DELUGE
GATE 1: M32 Gate In
GATE 2: SVox Trigger In (which will stackable mult to SVox VCA CV)
GATE 3: M32 Mix CV In
Gate 4: SVox Hold CV In (figure out how to make HOLD musical)

CV1: M32 Mult In
CV2: SVox VCO CV (optional: stackcable mult to Shift CV In)

12-12-2020 Frequency Freaks 3-Module Challenge Patch Notes

OVERVIEW
This patch was theorized in a few different forms during the week of Sunday Dec 6th to Thursday Dec 10th 2020,
the date it was recorded. Taking the many channels, modes, CV routing capabilities, and Channel trigger link
routing capabilities available on the Quadrax, an initial "bed" of frequency modulation (2 x Bipolar LFO at
audio rate) was created. From there the 2 audio waveforms were sent to Disting to be quantized at a major
third interval apart from one another (most of the time, transpose function was used in performance on the
Carrier VCO) and these CV's were sent back into Quadrax and applied to LFO Rise for 1v/oct tracking. While more
detail is provided below for each module, what happens from here is the combination of the unfiltered signal
and the filtered signal from Spectravox, each sent into an input on Hexmix with some EQ and level control.

Quick note on choosing pitches and intervals:
During performance, I felt that adjusting the X and Y Attenuation on Disting's H3 Dual Quantizer algorithm
was very satisfying as it expanded and contracted the range not only of the notes themselves but also
changed the FM relationship between Carrier (Quadrax Ch. 1) and Modulator (Quadrax Ch. 2) oscillators
(Bipolar LFO algorithm at audio rate)

1. INTELLIJEL QUADRAX
   Channel Algorithms
   Channel 1: Bipolar LFO (@ audio rate)

   • acts as the Carrier Oscillator
     Channel 2: Bipolar LFO (@ audio rate)
   • acts as the Modulation Oscillator, as well as a Modulation source for other destinations
     Channel 3: CYCLE (cycling AHR envelope)
   • acts as a CV for Spectral Shift on Spectravox, in addition to being fed back into Quadrax CV C
     to effect Channel 2's LFO Shape
     Channel 4: BURST (Alt mode, in order to use a raw up saw shape)
   • many little upward saw waves that increase in amplitude until dropping back to 0, such that the
     aggregate shape of the waves also forms an upward sawtooth shape
   • This Channel is the source of CV for Disting's Dual Quantizer (both X and Y inputs), and has
     some effect on the RISE parameter (Frequency in this case) of Channel 1's Carrier VCO
     CV Routings
   • Destination: Channel 1
     i. Source: CV A (quantized pitch from Disting's A Output)
     x Applied to: RISE (acts as Carrier VCO Frequency)
     x Mod Depth: +100%
     ii. Source: CV D (Channel 2 waveform)
     x Applied to: RISE (acts as Carrier VCO Frequency)
     x Mod Depth: +25%
   • Destination: Channel 2
     i. Source: CV B (quantized pitch from Disting's B Output)
     x Applied to: RISE (acts as Modulator VCO Frequency)
     x Mod Depth: +100%
     ii. Source: CV C (Channel 3 Cycling AHR waveform)
     x Applied to: SHAPE (dynamic Timbre modulation of the Channel 2 Mod VCO)
     x Mod Depth: +100%
   • Destination: Channel 3
     (none)
   • Destination: Channel 4
     (none)

   Channel Trigger Links

   • Destination: Channel 4 (Burst Trigger)
     • Green EOR linked from Channel 3's looping AHR envelope

2. EXPERT SLEEPERS DISTING MK4
   Algorithm: H3 (Dual Quantizer)

   • Initial Transposition (S Knob parameters 2 and 3) difference between channels 1 and 2 was +3
     for channel 2, then moving channel 1 around in intervals of +/- 7 and +/- 12
   • Attenuation (S Knob parameters 0 and 1) for both channels was initially set around 9-12 to "contain"
     it, expanding outward later on
   • Both channels received the same pitch information from Quadrax Channel 4 (burst generator) but
     dealt with that voltage differently (as explained above)
   • Output of both channels was sent to CV A and CV B for routing around Quadrax and to the wider patch
   • Z Mode Scale value = 3 (Triad). Best to keep a simple scale when manipulating timbre and intervals

3. MOOG SPECTRAVOX (FILTER SECTION)

   • Fixed filter bank of 10 here worked to provide great spectral shaping
   • Faded in the Spectravox on Channel 2 of Hexmix, mostly panned right with EQ emphasis on mid (1kHZ) and
     low (100Hz) bands

IV. MORDAX DATA (Visualization Notes)
- Uses all 4 channels @ 5.0V Scale, DC Coupled, Vis: ON, Source: CH1-CH2, Offset X: 50, Offset Y: -5
- Channel 1 Pos: +15V
- Channel 2 Pos: +5V
- Channel 3 Pos: -5V
- Channel 4 Pos: -15V

V. BEFACO HEXMIX (Simple Mixing/EQ Notes)
- Unfiltered Outputs from Quadrax into Channel 1, panned mid left
- Channel 1 EQ: high band - 12:00, mid band: - 10:00, low band: - 9:30
- Spectravox on Channel 2 of Hexmix, panned mid right with EQ emphasis on mid (1kHZ) and
low (100Hz) bands
- Channel 2 EQ: high band - 12:00, mid band: - 2:00, low band: - 2:30

VI. PERFORMANCE NOTES
10 Performance Parameters (obviously many more could be added, but this list practically restricts
things for use in a short recording)
i. Quadrax Channel 1 SHAPE parameter (will drive different timbral results both for itself and
with regard to its' relationship with the Mod oscillator at Channel 2)
ii. Disting X Transpose (S knob parameter 2)
iii. Hexmix CH. 2 volume (begin patch with level @ 0)
iv. Spectravox Spectral Shift knob
v. Quadrax CH. 4 Burst length (FALL knob)
vi. Attenuversion of CV from CV C to CH. 2 Shape (push to -100%)
vii. Quadrax CH. 4 Burst Rate (RISE knob)
viii. Attenuation of Ch. 3 Shape from CV B (-100 to -50 or -25%)
ix. Disting Input X Attenuation (increase values)
x. Disting Input Y Attenuation (increase values)

VII. COLOUR CODING
Colour coding was implemented to match the colour of the oscilloscope channels on Mordax DATA, where the
colouring of a given patch cable is indicative of the origin of that part of the signal chain.

Quadrax CH. 1 - Green
Quadrax CH. 2 - Blue
Quadrax CH. 3 - Red
Quadrax CH. 4 - Yellow
Disting - Black
Spectravox - Purple Stackcable (except at the output of Data CH. 2 where I had to use a purple
stackcable to send Quadrax CH. 2 (Blue) to both Spectravox and CV. 4 of Quadrax

EDITED Dec 28th 2020, 13:34

OVERVIEW
This patch aims to make full use of all 4 available outputs on the Nano Rand (Teal - Random Voltage Algorithm), with each of these being sent to 1 or 2 destinations, colour-coded to match trace lines on DATA for easy identification and signal monitoring.
GREEN - Originates from the Metropolis' Pitch output
BLUE - Originates from NR Sample & Hold Output
RED - Originates from NR Random Voltage Output
YELLOW - Originates from NR Gate Out
PURPLE - Originates from NR Noise Out

SOURCES
1. Supercritical DCO straight into Cinnamon filter
2. M32 straight into VSL-74 filter
3. Noise Generator from NR straight into DCO FM Input

DISTING
A7 - Comparator mode outputs gates and A and B outputs based on the higher of either the attenuated NR Random Voltage output or an offset generated from Channel 3 of Maths (likely between 1.5-2.0V). Disting's Channel A output triggers an ADSR envelope on Pique #2, which controls the lowpass cutoff of the resonant VSL-74 filter. This filter envelope (and the static M32 tone it processes) is antagonistic to Disting's B output, which triggers an AD envelope on Maths that goes to the Metropolis AUX A input (set to "d. In" or time divisions of the incoming clock from Nano Rand's Gate output, modulated to taste with the on-board attenuator)

PIQUE

1: Trigger Stream Randomizer: low probability of trigger acceptance but high probability of retriggering and some jitter. Pique 1 defines the frequency that Metropolis will reset

2: ADSR envelope, which sets the cutoff value for VSL-74 and thus dictates the influence of the M32

NANO RAND
As mentioned above, all available outputs are used in this patch in order to explore the full impact that the nano rand can have over the frequency, amplitude, and timbre of a patch. The Rand Algo Switch CV Input is notably absent, as I developed the patch to focus on Random uni/bipolar voltage and didn't need random audio rate pulses or random stepped values. The Random lfo voltages in this patch helps to obscure the tempo being fed into Metropolis. A few interesting things learned about Nano Rand in this patch:
i) bipolar/unipolar RND switch is a powerful tool to explore. On the surface, it would seem that one that just use unipolar for envelope modulation and VCA levels, but it can also be a useful way to "constrain" the randomization depth to just 0-+5V. On the other hand, bipolar provides a much wider range of random voltage values, opening up modulation possibilities in a big way.
ii) The flat frequency white noise output on Nano Rand is useful to send into FM inputs on Oscillators and CV inputs on VCA's, to "dirty" or obscure a timbre
iii) Nano Rand's Gate Output can be an interesting and unconventional clock source, as it derives random gates from the internal/external clock that are musically related to it.

METROPOLIS
As I typically like to do, Stages has been set to Default: 8 but I have an odd number of pulses in the sequence, as well as a series of Reset pulses that are sent at random from the Trigger Stream Randomizer on Pique #1. The Metropolis is clocked, as mentioned above, externally by the random Gate Output on Nano Rand, which generates gates that are musically related to the NR clock. The SCALE is set to "dIMIn", which Intellijel calls diminished but can more accurately be called half-whole diminished, and I think sounds the best in this context. There is a small amount of Swing added, because why not, at 54.

CINNAMON
Cutoff kept between 9:00 - 12:00, beginning with normal resonance behaviour but later switched to folded sine character (lower of the 2 reso. character switches). This cutoff range is where you hear the most activity from either of the alternate resonance responses so I kept it around there. Normally the attenuator on Cutoff CV is kept high but I will periodically lower it throughout the performance of the patch. I keep the boost off most of the time because I find that it flattens the richness of the alternate resonance responses and cutoff cv's a bit.

SINC DEFERO
Plays a small but important role here as it constrains the Nano Rand random voltage values that are sent to both Disting's comparator (Y input) and to the 2B input on SPO, which influences the attenuverted output from Nano Rand's S&H, that goes ultimately to the first Quad VCA's CV input.

QUAD VCA
Using both Quad VCA's here, which didn't actually turn out to be necessary as I could've just used 2 channels of the same Quad VCA, but is still useful to clearly separate one VCA stage from the other. The first VCA receives CV information from SPO as described in the "Sinc Defero" section above, and the second VCA receives CV information from the VSL-74's output. During the patch I make a lot of use of these VCA's, particularly of their linearity response knobs, which can really boost, fold, and clip both the audio and CV inputs fed into their respective channels, an extremely useful knob!

EDITED Sep 27th 2020, 11:00

OVERVIEW
The goal of this patch initially was to get acquainted with the 2 channels of WMD S.P.O., each with Scale/Polarize (Attenuversion) & Offset controls. For the "A" inputs of channels 1 and 2 on SPO I have multiplied the same envelope from the CH. 4 unity output of Maths. This is a bi-timbral patch, taking the undulating Square wave of M32 with its own quantized pitches, as well as the Morphed dual-wave output of Graphic VCO with a quantized sequence from Metropolis. Each channel of SPO then has another input:

SPO
1A: Maths CH. 4 Unity Out
1B: M32 Triangle LFO via Attenuverter on Sinc Defero
2A: Maths CH. 4 Unity Out
2B: Pique #2 ADSR Envelope (attenuated twice, in M32 and then in Sinc Defero)
Out 1: Graphic VCO Morph Input
Out 2: M32 VCF Cutoff via Data channel 3

METROPOLIS
Providing the clock and most of the initial gate and pitch information, Metropolis works as follows:
Scale: Minor Pent (PEnT-)
Octave: 1 octave range
BPM: 120
8-stage
Forward mode
AUX A: Ratchet
With an odd number of pulses in an 8-stage sequence, phrases start and stop offset from - but subtly related to - the rest of the patch

PIQUE
Pique #1 is using the Trigger Stream Randomizer algorithm, the "Expert" mode beneath "Tap". This stream of triggers, derived from the Clock output of Metropolis, sends triggers that have a probability of either not appearing or multiplying in the gap between 2 Metropolis clock pulses. Playing with Delay time (3rd knob) did not yield very helpful results, but adding some Jitter (4th knob) was interesting, as it did not upset the "big beats". Pique #1 goes to Pique #2 and Maths CH. 4 trig in.
Pique #2 is a simple ADSR envelope, receiving triggers from the same random trigger stream in Pique #1 as is being fed to Maths channel 4 trig in. The goal of this ADSR is to influence the M32 LFO, at depths that are controlled by the VC Mix on M32.

GRAPHIC VCO
Taking the morphed mix of Wave 01 from "Acid" and Wave 07 from "Basic" (Tri-saw) out into Pico Mix for levelling each wave, pitched by Metropolis.

DATA
Monitors
CH. 1 - Summed Output of Graphic VCO via Quad VCA CH. 1
CH. 3 - S.P.O. CH. 2 output
CH. 4 - Pique #2 Out 1

DISTING MK4
A6 Quantizer: Quantizer is fed voltages from the Triangle LFO on M32 (itself influenced by the ADSR of Pique #2 triggered at semi-random intervals via Pique #1). At first this is kept at Scale: 5 (Fifths) but in performance can move to Scale: 4 (Minor triads). Also, start with Parameter 0 (Attenuation) at 6, then move up to 31. The Attenuator on Disting MK4 works like a "fine tune" attenuation of the 2nd attenuator on Sinc Defero, which works like "Coarse Tune" as to how much of the LFO is sent to the quantizer (Sinc Defero's 2nd channel also works to attenuate the influence of the LFO on the Morph CV of Graphic VCO)

MATHS
CH. 1 Triggers Quad VCA CH. 1 CV input taking its gate from Metropolis directly.
CH. 4 Attenuverted Out goes to the Resonance on M32, and negative voltages can create interesting inverse relationships with cutoff and resonance in the M32 filter
CH. 4 Unity Out was explained above as feeding both 'A' inputs on S.P.O.

M32
Quantized out from Disting controls the 1v/oct of M32 and thus half of the pitch information heard in the patch (amount between those pitches/M32 timbre and Metropolis pitches/Graphic VCO timbre selected via MIX knob). The Triangle LFO out influences both the SPO Channel 1 'B' input and is the sole information (other than attenuation values) used for the quantizer setting the pitch of M32. The waveshape of the Triangle LFO is a mix between Triangle and the attenuated ADSR from Pique #2 (attenuation of which is influenced by the M32 Filter output via VC Mix Control input)

Overview
First patch with the 2hp arp as it's focus.

AUDIO
Arp is driven with Metropolis for gates and root notes. Arp then dictates the pitch of the Demon Core Oscillator via an attenuation channel of Sinc Defero. DCO then comes out into Quad VCA (closed, enveloped from Maths), to divkid mutes, to hexmix as well as back out (mutes ch. 2) to the WMD/SSF Multimode Filter (MMF), that output of which is then fed back into mutes ch. 3 out to hexmix channel 2 (so unfiltered and filtered audio are sent in stereo to the hexmix).

SEQUENCING & Pitch
Pitch and Gate Sequences are sent from the Metropolis and distributed throughout the patch. 1 Octave range selected in config. with scale = minor pentatonic (PEnT-).
ARP uses Scale = Augmented 7th (2 LED's ON 3rd LED blinking) and Mode = Descending 2 octaves, with frequent but non-periodic changes in root note and arp reset placement

ENVELOPES/MODULATION
env1: While the Gate of Metropolis starts and stops the uneffected sequence, it goes to 2 places. First to ARP's Gate input, then to the TRIG input of Maths channel 1, to control the amp envelope on Quad VCA ch. 1, as well as the 1v/oct input on MMF. The envelope is generally kept with a short attack and medium decay, but later on in performance can switch to longer attack and short decay and blend in a looped delay track from Euro DDL for an interesting reverse tape-like effect.

env2: The other output from Metropolis that receives an envelope is the SYNC Out, which emits a gate at the beginning of each 9-stage sequence. Metropolis' SYNC is sent to Maths Ch. 4 TRIG input, attenuated out to ARP's MODE input.

lfo: slow free-running square wave LFO from M32 is sent to the Reset input, resetting the arpeggiation at repeating intervals that are unrelated to the Gate or Pitch sequences from Metropolis

random: Taking a clock from Metropolis, QuBit Nano Rand v2 in Magenta (Random Stepped Voltages) mode sends gate signals of various voltages to the Sync Trig input on DCO as well as an attenuated version to Maths CH. 1 BOTH input and an unattenuated version to Maths CH. 4 BOTH input. Nano Rand also sends noise into the FM CV on DCO and WMD/SSF MMF (Filter).

EFFECTS
Eventide Euro DDL is filtered and used looped or unlooped at different points in the sequence. Towards the end of a performance can create a "wash" of delay with maximum feedback. This sounds nice blended with the original signal where the original has a VCA/Filter envelope with a medium attack and very short decay, creating a faux tape loop effect.

EDITED Sep 19th 2020, 16:16

Description: Two square waves are sent from Peaks into 2 WMD/SSF MMF Filters (with 2 other LFO's/OSC's from a second Peaks going into the Filter FM Inputs), whose cutoff points are modulated by channels 3 and 4 of Quadrax. The volume of these two audio signals (panned left and right) is modulated at Quad VCA's Channel 1 and 2 CV Inputs by channels 1 and 2 of Quadrax. All 4 of these envelopes are related via CV/Link Modes, where just one trigger from Quadra ENV1 creates a world of interplay, with techno elements, especially past half way through.

Colour Scheme:
Black - Quadra (ENV1)
Red - Quadrax Channel Outs
Green - WMD/SSF MMF Lowpass Outputs
Blue - 1st Peaks Outputs
Orange - 2nd Peaks Outputs
Yellow - (Stackcables) FX Send/Return w/ Euro DDL

Quadrax Settings:
OUT1 - Receives trigger from Quadra ENV1. CV Assignment: None, Mode: AHD
OUT2 - CV Assignment: EOF (End-of-Fall), Mode: AD
OUT3 - CV Assignment: EOR (End-of-Rise), Mode: CYCLE
OUT4 - CV Assignment: EOF (End-of-Fall), Mode: AD

Quadrax Channel Destinations (after Mordax):
OUT1 - Quad VCA Channel 1 CV Input (Amp. Envelope for 1st Square Wave)
OUT2 - Quad VCA Channel 2 CV Input (Amp. Envelope for 2nd Square Wave)
OUT3 - 1st WMD/SSF MMF Cutoff (1v/oct CV Input) (Filter Envelope for 1st Square Wave)
OUT4 - 2nd WMD/SSF MMF Cutoff (1v/oct CV Input) (Filter Envelope for 2nd Square Wave)

Mordax DATA Settings:
Oscilloscope, All Channels 5.0V, Time: 500ms, Trig: Auto
CH. 1 - Pos: 8.80V
CH. 2 - Pos: 0.00V
CH. 3 - Pos: -10.40V
CH. 4 - Pos: -24.20V

Mordax shows:
CH. 1 - Quadrax OUT1, controls Quad VCA CH. 1 level (1st Square Wave) via CV w/ attenuator
CH. 2 - Quadrax OUT2, controls Quad VCA CH. 2 level (2nd Square Wave) via CV w/ attenuator
CH. 3 - Quadrax OUT3, controls 1st WMD/SSF MMF Cutoff (1v/oct CV Input)
CH. 4 - Quadrax OUT4, controls 2nd WMD/SSF MMF Cutoff (1v/oct CV Input)

Playing Instructions:
1. Introduce sound by turning up CV pots on Quad VCA one channel at a time
2. Introduce more sound by turning Level pots on Quad VCA one channel at a time
3. Add Resonance at MMF, one at a time
4. Slow 2nd Peaks CH. 1 to LFO-rate, then turn up FM Level on 1st MMF a bit
5. Slow 2nd Peaks CH. 2 to LFO-rate, then turn up FM Level on 2nd MMF a bit
6. From here adjust the following parameters to taste:
- Filter Resonances
- Filter FM Levels
- 2nd Peaks LFO Rates and Waveforms
- Quadrax parameters (the lower the Channel number being changed, the more overall effect on the patch, as they are chained
1->2->3->4)
- Speed of Quadra envelope (maintain low Rise time so it stays a trigger, but adjust Fall time)
7. Eventually, introduce Eventide Euro DDL, turn Send Level pot to noon, then turn up CH. 1 Send 1 and then CH. 2 Send 2 on Hexpander
8. Euro DDL parameters to adjust to taste:
- Filter cutoff point
- Dry/Wet
- Tap Tempo
- Drive (careful of level spikes)
@ peak tension, use these:
- Multiply (ease off on the D/W just as you press the button, then reintroduce Wet signal)
- Loop (especially when reaching peak activity)

Peaks 1: Trigger Stream Randomizer into
Peaks 2: 4-note sequencer

Manually add Dry/Wet to ES Dual FX, and to Befaco Hexpander to mix in

Metropolis uses chromatic scale

This patch is a test of ES Dual FX with Channel 1 fed into Channel 2. Metropolis feeds pitch values to Plaits (Vowel & Speech Synthesis algo), and Clock into Tempi to be divided and sent to trigger Peaks Trig 1, Peaks Trig 2, and Maths CH. 4 Trig.

Maths CH. 4 (principal modulation channel in the patch)
- ES Channel 1 CV (Pitch Shift 1)
- Plaits Timbre CV (in this case Species Selection)
- EOC multed to trigger Maths CH. 1 and Function

Maths CH. 1
- Plaits Morph CV (Phoneme or Word Segment)
- EOR to Quadrax Trig 1

Quadrax
- to ES Channel 2 CV (Dry/Wet) via Maths CH. 2 attenuverter and Data

Tempi
- CH. 1 = /4
- CH. 2 = /8
- CH. 3 = /6

Metropolis
- Minor Pent. scale
- 60 BPM

ES Dual FX CV Assignments: CH. 1 = CV 1 (Pitch Shift 1), CH. 2 = Dry/Wet

https://1drv.ms/u/s!AsdkBRIREHjWi8tlnY7mUdc_M8hA9w?e=mBWjaQ

EDITED Feb 6th 2020, 06:38

Maths Bouncing Ball Patch with a twist. Standard Bouncing Ball patch using Plaits in Wavetable algorithm + filtered noise from Mother 32. Bouncing ball is then duplicated into the delay time of Eventide Euro DDL, and EOC into Clock input. The sound source into the DDL is the raw Pulse wave from Mother 32 with some Linear FM applied to it.

EuroDDL Delay Attenuation (INVERT+DELAY KNOB) to 400ms

EDITED Jan 10th 2020, 05:34

Overview
An open VCA from Mother 32 (with a pitch sequence defined by Metropolis) is sent into Quad VCA where a Pulse LFO from Peaks determines when sound is allowed through (closed VCA with CV from Pulse LFO). Output from Quad VCA is then multiplied, one of the copies is sent directly out for reference, and the others go to Euro DDL and Maths to be inverted and sent to the Kill Gate Input.

A series of interacting functions from Function and Maths play off of eachother to effect things like:
- pitch sequence root note into Aux A of Metropolis
- Euro DDL Delay time
- Mother 32 VCF Cutoff

Varying the width of the Pulse LFO effects the length of each sound event coming out of the Quad VCA that goes into Euro DDL. Also, using the Multiply Parameter on Euro DDL and selecting sample rate values other than the default (Hold Multiple + Encoder turn) can provide interesting timbral and rhythmic variations.

EDITED Jan 6th 2020, 00:21

https://1drv.ms/u/s!AsdkBRIREHjWi7cEukits6yOz2scDA?e=ZDAvXP for further patch visualization ("Large Patch Trigger and Mixer Routing Diagram")

Overview

The purpose of this patch is to apply an alternate mode for the CLK OUT jack when using an External Clock source. Where as by default CLK OUT would simply divide the incoming clock source by even numbers, using the d_STA value in the DIV TYPE sub-menu (in CONFIG), the CLK OUT emits a Gate HIGH at each new Stage of the sequence. Musical interest is created here when stage(s) are given a Pulse Count >1, because in d_STA a Gate HIGH will NOT be sent for those additional pulses on the same Stage. In this way, the CLK OUT can advance a second sequence (in this case a second pitch sequence) but in such a way that the user can manipulate the interaction between the pitches sent by Metropolis and those from another sequencer (in this case the PM Micro Sequence). The initial clock is fed from Circadian Rhythms.

Additional Enveloping, Filtering, different Quantized Scales, Wave Folding, and Mixing are added for sonic interest.

Metropolis Settings:
1. PEnT- (Minor Pentatonic)
2. Frd-F (Forward-fixed Mode)
3. Stages (8 then more/less, to taste)
4. Config->d_STA (default: d_EvE)
5. External Clock

Micro Sequence Settings:
1. Phrygian Mode
2. Forward Direction

Play this first by setting all Pulse Counts to 1 then gradually adding Pulses to different Stages and listening to the different intervals created between Metropolis and Micro Sequence. with High Resonance, additional intervals/chords are created coming from the VCF-74's dual peaks.

What could have improved it?
- In performance, hitting the Reset button on Micro Sequence at the same time as Metropolis is reset to 1 Pulse per Stage (bringing it back to the initial pitch relationships)

EDITED Oct 26th 2019, 22:32

Colour Scheme

NOTE: Cables out of Maths CH. 4 Attenuated and Unity Outputs are for Moog Spectravox.
NOTE: Auto-Calibrate DATA then Tune M32/Disting B8 to D3, and tune Dixie II/Plaits to D2
M32 - Green
Disting mkIV - Blue
DixieII - Red
Plaits - Yellow

Maths - Orange
Peaks - Grey
A MIX/Cinnamon - Purple

Polyend Poly/ADDAC200B - Black
Poly CH. 5 Pitch Output/Anything related to Moog Spectravox - Purple Stackcable

Blofeld
A080 - Organella (no changes necessary)
A072 - Meridian (start "Speak" with no Delay then gradually increase to 24, using 1/16 length)

Overview

The modular system covers the Lead (Solo) and Bass lines for the arrangement.
The Lead Line is played by the Mother 32 and ES Disting mkIV set to algo B8 (VCO with Waveshaping)
The Bass Line is played by the DixieII and MI Plaits set to algo 1-1 (Pair of Classic Waveforms)

Gates and Pitches are sent from the Polyend SEQ both directly into the Mother 32 (for Lead voices) and into to Polyend Poly to be routed and multiplied later on.

The pitch tracking for the Lead Line is handled via MIDI directly into the M32's MIDI DIN Input, where as pitch tracking for the Bass Line is converted from MIDI to CV and sent to the second ES Disting mkIV H3 algo (Dual Quantizer) for added stability.

Both of the oscillators used in the Lead Line are filtered using the Ladder filter on the Mother 32 in Lowpass mode.
Both of the oscillators used in the Bass Line are mixed (1 source from Dixie and 2 sources from Plaits) and filtered using the Cinnamon filter in Lowpass mode.

There are envelopes for the Filter Cutoff and VCA CV for both the Lead Line and the Bass Line. The Filter & VCA Envelopes for the Lead Line are handled by MI Peaks set to Expert Mode so that there are 2 unique ADSR envelopes (Output A is for the Filter ENV; Output B is for the Amp ENV). The Filter Cutoff on the Mother 32 is manipulated by BOTH the Peaks Filter Envelope and the MIDI Velocities from the ASSIGN Out. These are sent to the internal VC MIX and the VC MIX CTRL is adjusted via the Keyboard Output on M32 and attenuated by Maths Channel 2. The Filter Envelope for the Bass Line is sent from the Unity Output of Maths Channel 1, where as the Amp Envelope for the Bass Line is sent from the Synthrotek ADSR.

MIDI Velocities were meticulously specified in the Polyend Poly for the Lead Line (as of March 31st, but might add velocities for the comping and Bass Line later on), and they are captured inside the M32 via the ASSIGN Output (set to Option#9: MIDI Velocity).

Mordax DATA is used extensively to monitor Oscillator tunings and Octave distributions.

EDITED May 21st 2019, 05:44

Rings Parameters

Polyphonic
Sympathetic Strings

• Movement of Position from the Tri-Saw out of Dixie II affects the pitches output by Rings in interesting ways

Maze Parameters

• SLCT Input sequences in a forward-backward movement between routings 0-15 (16-steps)
• SLCT Input is fed by a fairly pure sine wave coming from Peaks OUT2
• SLCT Input is in Fade Mode, and Morphing Multiplier is set to Slow Morphing (Magenta)
• Routings 4-15 are all blank, which leaves "space" between note and parameter changes

Overview
- First patch involving Livestock Electronics Maze
- First patch where Dixie II uses multiple waveform outputs + 1st time it is self-patched (Saw into Linear FM Input)
- Very fast sequencer speeds + Run/Stop behaviour coming from Output 3 of Maze sends rapid clusters of notes to the 1v/oct of Rings, while it receives audio input from the Bandpass output of Cinnamon
- Since most of the routings favour the relationship between Input 1 and Output 1 in Maze, the behaviour and oscillation speed of the Dixie II affects many different parameters at once, and also has its own audible results in Quad VCA Output 1

Polyend SEQ Velocity Backup

https://1drv.ms/x/s!AsdkBRIREHjWish_EcmI2bzBPkfmvA

Video: https://1drv.ms/v/s!AsdkBRIREHjWisldiJCsGL60ua-0dw

EDITED Apr 1st 2019, 03:58

Colour Scheme

M32 - Green
Disting mkIV - Blue
DixieII - Red
Plaits - Yellow

Maths - Orange
Peaks - Grey
A MIX/Cinnamon - Purple

Polyend Poly/ADDAC200B - Black
Poly CH. 5 Pitch Output/Anything related to Moog Spectravox - Purple Stackcable

EDITED May 21st 2019, 04:24

MIDI Routing

This patch represents my most complex MIDI Routing setup to date, involving the Quadra THRU and Quadra MERGE devices from MIDI Solutions.

Follow link for MIDI Routing Diagram

https://1drv.ms/u/s!AsdkBRIREHjWisl3dGNzTRA4pM9_Dg

Overview

The modular system covers the Lead (Solo) and Bass lines for the arrangement.
The Lead Line is played by the Mother 32 and ES Disting mkIV set to algo B8 (VCO with Waveshaping)
The Bass Line is played by the DixieII and MI Plaits set to algo 1-1 (Pair of Classic Waveforms)

Gates and Pitches are sent from the Polyend SEQ both directly into the Mother 32 (for Lead voices) and into to Polyend Poly to be routed and multiplied later on.

The pitch tracking for the Lead Line is handled via MIDI directly into the M32's MIDI DIN Input, where as pitch tracking for the Bass Line is converted from MIDI to CV and sent to the second ES Disting mkIV H3 algo (Dual Quantizer) for added stability.

Both of the oscillators used in the Lead Line are filtered using the Ladder filter on the Mother 32 in Lowpass mode.
Both of the oscillators used in the Bass Line are mixed (1 source from Dixie and 2 sources from Plaits) and filtered using the Cinnamon filter in Lowpass mode.

There are envelopes for the Filter Cutoff and VCA CV for both the Lead Line and the Bass Line. The Filter & VCA Envelopes for the Lead Line are handled by MI Peaks set to Expert Mode so that there are 2 unique ADSR envelopes (Output A is for the Filter ENV; Output B is for the Amp ENV). The Filter Cutoff on the Mother 32 is manipulated by BOTH the Peaks Filter Envelope and the MIDI Velocities from the ASSIGN Out. These are sent to the internal VC MIX and the VC MIX CTRL is adjusted via the Keyboard Output on M32 and attenuated by Maths Channel 2. The Filter Envelope for the Bass Line is sent from the Unity Output of Maths Channel 1, where as the Amp Envelope for the Bass Line is sent from the Synthrotek ADSR.

MIDI Velocities were meticulously specified in the Polyend Poly for the Lead Line (as of March 31st, but might add velocities for the comping and Bass Line later on), and they are captured inside the M32 via the ASSIGN Output (set to Option#9: MIDI Velocity).

Mordax DATA is used extensively to monitor Oscillator tunings and Octave distributions.

EDITED Apr 1st 2019, 03:57

From Feb 9th

Ableton: Many Firsts

Haven't multitracked this many inputs before (6)
Used Ableton to clock the KeyStep via MIDI Out from 18i8
Used Transient Shaping for most tracks to either add or subtract "front end" from each
Grouped Dry and Delayed Rings signals and applied compression and/or EQ to the Group tracks (sometimes in addition to the individual tracks)
Panned everything between 35 and 5 away from C

Colour Scheme

Rings
Yellow

Disting
Red

BIA
Blue

Tempi
Green

Ears/Blofeld
Black

Overview

Disting - Used C4 (Clockable Ping Pong (Z Input Pan)) algo instead of B4 and sent only delayed signal out of A and B
Routing - Sent Dry of both ODD and EVEN Outputs as well as both Delayed signals on Rings, for a total of 6 tracks recorded at once (Blofeld Dry, BIA, Rings ODD Dry, Rings EVEN Dry, Rings Delayed 1, and Rings Delayed 2)
- all audio cables used mono ground loop isolators for ground noise reduction
- NOTE: The height of the displayed audio cables indicates the corresponding mixer channels, where Top: CH. 1 and Bottom: CH. 7
Rings - Used Modal Resonator instead of Sympathetic Strings, which didn't turn out terribly interestingly
Ears - Sent GATE Into Mod Input instead of State Select Input, sent ENV into Rings Position & Damping as well as BIA Fold, sent audio OUT into M32 Buff Mult to free up space on ADDAC200B for Rings copies
Tempi - Modded Channels 1, 2, and 3 of State #1 and kept it on State #1 as opposed to last Home Improvement patch
Blofeld - Used B043 Marimboid with a bit of Sustain on the Amp ENV so it was a cross between a percussion and a bowed sound

EDITED Mar 13th 2019, 02:34

From Feb 9th

Ableton: Many Firsts

Haven't multitracked this many inputs before (6)
Used Ableton to clock the KeyStep via MIDI Out from 18i8
Used Transient Shaping for most tracks to either add or subtract "front end" from each
Grouped Dry and Delayed Rings signals and applied compression and/or EQ to the Group tracks (sometimes in addition to the individual tracks)
Panned everything between 35 and 5 away from C

Colour Scheme

Rings
Yellow

Disting
Red

BIA
Blue

Tempi
Green

Ears/Blofeld/KeyStep
Black

EDITED Mar 13th 2019, 02:19

Overview

Disting - Used B4 (Clockable Delay/Echo) algo and sent only delayed signal out of A and B
Routing - Sent Dry and Delayed signals of both ODD and EVEN Outputs on Rings, for a total of 6 tracks recorded at once (Blofeld Dry, Rings ODD Dry, Rings EVEN Dry, Rings ODD Delayed, Rings EVEN Delayed, and BIA)
Rings - Used Modal Resonator instead of Sympathetic Strings, which didn't turn out terribly interestingly
Ears - Sent GATE Into Mod Input instead of State Select Input, sent ENV into Rings Position & Damping as well as BIA Fold, sent audio OUT into M32 Buff Mult to free up space on ADDAC200B for Rings copies
Tempi - Modded Channels 1, 2, and 3 of State #1 and kept it on State #1 as opposed to last Home Improvement patch
Blofeld - Used B043 Marimboid with a bit of Sustain on the Amp ENV so it was a cross between a percussion and a bowed sound

Blofeld Parameters

A modified version of the "Ode to Joy" B047 Keys preset includes an LFO, which is sent to the cutoff of the first filter
- pitch of OSC1 is up P5 from the other two OSC's but all in the 4' octave (or "length")
- LFO with Triangle shape has the most noticeable and interesting effect, sync'd to the SEQ/DAW clock and resetting every 1/2 note

Polyend SEQ Parameters

16 total inputted patterns, 12-13 of which that were used
- begins with a simple kick and hat, then adding a snare in 3/4 time (polymetre as the rest of the tracks have 16 steps therefore 4/4)
- Track 4 is a velocity sequence that is sent to the cutoff frequency of the cinnamon in amounts that vary depending on the MATHS Channel 1 attenuverter knob position
- Blofeld provides simple, brief accents beginning with Pattern 5

Disting Parameters

G6: MIDI-to-CV w/ MIDI Breakout
- Output A Divisor = 6 (Default, quarter notes)

Colour Scheme

M32
- Red

Peaks
- Orange

Plaits
- Blue

Quad VCA to Cinnamon
- Grey

Disting
- Purple

Poly
- Purple Stackcables

Maths
- Black

Overview

• simple CV routing with complex MIDI routing (the most complex for me so far anyway) and use of H9's TimeFactor in a custom preset
• Mother32 is simply providing a "drone" frequency via resonant filter and cinnamon signal running through it

MIDI ROUTING
Clock from DAW
- DAW MIDI Out to Polyend SEQ MIDI In
- SEQ MIDI Thru to Disting MIDI Din In
- SEQ MIDI Out1 to Polyend Poly MIDI Din In
- SEQ MIDI Out2 to Blofeld MIDI Din In

In spite of various attempts from different sources and trying different settings, could not get H9's MIDI In to receive clock properly, so I used tempo's similar to DAW Clock (approx. 120bpm)

EDITED Feb 20th 2019, 02:55

Disting F6 parameters

• not much to report, other than Z knob is manipulated throughout the recording to either open or freeze the shift register pattern, which is set to 8 steps long

M32 parameters

• sequence is a saved set of pitches, mostly C's and G's in different octaves
• sequence length alternates throughout the recording between 1, 3, 5, and 8 steps

Overview

• Ears receives audio from M32, which is being driven by its' own internal sequencer
• M32 is also given a direct out which is summed at the Mix3 to a single mono output
• Rings receives audio input from M32 via buff mult, but has its own pitch information coming in the form of random quantized cv's produced by the Disting F6 algorithm, which advances every time it receives a gate from Ears (aka every time M32 input audio goes above the 4V threshold, highly Gain knob dependent)
• 2 AD envelopes from Peaks in Split mode handle various modulation tasks in Rings and in Maths
• ADM10 Kompressor, first use of the ADM10 as an ACTUAL compressor without Makeup Gain, works great

Ableton: Many Firsts

• Haven't multitracked this many inputs before (6)
• Used Ableton to clock the KeyStep via MIDI Out from 18i8
• Used Transient Shaping for most tracks to either add or subtract "front end" from each
• Grouped Dry and Delayed Rings signals and applied compression and/or EQ to the Group tracks (sometimes in addition to the individual tracks)
• Panned everything between 35 and 5 away from C

Colour Scheme

Rings
Yellow

Disting
Red

BIA
Blue

Tempi
Green

Ears/Blofeld
Black

Overview

Disting - Used C4 (Clockable Ping Pong (Z Input Pan)) algo instead of B4 and sent only delayed signal out of A and B
Routing - Sent Dry and Delayed signals of both ODD and EVEN Outputs on Rings, for a total of 6 tracks recorded at once (Blofeld Dry, Rings ODD Dry, Rings EVEN Dry, Rings ODD Delayed, Rings EVEN Delayed, and BIA)
Rings - Used Modal Resonator instead of Sympathetic Strings, which didn't turn out terribly interestingly
Ears - Sent GATE Into Mod Input instead of State Select Input, sent ENV into Rings Position & Damping as well as BIA Fold, sent audio OUT into M32 Buff Mult to free up space on ADDAC200B for Rings copies
Tempi - Modded Channels 1, 2, and 3 of State #1 and kept it on State #1 as opposed to last Home Improvement patch
Blofeld - Used B043 Marimboid with a bit of Sustain on the Amp ENV so it was a cross between a percussion and a bowed sound

EDITED Feb 9th 2019, 05:52

Tempi Parameters

Uses the default 16 States, except State 1 uses Channel 1 @ 2x multiplication (other 5 channels are 1x as default)

BIA Parameter Changes

• musical effects achieved by varying
  Attack (from 12 o'clock to added noise and back),
  Decay (from CCW to a bit, rhythmically),
  Fold

Blofeld Parameters

Saved into B037 as "Home Improvement" it is an edited version of "House HS", maintains the interval relationships (for now) and basic waveshapes, but the user varies the Filter Env and Amp Env. There is also 50% keytracking on the filter cutoff
- can experiment with applying the LFO at varying speeds to Pitch and/or FM

Overview

The name comes from both an edited version of the "House HS" preset on the Waldorf Blofeld, but also a feeling that with this patch i've achieved a new layer of complexity and sonic interest.

Some key components here (some of which having not been used before):
1. KeyStep Sequencer Overdub Recording: where changing tempos of notes inputted changes the tempo on the Tempi (takes KS Gate Out as Leading Tempo)
2. KeyStep varying gate lengths, with interplay between KS gate lengths and Rings Damping length
3. Ears Contact Mic with Blofeld audio in
4. Ears Gate Out (dependent on both key press velocity (because Blofeld interprets it from Keystep), and Blofeld Amp/Filter Envelope values)
5. Disting B4 Clockable Delay/Echo including changing the Z Knob Feedback for different experiences of the delay
6. Tempi, Channels 1 and 2 dictating Disting's Delay Speed (CH. 1) and BIA's Trigger In (CH. 2)
7. Rings in Sympathetic Strings Mode

EDITED Feb 6th 2019, 05:15

Overview

• A simple patch to get to know Ears by Mutable Music Things, based on the first patch in DivKid's overview video:
• Ears' Microphone/Audio Out is sent to the Audio Input of Rings, while its' Gate is set to the Trigger Input on Disting F6: Shift Register Random Quantized CV's
• Disting F6 takes each gate and advances a random sequence, which is usually free running but sometimes the sequence is locked in place (length: 16) by turning Z knob hard CW
• Disting A Output goes to Rings 1v/oct
• Rings' Brightness is modulated by a Sine LFO from DixieII, whose Linear FM input is itself modulated by the CH. 1 Unity Output on Maths (Maths is cycling with the AD envelope rate being modulated by Pittsburgh Micro Sequence)
• Pittsburgh Micro Sequence is in Direction Mode #6: Transpose mode, where instead of the normal 8-steps you have 4 transposed 4-step sequences (16 steps total)
• Operating Ears is done with quick finger attacks and/or scraping with a spare patch cable

EDITED Feb 4th 2019, 06:14

Peaks Parameters

Alternative LFO Function a.k.a. Expert Algorithm #2: Trigger Delay & Repeater
- Receives a buff'd mult of M32's Gate, but delays (via knob 3) and repeats (via knob 4) the gates received
- Also widens or narrows the width of incoming gates with knob 2 (gate duration)
NOTE: Gate Duration is also effected after Peaks by Maths CH. 4 by Slew Limiting and cycling

Maths Parameters

• Displayed above, but worth noting this is the first time i've used a stackcable at an input to mult the signal it is carrying to go into another input

Rings Parameters

Modal Resonator Mode - Monophonic
- Fed a Gate from M32 into STRUM
- INV Out from Maths serves as 1v/oct, creates intense FM sounds given the right amplitude mix between the 4 attenuators in Maths, as well as the correct enveloping at CH. 1 (cycling) and CH. 4 (sometimes cycling)