An experiment, recorded in 2008.
Instruments: Polymoog synthesisers, Moog Little Phatty, Korg MS10, Korg MS20, Solina String-Ensemble, Farfisa Compact-Duo, Yamaha YC-45D, Vox Continental, Roland Strings RS-202, Elkatwin 61, Mellotron 400 (choir tapes), electric & acoustic guitars ("vocoded"),  Roland CR78 ("vocoded"), MAM VF11 vocoder.

Silicon Ridge I (2008)

MacArthur Park Suite

One take, no multi-tracking, no post, no effects.
Used only three  modules:
   SSF Ultra Random Analog
   SSF Quantum Rainbow 2
   Make Noise RxMx

URA is sending random voltages into the RxMx's channel select CV.
I found this by accident, when setting up an example to explain of noise percussion to my wife. Yay for happy accidents!  

Full Patch Notes:
URA  -- SAMPLE-A LEVEL = 3:00
URA  -- SAMPLE-B LEVEL = 3:00
URA  -- INTEGRATION SLOPE = 12:30
URA  -- SAMPLE-B SLEW = 9:00
URA  -- GATE DENSITY = 12:00
URA  -- CLOCK SPEED = 10:30 CONTROLS TEMPO

RXMX -- CH1 = 12:30
RXMX -- CH2 = 12:30
RXMX -- CH3 =  1:30
RXMX -- CH4 = 12:30
RXMX -- CH5 = ALMOST FULL CW
RXMX -- CH6 = FULL CW
RXMX -- CHANNEL = 12:15
RXMX -- CHANNEL ATTENUVERTER = FULL CW
RXMX -- RADIATE = FULL CCW
RXMX -- RADIATE ATTENUVERTER = 2:00
RXMX -- LEVEL = FULL CCW
RXMX -- RADIATE ATTENUVERTER = 2:00 CONTROLS GATE LENGTH FULL CW MAKES LONG ACCENTS

URA CLK OUT      -> RXMX LEVEL STRIKE
URA SAMPLE OUT-A -> RXMX LEVEL
URA R-FLUX OUT   -> RXMX RADIATE
URA SAMPLE OUT-B -> RXMX CHSEL 

QR2 WHITE  -> RXMX CH1
QR2 PINK   -> RXMX CH2
QR2 RED    -> RXMX CH3
QR2 GREY   -> RXMX CH4
QR2 BLUE   -> RXMX CH5


URA-QR2-RXMX

Similar to the previous track with the Edges and STO flipped between 6 and 12 dB inputs of the FxDf.

Twelve Six

I'mindeep

Excerpts from my first night with the Toppobrillo Sport Modulator. 
You can see the patch in the image. There were a few slight modifications on the way, a Noisering was involved in the noisier bits, and on the last track the Anti-Oscillator joined the party. Sorry I didn't keep detailed notes, I was having too much fun.
In all cases, the SM drives the pitch of the vcos, so its effect can be clearly heard. In most cases, the filter was opened by the compare gate out on the SM. 

SM 7

Izeh

Libreville 4

A simplified take on a modular cello patch, using just Mutable Instruments Rings, Kinks, a VCA and Stages (three stages as an ASR envelope, two to generate a high-pitch pulse signal and one as a rudimentary low-pass filter for the noise). This freed up Plaits for tubular bells duty. Dreadbox Erebus V2 also joins in.

Cello patch no.2

Keyboards Affair - Tubular Bells (1983)

a montage from my first session with Mutable instruments Beads

MacArthur Park Suite

The Me