A 4th revision of my earlier Swell Physics Study.

I’ve very much enjoyed this patch, and have gone through several revisions. The base, Swell Physics controlling the RYK Algo and being the modulation heart of the patch, has not changed at all. In fact the knobs on Swell Physics have not been touched. There has been some slight detuning, panning, and timbre changes with the Algo, but the notes and levels are still the same.

I’ve changed filters several times, and landed on the Bizarre Jezabel Pkhia, a stereo multimode filter (using the LP outputs). I previously tried the Instruo DAPF, Xaoc Devices Zagreb, and Bizarre Jezabel Seju Stereo. Even if the dry and the filtered output of the Algo are in parallel in the mix, the filter is crucial, really taming down annoying harmonics created by the wavefolding/waveshaping on the Algo. Running in parallel allows them to not be totally lost, but also not grating your ears.

A huge addition was to use the Olivia Artz Modular Time Machine to give some length and body to the ocean spray as well as the waves. A pretty slow delay time and moderately high feedback gives everything some depth and a more natural decay. And since the taps are all at different levels, it helps create some movement in the stereo field.

I’ve also given it a performative aspect which creates some drama outside of the ever-rolling waves, primarily by improvising on Beads, giving it feedback from the mixer, as well as changing the grain length and size. This latter change lends and almost orchestral type timbre to the output and mixed in reverb.

I’ve also added HP filtered blue noise, which is brought in and out according to the Average output of Swell Physics. Although I am not going for a beach sound, open ocean spray can be mezmorizing.

There were various modulation tweaks throughout the multiple revisions. Sometimes adding, sometimes removing, and sometimes just dialing it in. Almost all of the modulation in this patch is from the Average output in various attenuated/verted forms. Joranalogue Orbit 3 plays a small role with modulating the level of the Average output which controls the wavefolding/waveshaping. The Auza Wave Packets, triggered by the 3 > 4 gate output on Swell Physics, also plays a small role by modulating the Density CV input on Beads.

One of the best additions was by using the Walrus Audio Slöer for reverb. In fact, when I realized after my first recording that I wanted an octave down reverb, I purchased the Slöer (knowing full well that I’ll use it more than plenty). The octave down really gives it body and fills out the sound, with the waves and Beads occupying mid and high frequencies. The lo-fi DSP and modulation really add some beautiful texture to a scene constantly in flux.

Swell Physics - rev4

A rhythmic patch, driven by chaos. This chaos driven sequence is prone to drifting in very organic ways, but always falls back in line. It’s a beautiful dance of real life incursions into the everyday.

Everything in this patch from the gate sequence to the pitch sequence, and everything else, is derived from 4 chaos outputs from the Nonlinearcircuits The Hypster. They feed Let’s Splosh and Numberwang, and both control the entirety of the patch. All modulation is either direct from Let’s Splosh, or triggered by Numberwang, sometimes both.

4 Generate 3 outputs go to Natural Gate inputs, which are gated by Numberwang. The NG outputs are mixed to stereo en route to the stereo matrix mixer, and are sent to Time Machine and Dradd. The Dradd and Time Machine outputs are sent to Panharmonium, which uses the Bizarre Jezabel Mimosa as an insert. All outputs are mixed together and sent to the final mixer in AUM on the iPad.

The kick is a simple filter ping in CUNSA (with a FM envelope). Hi hats are high pass filtered white noise from Sapel, enveloped by a lightly decay modulated Schlappi Engineering Boundary.

Reverb is the always beautiful Vongon Ultrasheer.

New tracks tagged #atomosynth