I made a preview video for a new 10 track album to give a sense of the music and the space from which the music was made. I gigged with these songs for a while and recorded the stems over a year ago, so it is very meaningful to finally have them out in the world. The full album is out March 21st on Bandcamp, with a wider release the following week.
While I dig your music, I am always caught by the clarity and beauty of your visuals. :)
The BeatStep Pro is one of the most used solutions : https://www.arturia.com/products/hybrid-synths/beatstep-pro/details
-- Sweelinck
I am a big fan of the BeatStep Pro. Endorse endorse endorse this.
Here is a short excerpt from from a live stream on Earth Modular Society. The vocoder is from the microKorg, and I sequence with a BeatStep Pro:
Oh, that Cizzle does look like a useful module. I was looking for the dual tones for the rack theme. This was just my first patch using the Casor & Pollux, def want to get into some of the dreamy synth lead lines next.
Voice Patch Notes
Moog Subharmonicon to Steady State Fate Dipole [with incoming cv from Xaoc Zadar] to Intellijel Quad VCA [to use as pre stereo attenuator] to Qu-Bit Aurora out to Left and Right channels.
Winterbloom Castor & Pollux to Joranalogue Compare 2 to Arcus Audio VCA [with incoming cv from Xaoc Zadar] out to Canter channel.
Guitar into Boredbrain Injectr to Schlappi Engineering 100 Grit toMutable Instruments Clouds to Endorphin.es Milky Way out to Center channel.
Mother 32 out to Center channel.
Here is my new spectral harmonic three tier rack featuring a Subharmonicon, Qu-Bit Aurora, Castor & Pollux, Injectr, and Dipole. I absolutly love it. Please come check out my first sketch using them together. Premiere today at 2PM EST:
This sounds very nice :)
out of curiosity: what are your main sequencing modules and techniques for the melodic parts ? do you program ? or do you record sequences ?
I'm curious because I look for inspirations to sequence polyphony in modular environment.-- Slim
Thanks for saying so. I sequence with the Arturia BeatStep Pro; in this case I sequenced the Circuit Bent VCO by Synthesis Technology and Mutable Instruments Plaits, Tides, and Rings. I also have an Erica Synths Pico VCO being sequenced by a Intellijel Scales, which quantizes the stepped S&H from the Wogglebug attenuated by Maths. I very often have a second melody that is playing off a first melody. When playing live the sequences are not recordings or loops, just sequencing in situ. Hope this helps explain my process a bit. Thank you for listening!
On March 10th I previewed several tracks off my upcoming album No Light Things, due out later this summer. Was a very positive experience:
This is just a fun jam I did a few weeks ago. Love both of these combos:
Hello all, I help organize an open studio every two weeks in Queens, New York. ridgewoodsoundlab is a community run synthesis space. We host meetups and build events, and eventually evening shows, though we are still working that. Anyways, I thought I'd drop a supercut I made of one of our events.
I have had the M32 and DFAM for awhile now and I finally picked up the Subharmonicon. Here is my first little thing.
We did not capture any video of the recording session, but I am pretty proud of this duet between me and electroacoustic double bassist and modular sythnesist ASDB. The visuals were magically made by artist Thoughtful. It's called Woodlands. It is a set-and-setting video to be sure.
All sounds are produced by the double bass then captured and manipulated by effect pedals and an A-100 rack full of modules, or they are Rings triggered by the envelopes generated by the bass' sound wave.
The main modules are:
Instruō Arbhar
Instruō Lúbadh
Make Noise Mimeophon
Mutable Instruments Rings
This is expert level. Thanks for sharing.
Approved! 6:40 is perfection.
You got it. For sure, the modules' difference is likely the issue, and it just goes to prove the rule....you can never have to many VCAs.
I think my hangup is still in how the gate functions with Scales. Probably because I dont have Scales, lol.
I think you have it mostly right, except maybe something about the relationship between the quantizer input and the trigger. The wide-open gate (EOR) is not the signal being quantized by Scales, the S&H of the Wogglebug is. Here is a visual:
[Wogglebug S&H]---[Maths ch.2]--->[Scales Pitch Input]----- [quantizes S&H]--->[Pitch Out to v/oct of Rings & Plaits]
[Maths EOR gate]-------->[Scales Trigger Input]---[selects duration of S&H]-------- ^
The Wogglebug S&H is the signal being quantized to the key of G. The trigger input slects the moments that Scales will draw from the now quantized S&H. This is helpful if you want to control the pitch quantization with an LFO or any non-clocked source and then ensure that the pitch changes are in sync with the beat of the track. For our purposes, it also allows us to take something like a gate to determine the timing and duration of the rapid S&H changes modulated by the Wogglebug. If you put any S&H into your quantizer it should quantize the signal at the speed of the input, be it an LFO or a S&H, or whatever. But the tempo of the pitch input is over-ridden by the trigger input, allowing you to be more selective of what pitches are selected and when they are output.
As to your final point, yes, I do attenuate the range of Wogglebug's S&H pitch by running it through channel 2 of Maths and then from the channel 2 out, into Scales' 'Pitch' in.
I have tried this with other basic quantizers that have independent quantization inputs and trigger inputs. In the case of Quantermain, I would say take a S&H, attenuate the range via Maths, input it into the Sample CV #1 input on the Quantermain. Then take the EOR gate from the Maths and run it into the Sample Clock #1 input. This should achieve the effect we are looking for.
Hope this helps!
Hi, thank you, yes, I think it is quite cool too. I'll do my best to answer your questions.
"There seems to be a distinct delay between your input and 1. the quantization, and 2. hearing plaits."
The delay is a function of the 'End of Rise' gate out (EOR) produced by the guitar audio through channel 1 of Maths. The unity out is used as the envelope for the Plaits VCO that changes pitch in-key with every strum. The quantizer, Scales, does not simply continuously output pitch values. You'll note that there is a 'Trigger' cv in, which is where the 'End of Rise' gate is patched. So only after the peak of the guitar audio does the gate allow new pitches to be drawn from Scales. So, it will hold the pitch until the audio begins to close on the envelope and then it toggles the new pitch for the next strum and toggles the voice coming out of Rings.
"You're getting continuous quantization from a single gate as quantizers normally only send out a new pitch on each rising edge."
I'm not sure I understand, but hopefully this adds clearity. The Wogglebug goes into Scales and continuously toggles the pitch quantized to the key of G. When you put a cable into the 'Toggle' cv in, it overrides the continuous toggling of the good old sample and hold blasting out of the Wogglebug. Now, you can input a gate that determines the duration in which the Wogglebug, still continuously toggling the pitch, is allowed to modulate. Maths channel 1's side function is 'End of Rise,' which is the gate used to trigger Scales. This also accounts for the delay effect discussed above.
"How there is a delay between your input and actually hearing Plaits when the envelope controlling Plaits should also be near instantaneous, and starting at its highest level."
Plaits actually is sounding instantaneously, it is just a single droning pitch that accompanies the guitar strum. Listen again, you'll hear it. When I strum a chord, let's say C, Plaits will play a G or D, or whatever in-key pitch was toggled by the last strum, remembering from above that the sample and hold from the Wogglebug continuously toggles the pitch in the short duration between the peak of the guitar audio (fairly instantaneous), and the closing of the envelope. This interaction between the envelope and gate on different VCOs, Rings and Plaits, give this patch its awesome quality.
One truly feels like they are playing with their modular not mearly processing audio.
Hope this helps.
Also, I use principals from this patch in a lot of patches. Here is a short I made of a bouncing ball patch:
This is a great conclusion for the trilogy. A soft landing with a beautiful melody.
Excellent idea also to have imagined this triple publication. A series maintains attention and suspense. You invented ModularFlix!
Bankable :))
-- Sweelinck
Ha, thanks. I was unsure about triple posting and tried to space it out. I am def gratful for the note.
Yeeees! Love that Vangelis brass patch!
Two of my most used modules are made in Barcelona, Endorphin.es' Milky Way and Cockpit 2. I moved to Long Island from Brooklyn some time ago and it has been real tough to find places to play out here compared to the city. I am trying to organize some local shows and find cool spots along the way. I do like the idea of playing at a record store. People see you through the window and come in and shop a little. We got a pretty good standing crowd.
Nice set.
-- ferranadsr
Big thanks!
Here is the final part of the set. I actually had some ambient connective tissue between these sets and there was another 10 minutes or so after this track that my DAW unfortunatly did not record. C'est la vie. It is a fitting conclusion. A little whimsy.
I wish. Someday I am going to do some UK synth tourism.
Nice sequel.
Orbit Shift, Satellite Fall... 'The saga continues'!
-- Sweelinck
Thanks :) Ha yes, I did get a little conceptual with this set.
I broke the video and audio I managed to capture from the set into three parts. This is the second track, which I think of as a sequel to Orbit Shift. Actually, Satellite Fall was thought of while thinking of names for what would become Orbit Shift, and I really wanted this one to have a related quality but with its own distinctive feel.
Yeah, sounding really great!!
-- wishbonebrewery
Thanks bud. Love your stuff too.
Thanks to you both for the kind feedback, it means a lot.
Regarding my teeshirt, ha! Yes, it is an original Soundgarden teeshirt from their Superunknown tour in 1994. Saying that shirt is nearly 30 years old blows my mind. I think it is officially past the point where I can machine wash it. That show may have been the last time it gets worn casually haha.
Great recording. Love your studio too.
part. 1/3 I recorded the set and decided to share it. As usual, I can't help but dance :# I split the set into a few sections. I think it works better for watchability. Here's the first one. It's actually a weird version of Orbit Shift, a collaboration I did with a drum and bass artist. I posted the official audio of that track here a few weeks ago. I didn't have my co-producer's bass or breakbeats, so I kind of winged a few drum sequences and a different take on the bass. Anyways hope you watch it and I'd love any feedback. Also, my hat.
Thank you! I love remote collaboration, and our collective experience during the pandemic has opened our imaginations for what is possible out of neccesity. Now that we're playing live again, I think the online compenent is here to stay.
Love the dark vibe and excellent soundcapture as well!
So, I connected with a drum and bass artist from Germany named ?BREAK ERROR and we swapped files back and forth for a few months. This is what came out of it. We really love it and would appreciate any thoughts:
Wow this is really fun
-- KatePower
Thanks, I thought so too. That gift was too interesting not to do something with it, lol.
Everything about this is good. So impressed. Thanks for making it.
Thanks you two! I actually got into modular as a way to accompany my guitar, but I ended up playing more synths. But it was good to bring them together again.
I've been workshopping a track on stream lately, and here it is. The interesting gear component is that I synced my modular synths with my Pigtronix Infinity Looper and Hologram Microcosm via MIDI. It is psychedelic and fun. Runs about 11 minutes:
Patch Notes
Arturia BeatStep Pro BPM 114 Project 09 Key G
Clock [out] ► Mother 32 [TEMPO]
Midi [out] ► DR-670
SEQ 1: 11-12
Pitch [out] ► Circuit Bent VCO [1v/oct]
Gate [out] ► Doepfer Dual ADSR Ch. 1 [gate]
SEQ 2: 11-15
Pitch [out] ► Plaits [V/OCT]
Gate [out] ► Doepfer Dual ADSR Ch. 2 [gate]
DR-670 Drum Machine Kit 5
Drum SEQ 1 - 4
Ibanez Roadstar II ►A/B Box
MicroKorg Vocoder ► A/B Box
A/B Box
Dyna Compressor ► Dark Matter ► Microcosm ► Afterneith ►Infinity Looper
Master Control
► BeatStep Pro
► Pigtronix Infinity Looper
Pigtronix Infinity Looper
► Zedi10 Pan C
WMD Triple Bipolar VCA
Ch. 1 [out] ► Zedi10 Pan C
Erica Synths Pico DSP
Out L ► Quad VCA Ch. 3 [in]
Stoicheia
Ch. 1 [out] ► Plaits [MORPH cv in]
Warps
Main Out ► Milky Way Ch. 1 [in]
Clouds
Out L ► WMD TBVCA Ch. 1 [in]
Circuit Bent VCO
Audio [out] ► Warps [Green in]
Mother 32
VCA [out] ► Pico DSP [in]
Gate [out] ► Stoicheia Ch. 1 [in]
Plaits Green Preset 1
Plaits [Out] ► Quad VCA Ch.2 [in]
Synthesis Technology Quad VCA
Mix Out ► Zedi10 Pan C
Ch. 2 [out] ► Wasp [Audio In]
Doepfer A-124 Wasp
LP [out] ► Clouds [L in]
Endorpin.es Milky Way
Ch.1 [out] ► Quad VCA Ch.1
Doepfer A-140-2 Dual Mini ADSR
Ch.1 [out 1] ► Quad VCA Ch.1 [cv in]
Ch.1 [out 2] ► CB VCO Effect [cv in]
Ch.2 [out 1] ► Quad VCA Ch. 2 [cv in]
Ch.2 [out 2] ► Wasp CV1 [in]
Here are the patch notes:
Impermanent Station
BeatStep Pro BPM 100 Project 04 Key C
SEQ 1-5:
Pitch [out] ► Erica Synths Pico VCO [v/oct]
Gate [out] ► Doepfer Dual ADSR Ch. 1 [gate]
SEQ 2-5:
Pitch [out] ► Synthesis Technology Circuit Bent VCO [v/oct]
Gate [out] ► Doepfer Dual ADSR Ch. 2 [gate]
Clock [out] ► Mother 32 [TEMPO]
WMD Triple Bipolar VCA
Mix Out ► Zedi10 Pan L
Erica Synths Pico DSP
L [out] ►WMD TB VCA Ch.1 [in]
Doepfer A-115 DIV
[out] ►Doepfer A-124 VCF5 Wasp [in]
Rebel Technology Stoicheia
Ch.1 Fast [out] ►Maths Ch.4 [in]
Ch.2 Slow [out] ►Intellijel Scales [TRIG in]
Clouds
Out L ► AI Synthesis Quad VCA Ch. 1
Erica Synths Pico VCO
[out] ► Doepfer A-115 DIV [in]
Circuit Bent VCO
Audio ► Joranalogue Filter 8 Ch.1 [in]
Wogglebug
Stepped S&H ► Maths Ch.3 [in]
Maths
Ch.3 [out] ► Scales [PITCH in]
Ch.4 [unity out] ► Quad VCA Ch. 1 [cv in]
Ch.4 [EOC] ►Mutable Instruments Clouds [FREEZE in]
Mother 32
VCA ► Mimeophon [in L]
Gate [out] ►Mult [in]
Mult 1 [out] ► Wogglebug [SPEED in]
Mult 2 [out] ► Stoicheia Ch.1 [in]
ASSIGN [out] ► DFAM [ADV/CLOCK in]
Plaits Orange Preset 2
Plaits [Out] ► Clouds [L in]
Synthesis Technology Quad VCA
Mix Out ► Zedi10 Pan R
Ch. 1 [out] ► Cockpit^2 Ch.2 [in]
Instruō øchd
LFO 2 ► Plaits [TIMBER cv in]
Doepfer A-124 Wasp
LP [out] ► Pico DSP [in]
Endorphin.es Cockpit2
Mix [out] ► Zedi10 Pan C
Endorpin.es Milky Way
Ch.1 [out] ► Quad VCA Ch.2 [in]
Jornalogue Filter 8
180 [out] ► Milky Way Ch.1 [in]
Doepfer A-140-2 Dual Mini ADSR
Ch.1 [out 1] ► WMD TB VCA [cv in]
Ch.2 [out 1] ► Quad VCA Ch.2 [cv in]
DFAM
VCA [out] ► Cockpit^2 Ch.1 [in]
PITCH [out] ► VCF MOD [in]
VCO EG [out] ►NOISE LEVEL [in]
This is the full track I made with the Tesla coil and Mother 32 bass line with a DFAM backing. The one I posted earlier was the "making of" video. This is just the finished result. I would love a like if you think its cool.
RAAF!!!!!
Welcome! You have a great personality, and your camera work and lighting are already far ahead of the curve. You have a subscriber in me all the way. Can't wait to see what you do. I have no advice for you because I think you are already in a place where it'll be up to you to bob and weave, to tweak your channel until your audience arrives; but your willingness to post this and receive feedback tells me you are going to be just fine. In fact, that would be my only advice and you are already a pro at it: be open to changing your approach.
-FF
I do also have the ADE-50 which usually leaves me with plenty of vcas...or at least it hasn't been a problem yet.
Bah, my too casual a look blended the ADE-50 with the Maths, totally missed it. Cheers.
I noticed you have Intellijel (love them) Quad VCA, which has great additional features of boosts, individual attenuator pots, etc, WMD makes a real interesting Triple Bi-polar VCA. I don't think you need more VCAs like that. Maybe not as simple as the A-130-8v from Doepfer, but just some extra VCAs that allow you to take advantage of all the power you already have. Oh and along with those VCAs some LFOs, maybe throw an øchd in there :)
Ha, thanks for watching. I know its def not very practical, but a fun project for a Christmas nicknack.
imho this is actually a nice little rack. If you are just beginning you have all you need VCOs, VCFs, VCA, a sequencer, and some FX. You will of course grow into your own way of using them together and you'll get more stuff soon enough. I suggest as you do to get more simple VCAs and proper ADSRs. Maths is great in a pinch, but good ADSRs open up many new paths for modulation. Can't wait to hear more!
