Demo of a patch created on a newly integrated all-Nonlinear-Circuits Eurorack system in a 6U x 126 HP custom Blackhole Cases rack.

Equipment used: Nonlinear Circuits Stochaos, 8-Bit Cipher, Hypster, Chopper, 1050 Mixer/Sequencer, Kareishuu, FM OP, Timbre & Timbre, Brain Custard, Null A2; recorded on Samsung Galaxy S9 with iRig Duo at 16 bit / 44.1kHz

Post-processing of audio consists of normalization and light equalization, compression and reverb.

NonlinearCircuits Stochaos-8BitCipher-Hypster-1050-BrainCustard (April 17, 2023)

Delay No More & Bong0 N.1

The concept behind this patch is that modulation of musical phrasing is largely controlled by an NLC Triple Sloths module. I'm also doing some performance control primarily over the sequencing and particularly at the intro and outro, but it isn't substantive toward modulation -- my timing on that is driven by watching Sloths on an oscilloscope and queueing myself up for changes at zero crossings and when they seem right. 

 Modulation patterns demonstrated here:
- Key changes are handled by sending Sloth through a quantizer, that output is summed with each of the 3 pitched voices to allow the sequencing to maintain relative harmonic structure despite semi-random key changes.
- Each of the pitched voices has one or more parameters controlled by sloths, which causes them to come and go.  (Respectively this is a fixed filter level on Fumana, a wavefolder depth, and a filter cutoff.) 

The human-played performative aspects include:
- fading in at the start
- using an attenuator to hand off control of key changes to Sloths after introductory phrasing
- On Ground Control, hitting play and muting or unmuting sequencer tracks, and swapping out the drum track at opportune moments.

Chant Of The Sloths

I'm working on patching my all-Nonlinearcircuits system, and this track is a teaser for wherever I end up with it. Be warned, synth noise ahead.

A video of this session is available here: https://youtu.be/CsH6obzUgNc

voices: Kareishuu, FM OP, Plague of Demons
clock / gates: Poultry in Motion, Stochaos, Statues
envelopes / modulation: Hyperchaos Deluxe, The Hypster, Valmorification, Genie, Sloths 

Equipment used: Nonlinearcircuits Eurorack modules above, plus Null A2, Segue and Mixer, recorded on Samsung Galaxy S9 with iRig Duo at 16 bit / 44.1kHz

EQ, compression, reverb added post-recording

2024-III teaser patch 01 [Nonlinearcircuits-only Eurorack modular] (3/7/2024) {iRig Duo}

I am continuing to develop a patch on my all-Nonlinearcircuits system, and this video is a second teaser for wherever I end up with it. 

A video of a different take of this patch is available here: https://youtu.be/CO1ck_olD9Q

voices: Kareishuu, FM OP, Plague of Demons
clock / gates: Poultry in Motion, Stochaos, Statues, Let’s Splosh
envelopes / modulation: Hyperchaos Deluxe, Tracky Dacks, Genie, Sloths
Filter: Resonate

Equipment used: Nonlinearcircuits Eurorack modules above, plus Null A2, Clump and Mixer, recorded on Samsung Galaxy S9 with iRig Duo at 16 bit / 44.1kHz

EQ, compression added post-recording; no effects

2024-III teaser patch 02 take 6 [Nonlinearcircuits-only Eurorack modular] (3/16/2024) {iRig Duo}

I am continuing to develop a patch on my all-Nonlinearcircuits system, and this track is a third teaser for wherever I end up with it.

voices: Kareishuu, FM OP, Mobius PiLL, Brain Custard
clock / gates: Poultry in Motion, Stochaos, Statues, Let’s Splosh, Tracky Dacks, Helvetica Scenario, 8-Bit Cipher
envelopes / modulation: Hyperchaos Deluxe, The Hypster
Sequencer/Switch: 1050, Chopper
Filter: Noiro-Ze

Equipment used: Nonlinearcircuits Eurorack modules above, plus noizHardware matrix mixer, recorded on 1010 Music Bluebox at 24 bit / 48kHz

EQ, reverb processing applied in Bluebox recording
compression applied post-recording

2024-V teaser patch 03 [Nonlinearcircuits-only Eurorack modular] (5/14/2024) {Bluebox}

I am continuing to develop a patch on my all-Nonlinearcircuits system, and this track is a fifth teaser for wherever I end up with it.

voices: Kareishuu, FM OP, Ming Rod, Mobius PiLL
clock / gates: Poultry in Motion, Stochaos, Statues, Let’s Bronze Up
envelopes / modulation: Hyperchaos Deluxe, The Hypster, Valmorification
Sequencer/Switch: 1050, Chopper
Filter: Dual LPG

Equipment used: Nonlinearcircuits Eurorack modules above, recorded on 1010 Music Bluebox at 24 bit / 48kHz

EQ, compression applied in Bluebox recording
EQ, compression applied post-recording

2024-V teaser patch 05 take 8 [Nonlinearcircuits-only Eurorack modular] (5/16/2024) {Bluebox}

This is about as simple a patch as can be made.

2 operators from the Humble Audio Quad Operator > Bard VTG (tube lpg), enveloped by CalSynth Changes (MI Stages). The envelopes are being triggered by Xaoc Devices Batumi II. The shape of the 2 operators are slowly being modulated by Triple Sloths. The v/Oct comes from the Bindubba, while the Ratio of the second operator is being modulated by a CV output from Stochaos (both via Quantermain). The output of the VTG > stereo matrix mixer.

This is being sent to the Olivia Arts Modular Time Machine for some fancy multi-tap echo, which is creating the rhythm of the patch. The Time Machine does most of the heavy lifting in the patch. The melody itself is rather sparse and pretty boring. The delay makes it interesting, especially with moderately high feedback. The delay output goes to the matrix mixer.

From there the delay goes to Panharmonium, set at Xfaded sines, -1 octave, a little blur and glide. It has a tap tempo that is roughly the same as the melody.

This is also sent to the Bizarre Jezabel Mimosa for some serious destruction that gradually comes in then fades away.

Time Machine First Patch

I started this track as a 4ms exercise. Trying to suss chords out of the EnsOsc in a pleasant way. I was initially going for an ambient track. But as soon as I heard the Music Box samples go through the OAM Time Machine, I knew there was a trance-y track hiding beneath.

There’s a lot going on with this patch in just the EnsOsc part. Panning between 2 delays, granular treatment with dual Dradds, all being filtered through the Bizarre Jezabel Blossom. Modulation ahoy! We have loads of chaos, plus every output on both the 4ms Dual EnvVCA and the Shaped Dual EnvVCA. 

The Music Box samples are from the Disting SD Multisample algorithm being triggered by one of the < trigger outputs, which goes through the Time Machine and out to the mixer.

The kick drum is via pinging (ringing?) in the Frap Tools Cunsa. A Falistri envelope to the input, with an attenuated version of the same envelope to the FM. This filter is set in LPG mode. 

Hats are using white noise from Sapel to 1 of the Cunsa filters, also in LPG mode.

I found that in filter mode, the harmonics were just too much.

Everything is run through the Walrus Audio Slöer reverb.

Recordings

EnsOsc - Music Box - Frap Tools Jam

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.

Rhythmic

Drifting Numbers

Adjuster

two point one

Querv

In the mid 1990s, I started mixing sound collage and dark ambient sounds in the project seam pith, leading to the more dissonance-tinged, noise/ambient hybrid project called Nuisance Beacon in the late 1990s. A Nuisance Beacon CD was put out on CIP in 2000. My current project, shimsewn, encompasses and expands upon all of my previous work.
___________________________
Please note: anything that I've given a Creative Commons license to is freely downloadable and redistributable. My intention is very much that other musicians sample my clips, and all I ask is that shimsewn be attributed on the release.

New tracks tagged #nonlinearcircuits