MMD01

Dialc2SnrMod

Dialc

BIK4

MMD02

Messing with automated program changes on the OP-Z, with many variations of A and B sections, taking up most of the 16 patterns - these can be identified by the increasingly steady rhythm of the kick.
I built these from a single pattern that I had kicking around for ages in the space of a few hours - I wanted to finally flesh the idea out and see if pattern chaining would facilitate this.
Towards the end, a C section takes up about four or five patterns, leading to an opened up melody that was obscured in that metallic white noise the whole time. I manually use filters to bring out the less-harsh elements and bring the pitches of each note down a few octaves over a number of patterns.

I'll upload this now, but the track's a bit long for my taste - the final change could come a bit sooner and it could be expanded upon even more - the differences in patterns in the first 5-6 minutes aren't really significant enough to warrant that much play time.

OPz10

An attempt at recreating beats and rhythms from a few bands that I've been listening to, only using on an OPz to do it.

I had only used an arpeggiator, bass and kick pattern with a bit of snare that could have easily fit into the kick patterns, if only I didn't want polyrhythmic stuff happening between them.

A good exercise in keeping things simple and resisting the urge to abuse every possible option and parameter on a piece of sequencing gear.

If I rendered this again, I'd like to put more thought into programming the master track for each section so that the changes flow with whatever instrument seems to be anchoring everything else - I think I just left it on a 64 beat grid, which sometimes provided very abrupt changes. Also, I might dial down the chaos of that break in the middle.

Metadawn

A sequence made using a digitone with three semi-redundant patches and a single bassline, controlled by an octatrack which is also triggering samples that were derived from a digitone, which can be an excellent source of percussive sounds. Deciding whether, when FM synthesis offers such great modulatable percussion, whether samples are more than just a convenience - anything that I would want to do with samples on an OT could usually be achieved more effectively with a synth to begin with. I have a monomachine kicking around that has, quite different FM capability than the DT - I might consider routing percussion duties to it and see whether that brings new life into the percussion in this project.
Additionally, the final section that's actually in 5/4, feels like a swung beat at a different tempo. The transitional fill was a happy accident that doesn't get played with every iteration but I think I'll program it in - I'd also like to implement a key change with each cycle of the 5/4 thing (technically every 255 steps).

Messing with arp settings on the OT in order to control a single poly track on the MNM, a para FM synth patch. A few quirks with the env on the MNM mean that the ARP NLength controls need to be adjusted carefully - probably has something to do with the MNM having an AHDR amp, but basically the useable range is about the first five values of the Nlength control.

Had the DT handling the bass, and used Plocks on the OT to open up the chord progression of the MNM across a chain of 8 patterns.

This track came about as I was enjoying using the MNM's LFOs to mess with the 3env setting, with the tone knob being shifted back and forth to bring the textural characteristics of the 3env adjustments into focus - initially I was just doing this to the 3rd oscillator, but a switch to the 3env control yielded much better textural depth without making the harmonic series too crazy.

The kick is a simple DT sample. Wasn't sure whether to go with any percussion or not, but settled on something rhythmically simple and sitting somewhat low in the mix.

Cinsorium