A study using various Frap Tools modules, centred around the Brenso Analog Through-Zero FM complex oscillator.
The sequence is an 8-stage, 10-step USTA sequence leveraging pitch probability.
Brenso is set with green VCO providing thru-zero modulation to the yellow VCO, with the Final out being mixed with white noise from Sapèl with Happy Nerding Dual XFade into an LPG channel of Rabid Elephant NaturalGate.
The primary V/Oct input on Brenso is passed through Falistri slew limiter(blue) from USTA pitch CV sequence.
Extensive modulation:
- Sapèl being clocked from USTA's gates, stepped random to Natural Gate envelope length and Brenso ModBus depth;
- Sapèl smooth random to Brenso Yellow VCO FM depth (linear);
- Sapèl n+1 to Brenso Green VCO pitch (added to V/Oct input arp, USTA/Falistri); and NaturalGate level CV;
- Sapèl 2n controlling crossfade CV of Dual XFade, adding more white noise with high voltage;
- Falistri Yellow channel is being triggered on the first stage of USTA, via second Gate output, and is passing an envelope to Brenso Symmetry and Ring Modulator offset;
- Falistri Green channel is looping and passing LFO CV to Brenso wavefolder amount.
--
Valhalla DSP VintageVerb and Delay added for taste.
Roland TR-909 kick and TR-808 hats for some foundation.

20230205 Frap Tools Brenso And Family - Study

Drone: Piston Honda MkIII into Mutable Blades with modulation from Quadra, Sapèl, and Batumi.
v1: USTA Sequence; Brenso into NaturalGate, KorgasmatronII LPF with granularization by Mutable Beads. Modulation from Marbles, øchd and Sapèl.
v2: Metropolix sequence; Sofia into Belgrad; envelopes from Quadra; modulation from Marbles and Batumi; 
Additional live performance with Planar2.
All reverb and delay from Valhalla DSP.

20230225 Sleeping While Standing

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

I'm a lab-rat. gear-head. Composer of sonic explorations. Seeker of tone and frequency. Patcher of modules. Twiddler of knobs. Bender of strings. Programmer of sequences. Lover of all things that oscillate, resonate and reverberate.

My main instrument is a Eurorack Modular synthesizer comprised of approximately 70 modules. My favourites include modules from Frap Tools Instruō, Intellijel, and Xaoc Devices. I use a 16-channel Line converter from nw2s to get modular signals into my DAW.
My main polysynths are an UDO Super6 and a Sequential Prophet Rev2.
Production tools are Bitwig with an Ableton Push 2, with two Universal Audio and Focusrite AD converters; and plugins from GForce/Oberheim, Waldorf, UAD, Valhalla DSP, Plugin Alliance, Eventide, Softube, and Roland.
I also compose with electric guitars and basses, Toontrack Superior Drummer, and various Brazilian samba percussion.

New tracks tagged #sapel