“This was a patch experiment using the new Mutable Instruments Rings/Clouds Modules, and trying to create strumming/plucking guitar like sounds within a patch. The inspiration came from playing around with the Clouds Parasites 1.3 alternate firmware running in the Resonator mode highlighting the “scatter” (or strum) function.
The master clock was the Tiptop Circadian Rhythms module, taking the first 4 outputs into my Nord Drum 2 for the Kick, snare, closed and open hi-hats. From there the clock output from the CR was multiplied and then sent to the Modcan Touch Sequencer.
First row output from the TS was sent to the intellijel Shapeshifter creating a two note baseline sequence that comes in at 1:58. The second sequence Row2 output from the TS was sent to the “ALM Akemie’s Castle” module OSC A output using the chord function, that comes in at 25 seconds. The gates from the modcan where set to a 16th’s pulse sequence. Modulation from the synthesis technology E102 Quad Temporal Shifter output 1 modulating the Multiplier input on Operator 1.
The 2, 3 and 4 outputs from the E102 where also modulating the Operator 2, 3, and 4 inputs on the Akemie’s Castle. This was creating the harmonic timbre changing as the sequence was playing. The slowly evolving sweeping noise textures that come in at 1:09 is from the Music Thing Radio Music module. The sample was a white noise sampled lightly filtered and then sent to the intellijel HexVCA with the amplitude CV control via a Intellijel Dixie modulating from slow to high rates (free running).
The Make Noise Rene was being externally clocked from the Circadian Rhythm, and was sending out a quantized output to the Mutable Instruments Clouds pitch input creating the chord guitar sequence. The strum sounds on Clouds was played by the 4ms QCD running in 32th division output into the Trigger input. The freeze input was also triggered by a Ladik R-110 Random clock module. The combination of the two created the trill chord like strums.
The bass guitar tone sound that comes in at 1:24 are from the MakeNoise Mysteron, that is being sequenced by the Modcan Touch Sequencer, Row Output 3 was programmed in the same key but a lower octave. The “Rings” module was creating slow attack soft high pitched chords in reverb that come around 2:50. There was additional processing of the Clouds output that was sent into the Tiptop ZDSP module running the “Halls of Vahalla” card program 8 “Ginnungagap” creating the high pitch octave deep reverb shimmer effects.
The harmonic slow swells that come in at 3:30 where created using another intellijel Dixie oscillator sine output running into an Strymon “Big Sky” pedal being harmonically controlled by an intellijel µScale V1. The output was being played slowly then processed using the “Choral” mode, creating the slow shimmer swells. The entire mix was sent into the Eventide Space pedal using the “Corridors” patch.
“Harmonic patch using the new MakeNoise tELHARMONIC is a Multi-Voice, Multi-Algorithm synthesizer, and 4ms Spectral Multiband Resonator.
The master clock is the Tiptop Circadian Rhythms. Clock output running into the Modcan Touch Sequencer.
Channel output one running into one intellijel Dixie (V1) for the bassline. Dixie output running into a Mutable instruments Ripples filter (LP4), triangle waveform.
Second channel output sequencing quantized 8 note sequence to the telharmonic oscillator, creating the first lead sequence in the patch (major scale set). One Mult output taken and sent to the Strymon BigSky reverb pedal to create the delicate swarm pads that rise in and out at the builds. Amplitude control of the slow rises via the intellijel HexVCA, slow rate control from one Modcan Quad LFO. The other output is then taken and sent to the Qu-bit RT-60 reverb.
Third output from the Modcan TS sending quantized CV to the MakeNoise STO oscillator variable SHAPE output then sent through lower section of the MakeNoise Optomix.
The forth output from the Modcan TS is sending a 4 chord pattern (min9) to the intellijel shapeshifter module in chord mode. This output is then sent to another Qu-Bit RT-60 reverb algorithm. MakeNoise Mysteron plucking guitar like effect being triggered by a 4ms RCD, 5th trigger out. The Mysterson then is running out into a Strymon BlueSky pedal, reverb.
Drum sequencing from TipTop CR, channel one kick drum going to the Nord Drum 2. Second channel number 2 triggering a custom snare drum made on the Nord Drum 2. Channel 6 from the CR triggering a low bass drum, in the key of “C”. Clock output from CR into the 4ms SCM being rotated by a intellijel dixie sine wave output running at a slow rate shifting the 16th’s hi hat pattern.
Noise source for hi-hats are the SSF quantum rainbow 2, purple output running into the MakeNoise Optomix. The high end snare clap sound is by the Synthrotek’s DS-M drum module, then being lightly processed by the Synthrotek DLY, slowly CV controlled by a Modcan Quad LFO in random mode creating more glitchy effects. This is then being sequenced by channel number 2 from the tiptop CR. The first lower left side 4ms Spectral Multi-band Resonator processing 72 custom DSP samples, which are being played by one addac wave player. The output is then being sent to a intellijel uVCF filter (hi pass), for the light subtle glitch textures. The second 4ms Spectral Multi-band Resonator, processing another set of 32 samples (noise washes/slow rises/falls) via channel number 4 from the CR tiptop.
From here the output is being processed by a Mutable Instruments Clouds (granular mode), being controlled by the Pittsburgh Modular Game System running “Meteor Shower” mode in which the explosion based gates and random control voltages are then being sent to 3rd Dixie, controlling the CV rate time then from there its sent to the “Freeze” input on clouds, processing small bits of audio coming from the second addac waveplayer,
The second output coming from the gamesystem is going into the “position” input on Clouds, which is doing some additional glitching to the signal.Main output from a intellijel Mutagen mixer then ran through the Eventide space pedal for extra spatial atmosphere. 🙂
For those wanting the track, its available here (Free Download)
“This patch was inspired from the Industrial Guitar Tones patch from the Mysteron Manual via (Walker Farrell (@VortexRanger).
Instead of using a DPO in tune to a fth, or octave + above Mysteron I used a intelljiel quantizer, shifting through a 5 note scale, which was running into the Pitch1 input. The output was then put into a Synthesis Technology E580 resampling mini-delay, setting the offset time very low, while setting the feedback almost at 90%.
Mix was set at 50%, while the offset CV control was being controlled by channel 1 output on the Modcan Quad LFO, which was being clocked by the SSF Ultra Random. The output from here was sent to the MakeNoise Erbverb reverb, that was being controlled by the seed out on the Animatter BrainSeed module, which was clocked from a SSF UltraRandom and using the A, A/B and B S&H outputs going into the “type”, !!, “generation”and “depth” inputs.
4 note low bassline using one MakeNoise STO sequenced from one Brains and Pressure Points, running and /8 clocked speed from the A-160 Clock/Trigger Divider. Purple noise output creating the micro hi-hats triggered swing triplets via the 4ms QCD, and slow white noise rises from the SSF white noise output, controlled by a Dixie “triangle” wave output running and synced at a slow rate.
Noise output then running into the Mungo d0 adding little glitches to the signal. The kick drum is the Tiptop 808 BD, set with a very short decay time, sequenced from channel 1 on the TriggerMan.
Rich 4 part harmony chords recorded from a Roland Jupiter-6, and then played from the Qu-Bit Nebulae module triggered in time by a divided 32 from the doepfer A-160 to reset loop playback with the entire sequence.
Reverb throws from multiplied output from Mysteron into the intelljiel HexVCA, channel 6 being opened by channel 4 random S&H output from the Modcan Quad LFO. Scattered single notes via the Mutable Instruments Braids triggered by the intelljiel “uscale”, 16 note lowpass gate openings via the Optomix.”
“Patch experiment using 3 intellijel Shapeshifters in more of a musical patch. I first went into all three modules and saved 12 custom patches for each shapeshifter.
The first shapeshifter (far left) was programmed using more lower bass modulated sounds and I set the multi scan function to 8 for both VCO’s. This created the odd off time dub step wobble and vocal like effects. The step sequence was set to random. I also saved slightly different echo amounts, and set different decay times for the various patches. The next Shapeshifter (middle position), was used primarily as a lead line source. I saved here 12 different melodic timbres that would slowly change in half time increments.
The effects are subtle but would act as a double lead line harmony. This is being sequenced by the Metropolis sequencer above in my Goike case. The third shapeshifter (far right), was doing more low LFO pulsing wobbles and digital noise like effects.
I saved the first odd numbered programs to be low bass like wobbles in the same key as the first shapeshifter using the muti setting of 8 and 4. The even numbered programs had low bit colored noise presets to off set the spacing and imply more random like textures into the sequence. This was controled via the Modcan Quad LFO running in sample n hold output, running at a slow rate. The rhythmic clocking source is the “Trigger Man” sequencer by Delptronics.
All three shapeshifter inputs are synced from the TriggerMan clocked outputs, but at different rates that created the syncopated splashes of texture around the main beat.
Kick drum is courtesy of the Blue Lantern “Asteroid BD” V4 module. The snare drum was created by the Mutable Instruments Braid oscillator, running in “CLKN” mode with the envelope setting to “pong”. Hi-Hats from the red noise output on the Blue Lantern “Mr Blue” being triggered by the TriggerMan 16th pattern output to cv controlled via the intellijel hex VCA. Small glassy percussion tom via the JoMox Membrane 11 module. The middle shapeshifter output running through the Eventide Space, and “mix A” output running into Strymon blue sky pedal with only 20 percent wet mix in norm/plate setting. All recorded live in one take 🙂 “
Superbooth 19 – Live
“Pure bliss this morning creating swarming harmonic crystal swells with the Spherical Wavetable Navigator. Running the self-modulation mode on the SWN to modulate the inner timbre/spread parameters and the slow sequencing of the pitches. The SWN was externally clocked using a 4ms QCD, then from there the clock was multiplied out to two Qu-bit Octone modules that played at a 32nd pulse rate-controlling one mutable instruments Braids, and a 2hp plucked VCO. The mix out of the Spherical Wavetable Navigator was sent into a Makenoise Qpass, then into the 4ms DLD and Topographic Delay modules for the reversing cascading delay effects.