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There Is Someone Outside My Window  PATCHABLE - 0011

NerdSeq master clock sending to Deeper A16-2 clock divider Prime Numbers
Klee Sequencer receiving clock from NerdSeq but set to retrigger every 7 or 5 steps alternately from the divider
Klee Trigger bus 1 to Bass drum and Arpitecht step increase
Klee Trigger bus 2 to Snare drum
Turing machine noise providing randomness to Klee
DFAM triggered by step 3 from Clock Divider
DFAM into Pura Ruina which is getting gates from Klee
Klee CV is modulating the Arpitecht rhythm
Erica Sequential switch is getting a step increase by 11 from the prime divider
Erica Sequential switch expanders are modulating the Arpitect transpose
Arpitecht CV is modulating the 1v/oct of Dixie and DFAM
Dixie is getting delayed by Pico DSP

NYMS Patchable 0011 Prime Numbers

https://nyms.love/2020/02/16/patchable-0012/

Widely regarded as extremely undesirable, noise is typically a phenomenon to be avoided.  Noise, frequently hurled at musicians as an insult or shouted at kids following “turn down”, gets a lot of negative usage.  This Patchable explores the positive aspect and benefits that noise can bring to a modular system.

The sometimes disregarded noise source, can be so much more than a little extra content for a filter to chew on in a subtractive patch.  For example, pink noise, when attenuated and used as a modulation source, can add a bit of instability and life to an otherwise static patch.  High passed white noise or even blue noise can make pretty great sounding hi hats.  Short bursts of noise into a very short delay with a lot of feedback is the basic structure for Karplus-Strong string synthesis. White noise into a slightly resonant filter then gated can yield some pretty good snare sounds.  Noise is a fantastic and excellent sound source for percussion of all types.

Not everyone has a noise source in their system. In that situation, you can pretty easily make a decent noise approximation by creating an FM feedback loop with 3 VCOs.  For example:

VCO 1 Sine or Tri Out > FM IN VCO 2 > VCO 2 Sine or Tri Out > FM IN VCO 3 > VCO 3 Sine or Tri Out FM IN VCO 1 > VCO 1 SAW to OUTPUT
THE CHALLENGE

Using only noise as a sound source, design as many sounds needed to create a beat or track.  You can use multiple noise sources or mult one as much you want. Then filter, gate, modulate VCAs,  ping delays or filters, sequence and whatever else you can imagine to effect the noise.

My Patch Notes:

Noise only!

Master clock is coming from the Varigate 4+.
Noise sources are:
Pitsburgh SV1 noise from the S&H and digital noise.
DFAM
Telharmonic noise out
Wogglebug noise out

Noise sources are pretty much being mixed and modulated everywhere.

DFAM is is doing the "hats" kind of sound just pretty much doing its own thing. However its going through a Mimeophone being clocked and modulated.

The "Kick" kind of sound is mixed noise from the SV1 analog noise and the Telhamonic noise going through an LxD (gate from Rene2's X Channel) and CV from Wogglebug. LxD out is then going through a Pittsburgh Binary filter with resonance turned up pretty high and cutoff CV is being modulated with Maths being triggered from the Varigate to give it more of a percussive sounds.

The two mixed wave forms from that are going to the LxD are being multed and also being sent to a Mutable Instruments Warps with both the Algorithm and Timbre being modulated to give more movement. This is then being sent to the Random Source dual wasp to add distortion and filter (with some modulation on it)

Lastly, Wogglebug's noise out is going to Mutable Clouds (clone) with freeze being clocked and size, texture, and v/oct being modulated.

Residue (NYMS Patchable 0015)

FM in the AM