Link to the video of the patch, recorded in one take here: https://vimeo.com/136165676

download to the .wav file :-)

Patch Notes:

Harmonic patch using the new MakeNoise tELHARMONIC is a Multi-Voice, Multi-Algorithm synthesizer, and 4ms Spectral Multiband Resonator. The master clock is the Tiptop Circadian Rhythms. Clock output running into the Modcan Touch Sequencer. Channel output one running into one intellijel Dixie (V1) for the bassline. Dixie output running into a Mutable instruments Ripples filter (LP4), triangle waveform. Second channel output sequencing quantized 8 note sequence to the telharmonic oscillator, creating the first lead sequence in the patch (major scale set). One Mult output taken and sent to the Strymon BigSky reverb pedal to create the delicate swarm pads that rise in and out at the builds. Amplitude control of the slow rises via the intellijel HexVCA, slow rate control from one Modcan Quad LFO. The other output is then taken and sent to the Qu-bit RT-60 reverb. Third output from the Modcan TS sending quantized CV to the MakeNoise STO oscillator variable SHAPE output then sent through lower section of the MakeNoise Optomix. The forth output from the Modcan TS is sending a 4 chord pattern (min9) to the intellijel shapeshifter module in chord mode. This output is then sent to another Qu-Bit RT-60 reverb algorithm. MakeNoise Mysteron plucking guitar like effect being triggered by a 4ms RCD, 5th trigger out. The Mysterson then is running out into a Strymon BlueSky pedal, reverb.

Drum sequencing from TipTop CR, channel one kick drum going to the Nord Drum 2. Second channel number 2 triggering a custom snare drum made on the Nord Drum 2. Channel 6 from the CR triggering a low bass drum, in the key of "C". Clock output from CR into the 4ms SCM being rotated by a intellijel dixie sine wave output running at a slow rate shifting the 16th's hi hat pattern. Noise source for hi-hats are the SSF quantum rainbow 2, purple output running into the MakeNoise Optomix. The high end snare clap sound is by the Synthrotek's DS-M drum module, then being lightly processed by the Synthrotek DLY, slowly CV controlled by a Modcan Quad LFO in random mode creating more glitchy effects. This is then being sequenced by channel number 2 from the tiptop CR. The first lower left side 4ms Spectral Multi-band Resonator processing 72 custom DSP samples, which are being played by one addac wave player. The output is then being sent to a intellijel uVCF filter (hi pass), for the light subtle glitch textures. The second 4ms Spectral Multi-band Resonator, processing another set of 32 samples (noise washes/slow rises/falls) via channel number 4 from the CR tiptop. From here the output is being processed by a Mutable Instruments Clouds (granular mode), being controlled by the Pittsburgh Modular Game System running "Meteor Shower" mode in which the explosion based gates and random control voltages are then being sent to 3rd Dixie, controlling the CV rate time then from there its sent to the "Freeze" input on clouds, processing small bits of audio coming from the second addac waveplayer, The second output coming from the gamesystem is going into the "position" input on Clouds, which is doing some additional glitching to the signal.Main output from a intellijel Mutagen mixer then ran through the Eventide space pedal for extra spatial atmosphere. :-)

Harmonic Symmetry - Modular Patch

From Decline of the West Vol. I & II (Reissue)
Out December 4, 2015

Pre-order now at smarturl.it/HSDOTW

www.holysons.com/
www.facebook.com/Holy-Sons-25974340521

Holy Sons - Nature's Way

Link to the video of the patch, recorded in one take here: https://vimeo.com/139872178

download the free wave file :-)

Patch experiment using the Noise Engineering Variatic Erumption x 2, and Minigorille CV graphic modules x 2. Clock output from the Tiptop Circadian Rhythms into the CV Graphic input 1, left side (purple). Then another output from the TipTop CR taken to the right side (siliver) CV Graphic module. Output 4 from the Tiptop CR sent to the left side Variatic Erumption (ext gate to the hit jack input) which would send very slow burst of random gates. The CV Graphic CV output (PONG sequencer mode 2) A and B would output bouncing ball like CV voltages to the Variatic Erumption CV Pattern, and Time/Division input. This created some very organic scattered sequencing taking one output that was triggering a Snazzy Fx Ardcore running custom frac drums patch.

The other output was running into a trigger input on the Mutable instruments clouds, which is causing the light granular scattering in between the beats. Another output from the V.E. running into the Noise Engineering Basimilus Iteritas, for the FM pluck like percussion sound. Next output from VE running into a 4ms RCD, random triggering spaced out burst to the clock input. From here, the output was taken (4)out to the MakeNoise Optomix set slightly open, which was running a ALM's new "Akemie's Castle" dual voltage controlled oscillator, running out the chord output (OSC A). From the Akemie's Castle the output is going into a Tiptop Z-DSP processed with the The Halls of Valhalla card running program 7 (Asgard). Mult output also taken to the Strymon Big Sky pedal running in "Chorale" mode mix completely wet for delicate melodic swells. Making the rich choral timbres. Another gate output from the Noise Engineering V.E. running into the Mutable Instruments (mystery) module. Output from here sent to the Qu-Bit RT-60 effect module, which is also being triggered (for effects program change) via by the 5 division output from the 4ms Rotating Clock Divider.

Kick drum created using the MakeNoise telHarmonic module, running into a Optomix. Snare and hi-hat sounds courtesy of two Ladik D-333 Rom players. One running the Snares card, and another running hi-hats. Both outputs being summed into the Synthrotek DLY module. The delay input being modulated by a modcan QuadLFO output 1 slow S&H. First sequenced notes via the Mutable instruments Braids running the new "HARM" additive harmonics mode. The quantization was set to "Oinian". Second Braids for other harmony running the "OPSK" smooth sine like melody, VCA mode set to on, with short decay for pluck like quality. Signal for both braids are being sent to another Qu-Bit RT-60 running program number 1-Reverb. Quantization set to "Oinian". Bassline sound created with a Intellijel Shapeshifter output 1, then being run into intellijel uVCF filter in LPF input, then the signal goes out a Qu-Bit RT-60 in program 1 Reverb. 

Ascension - Modular Patch

Link to the video captured here in real-time: https://vimeo.com/150015591

Patch Notes:

This was a patch experiment using the new Mutable Instruments Rings/Clouds Modules, and trying to create strumming/plucking guitar like sounds within a patch. The inspiration came from playing around with the Clouds Parasites 1.3 alternate firmware running in the Resonator mode highlighting the "scatter" (or strum) function. The master clock was the Tiptop Circadian Rhythms module, taking the first 4 outputs into my Nord Drum 2 for the Kick, snare, closed and open hi-hats. From there the clock output from the CR was multiplied and then sent to the Modcan Touch Sequencer. First row output from the TS was sent to the intellijel Shapeshifter creating a two note baseline sequence that comes in at 1:58. The second sequence Row2 output from the TS was sent to the "ALM Akemie's Castle" module OSC A output using the chord function, that comes in at 25 seconds. The gates from the modcan where set to a 16th's pulse sequence. Modulation from the synthesis technology E102 Quad Temporal Shifter output 1 modulating the Multiplier input on Operator 1. The 2, 3 and 4 outputs from the E102 where also modulating the Operator 2, 3, and 4 inputs on the Akemie's Castle. This was creating the harmonic timbre changing as the sequence was playing.

The slowly evolving sweeping noise textures that come in at 1:09 is from the Music Thing Radio Music module. The sample was a white noise sampled lightly filtered and then sent to the intellijel HexVCA with the amplitude CV control via a Intellijel Dixie modulating from slow to high rates (free running). The Make Noise Rene was being externally clocked from the Circadian Rhythm, and was sending out a quantized output to the Mutable Instruments Clouds pitch input creating the chord guitar sequence. The strum sounds on Clouds was played by the 4ms QCD running in 32th division output into the Trigger input. The freeze input was also triggered by a Ladik R-110 Random clock module. The combination of the two created the trill chord like strums.

The bass guitar tone sound that comes in at 1:24 are from the MakeNoise Mysteron, that is being sequenced by the Modcan Touch Sequencer, Row Output 3 was programmed in the same key but a lower octave. The "Rings" module was creating slow attack soft high pitched chords in reverb that come around 2:50. There was additional processing of the Clouds output that was sent into the Tiptop ZDSP module running the "Halls of Vahalla" card program 8 "Ginnungagap" creating the high pitch octave deep reverb shimmer effects. The harmonic slow swells that come in at 3:30 where created using another intellijel Dixie oscillator sine output running into an Strymon "Big Sky" pedal being harmonically controlled by an intellijel µScale V1. The output was being played slowly then processed using the "Choral" mode, creating the slow shimmer swells. The entire mix was sent into the Eventide Space pedal using the "Corridors" patch.

Mutable Instruments Rings : mutable-instruments.net/modules/rings
Clouds Parasites firmware: mqtthiqs.github.io/parasites/clouds.html

Strum - Modular Patch

Field Recordings of the Mysterious Ringing Rocks/Montana, music made with rocks. Near Butte Montana, and part of the edge of the Boulder Batholith, is a large jumbled pile of boulders, the rocks in this unique geologic formation chime melodically when tapped lightly with a crescent wrench or mallet.

It is believed that the ringing is a combination of the composition of the rock and the way the joining patterns have developed as the rocks have eroded away, though ultimately a concrete scientific explanation has yet to be arrived at. Curiously, if a boulder is removed from the pile, it no longer rings.

Slightly different pitches and timbres emanate from thousands of rocks in the formation, and in theory Butte's Ringing Rocks could form the basic ostinato for the "Music of the Spheres."(Musica Universalis)

All sounds captured with the Sony PCM-D100 24bit-96khz

Download the Kontakt kit here: https://www.dropbox.com/s/owre3t7wzslqcr3/RingingRock-Samples-RD.zip?dl=0


Field Recordings of the Mysterious Ringing Rocks/Montana, music made with rocks.

Where Are We - "Not My President"

:: OUT NOW ON :: 
Spotify: http://spoti.fi/2oxQh7b
Apple Music: http://bit.ly/WhereAreWeNotMyPresident
Google Play: http://bit.ly/2HS1VSr
Amazon: http://amzn.to/2EXyXTr

:: Watch the music video: https://www.youtube.com/watch?v=IBXeNg_SL-8 ::

:: Follow and  select See First on Facebook to stay up to date on tours and new releases::  http:://www.facebook.com/whereareweinfo 

:: Visit WhereAreWe.info for more info ::

:: Guest Vocals by Indee (indee.info) ::

Director: Tim Reis
Producer: Christopher Ian Brooker
Video Production House: Media Team (Atlanta, GA)
Mixed by Aaron Hill at Green House Studios (Marietta, GA)
Mastered by Martina Albano at COS Mastering (Atlanta, GA)
©BrookerMusic 2017

Not My President

Richard Devine is a sound designer and musician whose work, characterized by intricate rhythms and an extensive use of DSP, amassed a following within the IDM scene after his remix of Aphex Twin's "Come To Daddy.” Over the course of his 25-year career, Devine has designed patches for gear by Native instruments, Korg, Eventide, and more. His “Voltage Aesthetics” sample pack reflects his seasoned sound design chops, filled with perfectly designed sounds that are at once wacky and beautiful. Spanning versatile one shots to polished loops, Devine’s sounds are nothing short of electrifying. 

This collection contains

287 samples, 191 crazy alien modular single shot percussion & SFX sounds, 96 loops/sequences/textures. These samples will work well with all your favorite VST/AU samplers, and will equally be great source material for your favorite Eurorack modular samplers :-). 

https://on.splice.com/devine-sample-pack

Richard Devine: Voltage Aesthetics

Vane’s debut single takes a stab at untrustworthy relations and explores the seasons of life when things just aren’t lining up right.  When life feels like a strange dream or a nightmare.  It celebrates the process of restarting when life needs an overhaul.  Featuring Max Hewett on bass and Paul Wagner on drums, it was recorded partly at Aaron and Nancy Hill’s Greenhouse Atlanta and partly at Lazuli Vane’s home studio.  The track is head knocking, laid back, but drives with a stoner-motown feel in parts.  Album art by Daniel Plascencia.

Snakes

This song equates a quiet fictional street (Lydia Lane) with the numbing quality of prosperity, and plays with the subtle paranoid suspicion which can arise when everything is okay after being rough for quite a while. This was the case in my life at the beginning of this year, after jettisoning relationships which were hurting me and moving out of a toxic living situation. It was written in the spring; it's optimistic, even friendly sounding.

Lydia

The first single from Rosey's upcoming "I heard You Been Singing" album
Recorded at The Green House Atlanta 
roseymusic.com

KING OF THE WORLD

Rosey - King Of The World

Private Recording Facility in the Greater Atlanta Area. Run & Operated by Aaron & Nancy Hill

Rosey - King Of The World

The Green House Atlanta

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