Name: Eurorack modular sketch 0095, 1-1-2016 by Thomas Fang in Modular 1
Duration: 3 min 10 s
Description: First patch of 2016, minimal sounds with three modules. Some frequencies are lower than laptop or phone speakers can reproduce.

This track keeps coming up in my feed, Love the uncertainty of all of these sounds. feels like an ice cave

I like the spaciousness of this - what reverb are you using?

Modular 1

A track from the Dear V live show for Blipswitch April 2021.  "Endemism is the state of a species being native to a single defined geographic location, such as an island, state, nation, country or other defined zone; organisms that are indigenous to a place are not endemic to it if they are also found elsewhere." so this track was named to represent its participation in the site-specific performance with 5 modern dancers in late April / early May of 2021.  The live performance also included percussion and electronics by Drew Silverman (not included in this version of the track)

Endemism

Mecano
0'- 10' : Part 1: "Me"
10'-15' : Part 2: "Ca"
15'-end: Part 3: "No"
Mecano was inspired by the sound of old machines  - futurism and musique concrète - but no recorded sound was used!: only synthetic electronic patchwork created by
EMS VCS3 Mk1 analog synthesize without extra's (no sequencer, no keyboard)

MECANO

In honor of the late Edgar Froese with thanks for the music & inspiration. Makes extensive use of the Synthesis Technology E350 which revealed some of that unmistakable TD sound 

Fastus - Celebration Of Froese

Recording of a patch made with the Sample and Hold mod (http://users.edpnet.be/papa/synthimods/rvg.html)I recently installed. S&H is fed in from the Noise row.

S&H is fed into the output 2 row and the right speaker switch is set to env. this triggers the envelope from the voltage coming into output 2. the S&H trigger is set to osc3 (this is varied between osc3 and env in the recording). This technique gives random or syncopated gating of the envelope.

its 16m long as I was having fun, good luck to you if you get through it all!!. The recording is just 1 pass of Synthi, butt naked all on its lonesome but with a little compression added afterwards.

16m18s Of Naked Synthi

4ms SMR as primary sound source, FM modulator and filter.  

This piece was recently broadcast on Dan Burke's excellent "Patchworks" program on WNUR, 89.3 (Chicago area). The complete archived show can be heard here:
https://www.mixcloud.com/soundoferror/patchworks-9-7-16-part-2/

Spectral Traces (4MS - Spectral Multiband Resonator / SMR )

First patch of 2016, minimal sounds with three modules. Some frequencies are lower than laptop or phone speakers can reproduce.

Eurorack modular sketch 0095, 1-1-2016

Ruben Hulzebosch - Procedural Modular Ambient (Radio Edit)

(Image by Finnish fine art photographer Susanna Majuri)

Resinous

Experimenting with generative patching via the krell patch. 

The Befaco Rampage is in cycle mode, modulating its attack and decay with two looping linear envelopes on the quadra, using the falling cycle indicator to trigger a slewed random sample and hold (Ultra random analog) which is VC attenuverted by an lfo clocked by the rising cycle of the same envelope.

The output of the attenuverter is being quantized by a uscale II, which is being shifted by the other sample and hold of the URA) The pitch output of the uscale is driving the v/oct of braids in CSAW mode, with timber and color being driven by trangle waves divided from the clocked LFO.  

Output of the braids is going into a polaris filter in LP mode, the output of which is going into Clouds.  Clouds position is being modulated by the URA toggle A/B output, size is being modulated by a mix of the attenuated LFOs, trigger is being triggered by the clocked square wave LFO that is clocked from the rampage rising cycle, clouds L and R output go to each channel of a uVCA2, which is being CV modulated by the rampage envelope mentioned above, with the outputs of the uVCA2 going into the computer.  

That audio is being routed through Valhalla UberMod and ValhallaVintage verbs, which are sidechain compressed with the incoming signal from the modular

Meandering Krell Patch

While preparing some more abstract textural stuff for a new album release, I recorded some extended improvisations using the VCS-3 Mk. 1, called "The Putney". The idea was to create the sound of birdcalls and animal noises in an electronic rainforest. It was basically edited from 25 minutes of multi-tracked improvisations with the EMS run through a Roland RE-301 Chorus Echo (for instant Frippertronics) and then mixed down to stereo, using only an old Sound Workshop 242 Stereo Spring Reverb and a Roland RE-501 Chorus Echo (no digital reverbs or delays used). I am amazed at the spatial quality this track has when listening to it through headphones.

EMS "The Putney" VCS-3: Electric Jungle

Showga Residency.one LIVE PA

For years I have been exploring ways of composing for Buchla Music Easel and the Japanese Shakuhachi bamboo flute.  None have satisfied me until this morning.  This is a sketch and hopefully a catalyst for more composition.

Easel Shakuhachi Duo I

Released on the Dusk Transmission compilation, out now on the Lawrence, Kansas label Moody Drones!
https://moodydrones.bandcamp.com/album/dusk-transmission

HLER is Heikki Lindgren & Esa Ruoho - an improvised ambient drone duo from Finland.

booking: hlerdrones@gmail.com
to find out what we sound like at gigs: http://soundcloud.com/lackluster/sets/hler
http://hler.bandcamp.com/

HLER combines the initials of Heikki Lindgren and Esa Ruoho. It also describes the improvisational creative process of this ambient drone duo from Finland. 
A couple of years ago, Heikki came across a second-hand Peruvian synthesiser. The machine quickly revealed its potential for endless sonic creativity, mainly because Heikki found it almost impossible to recreate the exact same sound twice. He soon introduced the machine to Esa, and together they decided to explore the machine's inherent sonic instability in a live setting.

Each performance follows the same creative process, but with wildly different results every time. Digging in to the Mochika XL's front panel, Heikki begins mining for sound. Esa then processes Heikki's discoveries through his laptop, revealing hitherto undiscovered facets to Heikki's freshly unearthed sonic gems. Then, with the twist of a dial, Heikki introduces something new to Esa, and the whole process continues onwards and upwards.

"We are always surprised by the spaces we find ourselves in, and the directions the sounds take during a performance. We cannot repeat anything in exactly the same way, even if we wanted to! Just turning the Mochika XL synthesiser off and back on, keeping all of the knobs untouched in exactly the same position, leads to a changed sound."

"It has been incredibly rewarding to work as a duo, as the unpredictability of the creative process is so refreshing. Thanks to the unstable nature of the Mochika XL synthesiser and the intuitiveness of Esa’s live processing, each performance is unique. The whole live situation is based on improvisation and the sonic discoveries extracted during the encounter."

File under: organised improvised noise, clicks, hums, drone, "Hey, this sounds kind of like space music from the '70s!", a captured submarine humming in the hangar of a space station, "Are you sure you guys are alright and that the cables work?"

Dusk Transmission

HLER: Speakable Silurian

Party At Grandma's House

An equatorial fantasy. Mastered by Tarekith

Magic Arrow

here's a recording using only pinged filters as sound sources. about five variations of the same patch here. no vca's, no envelopes, no oscillators modules (except the oscillation filters) used in this patch. fm sounds are stereo dipole or twin peak resonator fm'ing themselves.  filters used are; klangbau twin peak filter, klangbau twin peak resonator, SSF stereo dipole, serge random source vcfq.

modular sketchbook 3-2-20 Music For Four Pinged Filters

I'm enjoying a journey back into modular synthesis these days. Eurorack is what I always wanted Synthesizers to be!.. These are my recordings made in my home studio. All are performed live and recorded in Stereo to Reaper. No overdubs or remixing. I hope you enjoy something that I've put out there.. peace.

My Rig: https://www.modulargrid.net/e/racks/view/1175796

Available for bookings on the west coast.

Thomas Fang is a sound artist living in Portland, previously based in Austin. After establishing himself as a DJ, he co-founded the Artificial Music Machine record label in 2001. Since then, he has performed experimental electronic music under his own name and as Static Storm System, and has collaborated with other musicians as part of Inversion Effect and the Bradley Telcom Ensemble. Utilizing modular synthesizers, vintage laboratory test equipment, handmade devices, field recordings, radio transmissions, circuit-bent electronics, and other non-traditional instruments, he explores sonic territory ranging from glitchy noise assaults to darkambient drones. Mr. Fang was also conductor of the Furby Youth Choir, a small army of modified toys which terrorized audiences at Bent Festival (NYC), Burning Man (Nevada), and events in Texas such as Maker Faire, Art Outside, Burning Flipside, East Austin Studio Tour, and Fusebox Festival. Since 2010 he has worked for synth manufacturer 4ms Company, and has worked for Darkplace, Synthrotek and Bleep Labs, as a co-curator for Church of the Friendly Ghost and volunteer coordinator for Austin Museum of Digital Art, and has taught circuit bending workshops for the Modern Aural Sculpture Symposium South and the New Media Art and Sound Summit. Synth Library Portland staff since 2016.

Eurorack modular sketch 0095, 1-1-2016

Thomas Fang

Recent comments

giftculture

Barcode Explode

Daze of Heaven

bartonmusic

Related tracks