E L C

Patch notes: 
A-143-9 as oscillator, going through STG Soundlabs CP3 mixer and a QMMG LPG + LP filter with high resonance -> Morphagene -> OTO BAM.
Melody by Verbos Multistage -> Junction (for attenuation) -> A-156, sampled by a offset clock from Tempi. 
Sequence transposed by RND STEP, triggered by another offset clock from Tempi. 
That's it! Some resonance tweaking in the middle of it.

La exploration

An assortment of ambient tracks performed live on Modular Synthesisers.

Machine Dreams

Composer and Sound Designer Robert Aiki Aubrey Lowe tells Caro C about his preferred sound modules and working methodologies, plus shares details some of the film and TV projects that he has recently been collaborating on.

Chapters
00:00 - Introduction
01:35 - Finding A Musical Voice
04:38 - Choosing Modular Synthesis
10:18 - Avant Garde Artistry
17:14 - Current Modular Setup
23:19 - Other Favourite Modules
28:11 - Composing For TV And Film
34:03 - Combining Hardware And Software

https://www.soundonsound.com/people/robert-aiki-aubrey-lowe-sos-podcast

#morphagene #spectraphon #dxg #optomix #proworkout #arbhar

Robert Aiki Aubrey Lowe Biog
Robert Aiki Aubrey Lowe is an artist, curator and composer based in Brooklyn, New York. Robert is known for his work with modular synthesis combined with voice. Along with analogue video synthesis works, he has had exhibitions of his work at John Michael Kohler Art Center, Museum of Art and Design, Kunsthal Charlottenborg and the Broad.

Over the last several years Robert has collaborated on projects or provided sound in a featured artist capacity for such films as “End of Summer”, “Sicario”, “Arrival”, “Last and First Men” with Johann Johannsson and “It Comes at Night” with Brian McOmber. In recent years Robert has scored “Candyman” for Nia DaCosta, “The Color of Care” and “Power” for Yance Ford, “Master” for Mariama Diallo, “Grasshopper Republic” for Daniel McCabe, docuseries “Telemarketers”, “UNION” for Brett Story and Stephen Maing, “The Man In My Basement” for Nadia Latif, “Life After" for Reid Davenport and “Seeds” for Brittany Shyne. Through collaboration Robert has worked with Tarek Atoui, Ben Russell, Ben Rivers, Rose Lazar, Nicolas Becker, Rashaad Newsome, Jóhann Jóhannsson, Hildur Guđnadóttir, Sabrina Ratté, Philippe Parreno, Evan Calder Williams, Ariel Kalma, Susie Ibarra and YoshimiO, as well as many others.

https://robertaikiaubreylowe.bandcamp.com/

Caro C Biog
Caro C is an artist, engineer and teacher specialising in electronic music. Her self-produced fourth album 'Electric Mountain' is out now. Described as a "one-woman electronic avalanche" (BBC), Caro started making music thanks to being laid up whilst living in a double decker bus and listening to the likes of Warp Records in the late 1990's. This 'sonic enchantress' (BBC Radio 3) has now played in most of the cultural hotspots of her current hometown of Manchester, UK. Caro is also the instigator and project manager of electronic music charity Delia Derbyshire Day.
URL: http://carocsound.com/
Twitter: @carocsound
Inst: @carocsound
FB: https://www.facebook.com/carocsound/

Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

Electronic Music

Robert Aiki Aubrey Lowe

Robert Aiki Aubrey Lowe | Podcast

WhoKnowsWhat

In the Loop, Abstract Fade

My track notes regarding the creation of this track can be found here: https://llllllll.co/t/disquiet-junto-project-0691-un-ravel/71303/7

**Disquiet Junto Project 0691: Un-Ravel**  
The Assignment: Make a recording of a string quartet fall apart.

Step 1: Download the first movement of the Ravel string quartet at this URL: [https://bit.ly/un-ravel](https://bit.ly/un-ravel)

The original source is the Internet Archive: [Capet String Quartet - Ravel (Col. D 15057-60) 1928 : Capet String Quartet : Free Download, Borrow, and Streaming : Internet Archive](https://archive.org/details/3-capet-sq-col-d-15057-60-ravel-1928-mov-3/)

Step 2: Listen to the track closely.

Step 3: Create a new piece of music by employing the provided recording as source material. The goal for your piece is that it should make the Ravel sound like it is falling apart — that is, like it is unraveling, or un-Ravel-ing.

[Disquiet Junto 0691] Liminal Maurice

A quick example using the first of three Morphagene reels I made using existing recordings of IPA phonemes. This one uses the vowels reel. The Morphagene is being manipulated by various Wogglebug outputs. A bit of the way through, I add delay processing with Mimeophon. Reverb: CXM 1978.

The three reels (vowels, consonants, a diaphonemes) are available on Freesound: https://freesound.org/people/DaveSeidel/packs/43523/

IPA Vowels Morphagene Reel example

Found an old Morphagene sample reel with snippets by Varese, Roads and Stockhausen then performed cutting them up in real time via the Buchla Music Easel.

Cut Ups

trying to do something not so sleep-inducing for am meditations. the idea here is to have enough interesting things to listen to with just enough going on. + occasional harshness really centers (aka wakes your a$$ up). wrapped up listening to the music-this' all that's going on for 12 minutes.  acoustic guitar > morphagene > qpass > mimeophon

20250902 modular meditation #1

Finally finished cobbling together a tape and microsounds make noise rack. Here is: acoustic guitar thru said system and over a drone I made with the same acoustic guitar, live to "tape." A fella could work this set-up for a lifetime and never come up with the same thing twice. 

20250907 modular acoustic

This final track of the set is centered around a field recording captured with my 3-year-old son while we were hiking. He was hitting some unused water pipes lying by the trail with a wooden stick, giving the track its distinctly industrial, metallic sound.

This personal sample was loaded into the Make Noise Morphagene. When triggered, the Morphagene is set to begin playback at a slightly different starting point each time, ensuring the metallic rhythm remains evolving and unpredictable.

This was recorded as the final segment of the one-take performance. The audio received minimal mastering in Ableton (compressor and limiter) for this SoundCloud version, but the live performance is otherwise untouched.

The full performance, including the unique visuals generated live by the Sleepy Circuits Hypno, is available on YouTube: https://youtu.be/PEqcT2SCcdE.

Prototype #6 MorphPipes

20210501 rings morphegene clouds microcosm jam 1

live recording of eurorack performance. rings into morphagene into clouds into microcosm.


20210508 Rings Morph Clouds Microcosm 1 IG

Fractures

The starting point for this track is an old vocal sample I recorded during a trip to Italy. I processed the voice with Autotune and loaded it into the Make Noise Morphagene, using it more as a playable instrument than a traditional vocal—slicing and reassembling the fragments into new textures.

The harmonic structure is built around a 5-step sequence on the Sequential Prophet Rev2, which is triggered externally by the modular system. The bassline, generated by the Make Noise XPO, follows the pitch of this same sequence to keep the low-end locked in.

For the final character and spatial processing, I used the Hologram Electronics Chroma Console along with Mutable Instruments Beads and Data Bender for additional grit and movement.

As always, the song was recorded in a single live take. The mix was exported from the Tascam Model 12 and finished in Ableton with some minor EQ, filtering (only first 10 and last 10 seconds) and compression.

Setup:

Vocals/Sampling: Make Noise Morphagene (Italian Vacation Sample)

Chords: Sequential Prophet Rev2 (5-step sequence)

Bass: Make Noise XPO

Effects: Chroma Console, MI Beads, Data Bender

Mix/Recording: Tascam Model 12 & Ableton

Limoncello Modular

Tristan Louth-Robins is a South Australian artist working principally in the medium of sound art and field recording. Ideas of sound and its signification are key elements in Louth-Robins' practice, traversing the space between the visual and aural his work is realised through the mediums of recordings, installation, visual art and performance. He is interested in sound and its associative implications - including its relationship to objects, technology, urban space, memory and the natural world. 


Since 2005, Louth-Robins has presented work in Australia and internationally as a solo artist, whilst also collaborating with artists, writers, researchers, musicians and performers. 

Working across a vast array of activities encompassing composition, sound design, installation art, field recording and workshops, his work has been featured in events such as the Adelaide Festival of Arts (2006), The National Regional Arts Festival (2012), Mildura-Wentworth Arts Festival (2013), Fairfax Festival (2013) and Adelaide Fringe Festival (2014); and selected works exhibited at galleries including The Australian Experimental Art Foundation (2009), SASA Gallery (2012, 2015), Light Square Gallery (2012) and FELT Space (2015). His audio works have been broadcast on radio including Radio National, Classic FM, The BBC (UK), Acoustic Frontiers (USA) and RBB (Germany).

Amateur hour inscrumental music for prickly pears. This is a space for ideas, experiments, rough drafts, and audio doodles. 

composer, performer, lecturer and analog synthesist who is endlessly fascinated by and exploring sound...

Experimental electronic music, mostly in the drone category. This is where I put live sets, one-offs, experiments, and excerpts from longer releases.

CD: "~60 Hz" on Irritable Hedgehog - http://recordings.irritablehedgehog.com/album/dave-seidel-60-hz

All releases, including netlabel items: 
http://mysterybear.net/music

https://mysterybear.bandcamp.com/

Sorry, SC won't let me follow any more people, so don't feel slighted if I don't follow you back.

Austin, TX-based electronica artist.
Minimal, chill, downtempo tech-house with 80's feel. Plus some other stuff. 
I play live! DM for details.

Gerenerative eurorack modular synthesizer compositions. All tracks are recorded live in one take.

<b>SOUND ON SOUND is the world's premier music recording technology magazine</b> - available in 5 formats: Paper, Web Sub, Replica, Full Issue PDF download or Tablet/Mobile apps. Based in Cambridge, England; independently-owned and continually published since 1985).&#13;
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Our regular DAW techniques and practical 'how to' Tutorials offer no-nonsense advice for beginners and professionals alike, helping our global readership gain the most from their studio equipment.


A sonic exploration of the endless possibilities of modular synthesis. From abstract textures to hypnotic drones, these sounds are born from intuition and experimentation.

all songs are performed and recorded in one take (mostly on my Tascam model 12). 

my approach is based around a modular synthesiser ( 2x Arturia rackbrute 6U with a total of 352 HP) mounted onto a Arturia Minibrute 2s. polyphony / paraphony comes from Dave Smith Prophet rev2, Arturia Microfreak and Op1 field. for effects pedals I use endorphins golden master and chroma Console from Hologram electronics. 



songs, beats, jams, and fun 
for more music, check out my bandcamp

New tracks tagged #morphagene