A demonstration of the Cygnus X-1 reverb mode from the upcoming Valhalla DSP cartridge for the Tiptop Audio Z-DSP.

- Moog Rogue, 2 saw oscillators tuned in unison
- Decay time on the Cygnus X-1 algorithm is set fairly high, but not at max (the algorithm can get decay times up to several minutes)
- The Tone control on the Cygnus X-1 algorithm is set all the way up until the end, when it is slowly brought down to fade out the reverb decay.
- The Chorus is set fairly light for this algorithm.

CygnusX1

Lotus Flower

Here’s some info about my methods:

I listen to a lot of field recordings of nature (wind, water, birds, insects, etc.) and I’ve noticed there are often subtly shifting patterns to be found within the randomness of these recordings. One of the things I try to do in my music is mimic these organic patterns with anti-meters, polymeters, polyrhythms, and odd time signatures. I used a few of these techniques when developing this track.

The drum kit part in the A section is an improvised set of patterns played on a Zendrum, with no time signature and in different lengths that shift in relation to one another as the track progresses. The relationship between the patterns is essentially random, but when taken together they create a steady flow of notes intended to mimic the organic, evolving patterns found in nature.

The more chaotic odd-time polyrhythms in the B section were intended to mimic the sounds of a wind or rain storm. I used a pair of generative sequencers and multiple modulators to create the overlapping/morphing patterns. 

The piano part acts as a foundation for the anti-meter parts described above. It’s more static and repetitive, but it also evolves slowly over time. For this I used a generative sequencer that was very slowly modulated by two modulators.

The lead “horn” solo (actually an Ableton Push pad controller with Arturia Pigments as the sound source) was improvised in one take from start to finish (no edits). For me, playing improvised solos is perhaps the biggest challenge and also the biggest source of delight/disappointment in music. There’s nothing quite like playing an improv in real time, while hoping you don’t fall flat on your face before the end (which happens all too often… lol).

Thanks for taking a listen. Your thoughts and feedback are always very much appreciated!

Alan

The Secret Garden

We’re amateur birders and one of our favorite birds is the beautiful Cedar Waxwing. It’s breathtaking when they streak overhead in a swirling chaos. I’ve tried to capture some of that beauty, emotion, and energy in this track by using free time along with odd time signatures, polyrhythms, and polymeters. The drums were improvised on a Zendrum, the melodic solo was improvised on an Ableton Push.

Flight of the Waxwings

A slower tempo track in comparison to the other music I recently put out.

We Should Stay

Schrödinger's Cat

This is a single oscillator from my MS20 Mini, running through a TipTop Audio Z-DSP module. The algorithm is from the upcoming Halls of Valhalla cartridge for the Z-DSP, and is called EnsembleVerb. By adjusting the mix, decay, and chorus controls, EnsembleVerb can turn a simple mono synth into a lush pad.

ZDSP EnsembleVerb

This track was inspired by the Zen Master, Dōgen Zenji. In his writings, he sometimes spoke of the connection between Zen and the natural world. I’ve tried to express that connection here musically.

Dōgen

The Cold and Perfect Fury (The Return)

From "The Wood Duck Variations"
http://ontol.bandcamp.com/album/the-wood-duck-variations

Reworking of a session from 1993, originally from 4 track cassette

B Scheuerle: DX7IIFD, DD5, treatments
H Helms: Bass, DX7IIFD, treatments
M Luttkis: Guitar

Forever Afternoon (Variation II/3)

I highly encourage you to visit my bandcamp site to freely download any and all of my released works.

In Zen, ensō (円相) is a circle that is hand-drawn in one uninhibited brushstroke to illustrate the moment when the mind sets the body free to create.

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