Two Eurorack modules: Whimsical Raps Three Sisters, and Mutable Instruments Peaks. A touch of Valhalla Plate and Syntorus chorus and a bit of level automation on the output, compression in Sound Forge but that's all.|
CV.OCD MIDI converter drives Sisters frequency input, with high enough Q to self-resonate. Two Sisters outputs feed Peaks tap LFO at audio rates; one of those LFOs feeds back into Sisters, and the other goes to the audio interface along with a third Sisters output.
|Interstitial 02||0:58||Ataraxic Translatron filtered and distorted by Three Sisters. Sound Dust Unlikely Spaces drum sample kit.|
|Brutalic Translatron||1:09||Driving the Ataraxic Translatron in clock mode from a MicroBrute. Right on the edge of what the AT prefers for its clock signal, I manually tweaked the Brute's filter and oscillator mix settings to push it over the edge in various ways.|
Bastl Trinity MonoFM -> Whimsical Raps Three Sisters ALL input|
Three Sisters all output -> Mutable Instruments Rings input
Three Sisters center output -> Rings FM
Noise Engineering Ataraxic Translatron -> attenuator -> Rings V/OCT
Peaks stepped triangle LFO -> Three Sisters V/OCT
Peaks sine LFO -> Rings Structure
Rings Odd output -> Valhalla Plate -> recording
Based on a patch recommended by Olivier Gillet of Mutable Instruments:|
Rings, in Sympathetic Strings mode, with -5V applied to both V/OCT and FM inputs and frequency tuned to a very slow, very low-fi delay.
Ataraxic Translatron playing square waves through an enveloped VCA, into Rings input.
Dia de la Glitch drum samples -> Three Sisters All input|
Tides Bi LFO -> Three Sisters span
Three Sisters LPF out -> Transverb VST -> Echobode VST -> recording
Three Sisters All output -> Rings input
constant -5V -> Rings V/OCT & FM inputs
Tides Uni LFO -> Rings position
Rings Odd output -> recording
|AT->DPLPG ping & envelope test||1:00||
A quick test of the MengQiMusic DPLPG.|
The first half pings the vactrols directly with a trigger sequence from CV.OCD, passively multed to both channels' CV inputs. Ataraxic Translatron is multed to both audio inputs. The top channel is panned left (and rings slightly longer) and the bottom channel is panned right.
(Note: passive multing the trigger does make it slightly softer than a buffered mult or separate trigger signals would have been, but it's pretty subtle. Intentionally attenuating the trigger signal has much more of an effect. There seems to be a minimum threshold beneath which the vactrol doesn't light up.)
For the second half, the trigger goes to Mutable Instruments Peaks, and a short release envelope is multed to each channel. It's not quite as robust as the direct ping, but can close a little faster if I set the release time shorter.
|Interstitial 07||1:37||(notes missing; it's a mystery!)|
voice 1: Tides|
note pitch -> Tides V/OCT
Peaks ch1 envelope -> Tides level
Peaks ch2 stepped triangle LFO -> S.P.O. invert & positive offset -> channel 1 DPLPG input
Peaks ch2 stepped triangle LFO -> channel 2 DPLPG input
1/4 note clock -> channel 1 DPLPG ping -> Tides smoothness
Note trigger -> channel 2 DPLPG ping -> Tides slope
Tides High -> Tides Slope
Tides Bi -> DAW -> DubStation VST
voice 2: Rings (in FM mode)
note pitch -> Rings V/OCT
note trigger -> Rings strum
Rings odd out -> Three Sisters LPF in
Three Sisters LPF out -> DAW -> EOS VST
voice interaction: Tides Uni -> Rings FM
It occurs to me afterward that I could have run Ataraxic Translatron through MicroBrute for some noise drums that wouldn't have gone amiss (or of course, just used a VST). But I think it's fine as is.
Patching is starting to get complex and I still have 22HP of modules shipping and 2HP free rack space after that. I'm gonna need more decent cables.|
In a nutshell, voice 1 is Rings (modulated by DPLPG pings) through Three Sisters. Voice 2 is Tides (modulated by Peaks)and Ataraxic Translatron. Some DSP effects added through VST plugins.
|Interstitial 10||0:33||(notes missing, but I was definitely testing Mutable Instruments Warps as a vocoder here.)|
Three Sisters in Formant mode, generating a pair of sines. One performs self-FM, the other goes to Warps input 2.|
Warps with algorithm halfway between digital ringmod and XOR, sine internal osc. The raw osc output level is modulated by a VCA, and fed back to its own phase input. Timbre is modulated. Output goes to DAW, and is multed to Rings V/OCT input.
Rings is in modal (green) mode, polyphony 2 (switched to 4 later). Position is modulated; strum is clocked at about 48BPM with the other modulators. Odd output goes to DAW.
No effects added in DAW. Rings was faded in first, then Warps and I started playing with knobs. I turned Rings down some as I made changes, and faded Warps out first.
Modulation was from Peaks tap LFOs and a Tides AD envelope.
The sustained tones were from Rings switching voices with the damping knob set very high.
lowpass filtered noise into Rings input; filter freqeuency sequenced via MIDI|
Rings in Modal mode, monophonic
Pitch / trigger -> Rings V/OCT and Strum
Rings odd output -> LPG controlled by Peaks envelope -> Warps input
Warps Parasite delay; "tape speed" is set low and delay length high, for lo-fi processing
LFO -> heavily attenuated so it's subtle -> Warps algo
output -> DAW
Spirit Reverb & Vapor VSTs with fairly low wet settings.
at start: wind turbine sample from Detunized|
Modular voice (starting about 0:07):
Tides and Warps (between XOR and Comparator, with triangle internal osc) modulating each other at audio rates, into Three Sisters all input. Tides also FMs Three Sisters.
Rings (modal/duophonic) fed by digital noise, into Three Sisters HPF input.
Three Sisters all out through LPG, into Eos and SpaceModulator VSTs.
VST voice (starting about 1:23):
Chipsounds, Sonitex STX-1260, ValhallaRoom, Replika
A take on the Krell Patch with Mutable Instruments modules.|
Tides in looping mode, medium rate
Peaks DMC in Turing Machine mode
Rings in 4x poly, sympathetic strings mode
Warps in Compare/Rectify mode with triangle internal osc
Tides Low output -> Peaks DMC (in Turing Machine mode) & Rings strum.
Peaks output -> Tides V/OCT & Rings V/OCT & Warps V/OCT
Tides Uni ouput -> Rings structure
Tides Bi output -> Rings Position
Rings odd output -> Warps input 2
Warps output -> DAW (VVV -> Fault -> Dubstation)
Rings, sympathetic strings, 4x poly|
Microbrute modulating Structure at audio rate with filtered triangle wave
Rings into Warps channel 2, crossfolder mode, and then back into Rings input
Transient Master, ArcDev ET-301, Ubik-A
Rings in sympathetic strings mode; high brightness and damping|
shepard tone (from mda Shepard VST) -> Warps (wavfolding and VCA) -> Rings input
MIDI ch1 pitch -> Rings pitch
MIDI ch1 trigger -> Rings strum & Peaks ch2 Turing Machine trigger
MIDI ch1 gate -> Peaks ch1 envelope gate
1/4 note clock -> DPLPG with constant voltage input -> Rings brightness negative modulation
Peaks Turing Machine output -> Rings Structure
Rings odd output -> DPLPG with CV controlled by Peaks envelope -> DAW, with ValhallaPlate
(The slow attack envelope I'm using for Warps VCA and DPLPG are causing some chaos -- Rings is triggering before the input builds up, and DPLPG has a minimum threshold before it opens, so the first notes after silence have a delayed attack.)
MIDI ch2 pitch -> Ataraxic Translatron -> Three Sisters
MIDI ch2 gate -> Three Sisters frequency
Three Sisters LPF -> DAW, with EQ & gate to eliminate sub rumble while filter gate is low, and Sandman Pro
Maschine DrumSynth kick
First voice is Tides, with modulation from Peaks and Three Sisters (itself modulated by Peaks), into Warps. (I'm learning to love the Bouncing Ball envelope in Peaks Dead Man's Catch.)|
Second voice is Rings in FM mode, modulated by a gate signal through DPLPG, and at near-audio rates by Tides Parasite sub square output.
Some VST delay and reverb added.
This "interstitial" series is generally just quick experiments with little attention paid to composition, but the results can be musically interesting anyway.
Another variation of the "Krell" patch where a function generator (in this case, Tides) controls other modules and its end-of-rise and/or end-of-cycle triggers also fire off a random source (in this case, two Turing Machines in Peaks Dead Man's Catch) that modulates its own rate.|
Ataraxic Translatron was the oscillator, through Warps Parasite in delay mode, with delay time also modulated by Tides. Most of the activity was self-organized but I did some knob turning in places, and a bit of repatching near the end to wind it down.
I have a small modular system meant to provide a couple of voices and new options to a software-based system, and normally I prefer keeping it small but powerful and functionally dense. But this is the rare sort of patch that makes me wish for a larger modular system. Comparators, gate to trigger converters, a pitch quantizer etc. could take this kind of thing to the next level.
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