After the two previous track, some tekno just hád to be made.. if it only where as this was actually the main goal when I wrote the new basskick module. I found my previous coded kicks just too thin and clean, needing too many post-processing modules in the patch to work on a single axoloti board, so I, again(#40+), coded a new kick module, starting from a sinewave, going through a feedback-frequency-shifter (to create a spectrum with custom partial-spacing and control over damping rate of the higher partials), applying several ideas that I combined over the years that I found "work great" for kick generators (eg "hit/click"-frequency being independent of and not (necessarily) following bass pitch and combining the envelope and oscillator into the one functional algorithm to prevent ány unwanted clicks at the attack stage and always a good attack: preventing sudden jumps due to oscillator sync, changing envelope level or oppositely, not enough difference between current envelope position and attack-maximum. The result is a very dynamic envelope&oscillator algo that reacts differently depending on the trigger level and current oscillator*envelope value. Instead of resetting the envelope to "zero", it just starts from the last audio output value, goes to the newly calculated "level" value, after which it restarts the oscillator from cosine position at the level of the envelope peak value, hold the envelope during the "punch" stage and then decay the tail).
For creating the timbre, as noted before, I used a sine going through a frequency shifter in a 1-sample delay feedback loop to generate a base timbre containing equal spaced partials. Besides this a second loop feeds back a mix of the original sine and the frequency shifted signal to self-frequency-modulate both the sine oscillator as well as the oscillator of the frequency shifter, allowing, thanks to some more maths, to continuously turn the sinewave into saw, square, pulse, peak, triangle (when only using the original unshifted sinewave) or anything in between (especially when feeding back the frequency shifted signal, this creates a "cloudy" moving tail over overtones.
So far so good.. now let's modulate all parameters at once with an extra envelope for " timbre" sculpting and we have ourselves quite a versatile "little" basskick that can cover a lot of ranges.
Then to finish things off, I've put a custom wavetable-based waveshaper after the kick to give it yet some more timbral movement and grit.
Except for some soft-clipping as safety measure, no post-processing is done to the kick.

All drums are fully synthesized, no samples are used. Except for the hihat/cymbal, which is based on physical modeling of 4 morphable resonating bodies that interact, all other drums are based around the frequency-shifter loop idea, although each drumvoice has a different architecture around it to make sure the timbre goes toward the intended sound, (no matter the stepless randomisation of the parameters).

The only post-processing module in the patch is a build-in frequency-shifting host-tempo-synced delay (yes, yet another frequency shifter..8 frequency shifters are used in total at seperate locations, of which the snare uses two), which is able to listen to any drum channel except the kick (which was just too much to handle XD) and sequence through different delay&shifting settings controlled by a polyrhytmic sequencer.

As for the sequencer driving all this, it's also on the same single axoloti-board and it's running all on it's own! A culmination of 20 years of more advanced sequencer building lead to this actually véry simple 8-channel, 4-value, 16-steps sequencer that's capable of switching it's presets all the time (turning those limited 16 steps into unlimited combinations with other presets). Add to this a fully algorithm-controlled auto-flam/retrigger-generator and a "sound-introduction" mechanism and we have ourselves an ever ongoing drum-jamming  "AI" (of course, not a real AI.

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Again, a single axoloti board doing it's daily chorus.. chores.. whatever..
No external equipment used to generate the composition, all progressions are structured by a custom algorithm and all voices are live generated by a custom coded physical model of a "6-string guitar" which I found to be able to do some nice violin kind of sound at the same time. Some extra code adds a bit of boost in the mid-range frequencies before it's being send into a custom coded reverb/resonator to give the "strings" some "body".

SirSickSik - Emotion Sickness

Generative patch on the axoloti (chord/melody progression and sound generation all on one circuitboard), trying to be a guitar/violin/flute-thingy at the same time

SirSickSik - Last Time I Saw You

A newly designed delay code "turning the delay into the future".
The track begins with the clean sound that is fed into the delay and during the first minute,  the delay is very slowely faded in. This adds minute differences in the timbres of the sounds. From 1 minute you can hear the delay a little bit better, creating little tails/swirls behind sounds and a little reverb/flanging like sounds.
After this, the wet delay signal is being added in more and more until it's nearly the same volume as the clean signal. After a while, I slowely dial down the volumes of the clean sound, so only the wet delay signal can be heard, after which I dial down all the volumes of all sounds going into the different insertion points of the delay.

As you can hear, this "delay" (which actually just started out as a simple multi-tap delay idea) goes far beyond being a simple delay. Although a single delay-buffer is used for the delay itself (some effect-inserts into the delay-line have their own buffer intrinsic to the effect type), all sounds can be influenced by different effects at different times in different ways (fx-parameter settings), creating a all kinds of restructurings of the input sound.

SirSickSik - Future Evolution Delay

This is a demonstration of an effect that I coded for the ksoloti circuitboard.
(ps. everything you hear is done at the same time by a single big genes eurorack module. After this the starlab reverb module adds a little bit of reverb. No post-production-effects are used, only a simple "normalizing" step.

The track starts with a basic drum pattern that has some variation along the way, than two extra layers of bass/melody,chords voices to sort of lay the base of the key and scale that the effect should follow.

Then what the track is actually about:
In the patch a recording of my voice is looped, that is hardly sung well (you can hear it come in at the beginning and at some points in the middle of the track. I made it "hard" for the effect to track the pitch of my voice by keeping it raw to show it capabilities).
After about 2 or 3 bars hearing this voice, I'm dialing in the first "re-pitched" voice that is created by the transformant effect and then dial out the original recording so only the effected voice can be heard. Then the a second voice is dialed in two let them make harmonies.
During the recording, I'm changing several settings that alter the soundeffect, shifting up/down the timbre of the voices, enlarging their pitch range, changing the tempo of the track (to show that the effect keeps the two effected voices in tune even though the played back recording is going slower and down in pitch).

To help a bit with hearing what I'm saying, this is being looped (text being generated by chatGPT):

Optimus shouts, "Autobots, roll!"
Megatron growls, "Decepticons, go!"
Jazz jumps high, "Transform and rise!"
Bulkhead stands, "Strength in disguise!"

SirSickSik - Transformant EFFECT DEMONSTRATION!

This is a demonstration about starting with a simple, straight forward 8bit counter and using different techniques (all 8bit logic and math) to mangle up the bits of the counter.

Then, at a second stage, these bits are fed into two 8bit shift register where each of the 8 bits per channel have their own clock sources, making them advance at different timings and rates.

At the last stage, these bits are then given a bipolar weight, panned between two output channels and summed together to create two inversely correlated CV patterns.

This is then fed to a note-quantizer that jumps through root keys in fifths, fourths and thirds and sends this to 2 VERY simple sine voices and then runs through some effects to create some ambience.

SirSickSik - Eight composing little bits

Don't put your volume too high at the start! This goes from clean nice sounding plucks to full on washes of changing frequencies that go all over the place.

This is a demonstration of a set of modules I wrote for the axoloti/ksoloti patcher.
The arbitrary spectrum oscillator uses a frequency shifted feedback to create a spectrum where the partial spreading can be controlled in both upper harmonics as well as harmonic divisions and octaves. It can also be thru-zero frequency modulated and it's output is in a sine/cosine configuration to always provide you the real and imaginary part of your generated spectrum. As the module is internally polyphonic and has an inbuild AD-envelope, up to 16 spectra can be stacked upon each other, each with their own envelope timing. This also makes it great to use as a fm-modulator as multiple related spectra can be stacked upon each other to mimic plucking, brass and rubbing.

The second module is a combination of delay, neoFM, pitch shifter, frequency shifter and a doubled (nested) allpass filter to create delayed feedback that can completely change it's frequency content and diffusion over time. This all also works as a real/imaginary pair, so even the outputs of the delay are still in a real/imaginary relation for further frequency shifting processing or other things that might use that relation without the need of any hilbert transform to split signals into a real/imaginary pair. Delay time is cubically interpolated to provide as clean as a modulated&pitchshifted delay as possible (both delaytime and pitchshifter make use of this same function as these are summed before calculating the exact delaytime+pitchshifter positions) and can be modulated up to audio-rate with a dedicated "neo-FM" input that is set to a small maximum modulation width.

SirSickSik - Shifting away0.2

Track your own formant track.... wait.. what?

SirSickik - I'm listening

Last weeks I've been experimenting with synthesizing impulse-responses as oscillator waveforms and the results are getting there :)
Also the kick is based on an impulse response, being phase-driven by the envelope generator and ensuring that the "click" always lands on the highest point of the envelope.

SirSickSik - Impulsator

All tracks made by SirSickSik
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