still loving this versatile panel. here's another try at generating pseudo random natural rhythms by using the crosspatched feedback of the two 258 through the added tws. bird sounds with the lowest vcm in feedbackloop and hiss/noise by feedback patching the middle section of the vcm. slight delay by c0 and occasional octave shifts by the g0.

258 rustling

d0 and mmf6 create the feedbackloop, inside is the toppobrillo twf. careful adjustments of pressure cv and filter settings created this rather brassy tone.

d0 brass

hoh9

a short test with the ecr+ convolution module. loaded a long drone sound which fits the scale so the "reverb" is something in between a resonant freeze effect and a reverby tail....i played with an fft copy of the melodic track itb and mixed that in. oscillator is mungo w0 phase modulated. crackle sounds vcfq.

all drone tones come from the ecr+ as resonator, big stereo hits and foley sounds from the convolution module as well.

ecr+ several situations

a drone with the lw singtome panel (6 waves). crackles also from this panel and some dx7 pads

lw dronez

ultra simple experiment, main oscillator gets a 13 note sequence, the second oscillator gets the same sequence minus one note, so twelve notes. the second oscillator modulates the first in an fm/waveshape combination and so the shifting of the sequences is heard only in asymetric fm tones. i feed in the second oscillator as generator as well so the two sequences are more clear/clean.

lw fmshift

some sort of tonal metaldrum made by pinging the haible tau phaser and sending it through a) a dual bp filter b) a frequencyshifter and c) a convolution unit.

pm_metaldrum

a few sketches with the mungo c1 convolution/bbd module. 
- live convolution of modulated filter pings and a static synth chord
- bbd demo with a borrowe melody from martial canterel :)
- another bbd with sequenced delaytimes

c1 some

glamis castle

hidden tarn

pentecost

van dyne

testing the papomi mixer/polarizer. a great utility for feedback patches.
delay, filter, frequencyshifter and mixer.
the recording starts as if a bird is imitating j. s. bach ... very weird :)

papomi birds

reupload of just the c1 bbd example. it's my favorite delay now :))

c1 bbd

peak&hold - res4

another demo of the a110-4. modulated by a vco2rm sine wave which goes through a mmf6 in high pass mode before going into the 110-4.
this time i tried to push the a110-4 as far to 0Hz as possible and played with envelope shapes and vca behavior, lin and exp, which makes a big big difference on how the fm sounds.

doepfer tzfm 3

res-4, sph-2, t-rackonizer, a110-4  and kaivo

goats

a sort of imitation of colin stetson saxophone playing, actually just another try to sequence a res-4 feedback patch going into mmf-6. sequenced from er-101 with cv going into the er-102 for volume, filter symmetry and resonance. pressure points and planar helped to get a lively feeling although it is quite a simple repetative sequence.

peroni

Kauaʻi ʻŌʻō

klangbauköln twin peak + röhrenvca, randomsource vcfq, spacecase tapeecho, one percussion layer and one aalto track itb.

sherb

geiß

yuri

core is a feedback loop of the fsh-1 frequency shifter, inside the loop is c0 and mmf-1. modulated by r*s dsg. rhythm and pads itb.

something like a patch diagram: https://imgur.com/6oNm0yH

one output of the fsh-1 goes into the c0 delay (the delay is crucial in this patch, most of the sound gets produced here), the output of the delay goes into a limiter and then back in one input of the fsh-1.
another ouput of the fsh-1 goes into the mmf-1 filter in dual bandpass mode, from there the signal goes again into a limiter and into the second input of the fsh-1.
this is now the basic closed feedback loop, i listen to the mix output of the fsh-1.
by playing around with all the settings i get different tones, again, the delay is crucial here, how much feedback is determined by the limiter and general volume controls or frequency controls of all three modules... now to get a rhythmic patterns going i plugged this "bouncing ball" envelope into the second input of the filter, that is enough to only get feedback at the high portions of the envelope eg i get a rhythmic feedback pattern. variations in tone by manual control of the bandpass settings and the delay time plus occasional tweaks at the limiter section for louder or more distorted feedback. the patch is delicate, i tried to replicate it and i wasnt able to come close to these tones, but other great ones:) enjoy modular synthesis!

fsh1

2x lw 258 oscillator through vcfq. er101 triggers dtg which opens the vcfq

lw 258 test

still exploring the dtg. pseudo-echoes are possible with the trigger input of the dtg, since it doesn't retrigger while a cycle is running one can create great syncopated rhythms and echo-like figures. one function opens a vca, the other a filter.

dtg pseudo-echo

noise and crackles selfplaying

a short test with the fantastic LW 258VCO (coupled with serge waveshaper). this connection and the joint feedback path makes these two osc extremely versatile. lots of harmonic overtones and even undertones possible depending on what mixture of wave is going through the tws.
also a test how to use the addac stochastic function generator in a tamed setting, every envelope is slightly different, the sequence gets "humanized".

stochreich

both sides of dunst ping the mmf-1 in dual bandpass mode. dunst "clocks" stepped side of r*s ssg for pitch cv and delay modulation. 
dunst modulates itself. d0 delay with feedback path through doepfer spring reverb.

dunst pings

filterpings wonkywet fmbells and fft sines

wetwalk

a first play with the fancy synthesis rungdivisions module, a great pairing of a clock divider and a rungler circuit. it's really great to have this rungler circuit opened up and available for any kind of input/clocking. here it's inside a dusg/ssg feedback patch, it receives clock from a dusg eoc and data from a noise source. voices are pinged twinpeak and mmf-1 filter, delay from d0.

gnurvid

another wind instrument from delay and filter feedback.
d0 - mmf1 - d0 - res4

uzala

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