifty Variation]

Swircle 987

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