Boss DM-2w connected and modulated via ALM Busy Circuits S.B.G Stompbox Gateway.
Patch notes:
ALM Busy Circuits Pamela's New Workout is supplying pitch CV, modulation, and triggers for the whole patch.
Channel 1 and 2 are running two different euclidean patterns of attenuated and offset random CV, those are joined by the precision adder on Mutable Instruments Links and then sent to the Intellijel uScale II, and then to Rings.
Channels 3, 4, 7 and 8 are sending LFO to brightness, frequency, damping and position on Rings.
Channel 6 is sending triggers to the trigger in on Clouds.
Channel 5 is sending a heavily attenuated random CV to the EXP input on the S.B.G, which is then converted to expression pedal, and sent to the expression pedal input on the Boss DM-2w.
All channels on Pam's are making heavy use of the random step skipping.
Mutable Instruments Rings is in sympathetic strings mode with 4 note polyphony. The odd output is patched into the input of the S.B.G, out to the Boss DM-2w and back again, and from there to the Clouds.
Boss DM-2w is in the custom mode, with medium feedback.
Mutable Instruments Clouds is the last step in the patch, adding some extra ambience and some stereo movement.
Note this is a playlist of Sequenox's videos to date. Just discovered them. You can use the player controls to jump around.
Playlist:
Moog Subsequent 37 CV Triads
Moog Subsequent 37 CV
Extended Eurorack Modular Jam with Moog Subsequent 37 CV
Modular Rhythms with Moog Subsequent 37 CV
Korg MS-20 and SQ-1 crunchy sequencer
Korg MS-20 SQ-1 Love
Jomox Sunsyn Minimalism
Moog Muzak in a Major Mood
Moog Subsequent 37 CV with Eurorack Modular demo
Eurorack Modular Synth Explorations 504 Space Jazz
Eurorack Modular Synth Explorations Mutable Instruments Elements 4ms Dual Looping Delay
Koma Elektronik Field Kit
Noise Engineering Loquelic Iteritas Fun
Mutable Instruments Elements in chord mode with Noise Engineering Loquelic Iteritas drone
Mutable Instruments Elements and Intelligel Metropolis slow jam
DSI Prophet REV2 noise and oscillators with arpeggios and four pole filter
Prophet REV2 arpeggios with four pole filter...
Playlist:
Modular Jam : Lords of the West : Rings, Elements, Clouds, Peaks
Modular Melody: Church of Meta Q - Tides (Parasite), Function, Clouds
Modular Jam: SynthTech E350/E355/E440, Mutable Instruments Elements/Clouds, Pittsburgh SV-1/KB-1
Modular Patch/Performance: Slow to Go
Modular Patch/Performance:- The Big Build
Modular Patch/Performance: Sargasso
Modular Patch/Performance: Fair Winds
Modular Patch/Performance - Over the Clouds
Modular Patch/Performance: March of the Shift Register
Modular Etude #1
"Mutable Instruments was a game changer in eurorack. MI modules inspired many musicians such as myself in ways I never thought imaginable. Music i never thought Id make is because of mutable instruments. Goodbye Mutable Instruments. Thanks for helping me broaden my music capabilities.
Mutable Instruments Modules used in this video: Mutable Instruments Rings Mutable Instruments Plaits Mutable Instruments Elements Mutable Instruments Tides Mutable Instruments Clouds Mutable Instruments Braids"
Mutable Instruments' founder, Émilie Gillet, recently announced the following:
“I won’t design new modules and production is progressively stopping. Modules are marked as discontinued when the last shipment is sent to dealers. I can’t predict when it happens as it depends on how fast a batch is made, and how fast it gets sold. It might happen in a week, in a month or in a quarter. There is no easter egg, no plot twist, no teaser.”
Exploring Modular Synths Episode 0 - Beginner's Mind - Introduction and First Patch
"This video is for beginners interested in exploring modular synthesis. It explains what a modular synth is, different types of modules, and how to create a first patch. I try to go step by step and use Pressure Points and Brains as a sequencer to run the Dixie ii+ oscillator, Peaks for envelopes, and the Echophon delay."
Exploring Modular Synths - Easy Patch Introduction Video 1
"This video series is an introduction to modular synthesizers, with each video exploring a few modules and showing how to create an easy patch. This first video features the Make Noise Rene, the Intellijel Dixie ii+, the Xaoc Batumi and the Harvestman Polivoks filter. This is on an introductory level so we're just scratching the surface of these wonderful modules!"
Exploring Modular Synths - Easy Patch Introduction Video 2
"The second video in a series exploring modular synthesis a few modules at a time by showing easy patches step-by-step. This patch explores using Make Noise Maths to control a Make Noise Rene sequencer, going to a Wiard Anti-oscillator, further modulated by a Make Noise Pressure Points, and finally into the Mutable Instruments Clouds for some granular effects."
Exploring Modular Synths - Easy Patch Introduction 3 - Batumi and Clouds
"A patch exploring just two modules -- the Xaoc Batumi and Mutable Instruments Clouds. The Batumi is used both as a sound source and to modulate itself and Clouds. Only these two modules are used (the Azimuth is just trimming the output to the monitors to control levels and could be removed from the patch)."
Exploring Modular Synths - Introduction to Patching No. 4
"This is a quick run through of a more complex patch on the modular synthesizer."
Exploring Modular Synths - Patch 5 - Getting Your Synth to Play Along using the 4ms SMR
"This video explores using the 4ms Spectral Multiband Resonator as an evelope/trigger generator based on incoming signal, to turn your modular synth into an accompanyist that can play along with any kind of music. In this case music is played from a Radio Music module. The end result was kind of like a drunk tuba player and a drunk jazz drummer playing along with the music -- more tweaking could no doubt create a better effect!"
Exploring Modular Synths - 6 - Fuller patch with three sequencers and Pressure Points for Chords
"First I explain the patch, which is using Pressure Points for chords, and three sequencers (two Mother 32's and the Rene), plus Dixie ii+, Wiard Anti-oscillators and Braids for sound sources, and Peaks for a bass drum. Then I play the patch a bit."
Exploring Modular Synths 7
"This video explores a patch centered around the 4ms Spectral Multiband Resonator. Explanation is given and then the patch is played."
Exploring Modular Synths 8 - Using the Echophon as an Oscillator
"Almost anything in your modular synth, it seems, can be used as an oscillator or sound source. In this very simple video, the Echophon is used as an oscillator by capturing some inputted audio with the freeze button. It is sped up to audio rate, and then CV comes in via the pitch input to play that frozen audio."
Modular Expedition 22 - Improvised Modular Synthesizer Music
"Live performance on a modular synthesizer. An explanation of the patch is given in the video 'Exploring Modular Synths 9'."
Exploring Modular Synths 9 - Explanation of Patch and Performance of Modular Expeditions 22
"This video explains a somewhat involved patch used in the piece "Modular Expeditions 22" which is available as a separate video without explanation and with better audio quality. If you haven't seen that, you can go watch that first. In this video, after the explanation of the patch, the piece is played through as a shorter version than the other video. This piece is built around a sequence in the Rene that goes out to the Dixie, the Intellijel Shapeshifter, and Braids. Drums from the Ladik Twin Drums module and hi-hats from noise from a Mother 32 accompany. The piece begins and ends with pads from Pressure Points into two Wiard Anti-oscillators and into a 4ms Spectral Multiband Resonator complement the piece, played into Clouds. Echophon is used for some DJ-like wiggling effects at times."
Modular Expedition 23 - Random Orchestral Movements in the Dark
"Live performance on a modular synthesizer. The explanation for this patch can be found in the video 'Exploring Modular Synths 10.' The patch is meant to resemble an experimental sympohony orchestra and is built around a Korg SQ-1 sequencer, Intellijel Shapeshifter and Mutable Instruments Clouds. Thanks for watching!"
Exploring Modular Synths 10 - Clouds and Shapeshifter for Random Orchestral Movements in the Dark
"This patch uses the Korg SQ-1 sequencer, the Intellijel Shapeshifter and Clouds to create the effect of a symphony orchestra playing an experimental piece of music. The Batumi and Dixie ii+ are used for low-frequency oscillation for modulation. A fuller performance of the patch is available as 'Modular Expedition 23.'"
Exploring Modular Synths 11 - Self-patching a Dixie oscillator
"This video tutorial for beginners starts with an exploration of what happens when you start to patch an oscillator back into itself, using the Dixie ii+ as an example. The self-patched Dixie is then sequenced with a Make Noise Rene and Pressure Points going into an Echophon and Mutable Instruments Clouds. Thanks for watching!"
Exploring Modular Synths 12 - Strymon Big Sky
"This video explores a basic patch with the Shapeshifter sequenced by the Rene to show off the Strymon Big Sky and what it can add to a modular synth"
Exploring Modular Synths 13
"A video showing a patch of a groovy synth bass line featuring the Strymon Big Sky reverb pedal."
"Ears is Mutable’s take on the Music Thing Modular Mikrophonie module, Ears is a perfect match for physical synthesis modules like Rings or Elements, but it can also be the gateway between external audio sources and your modular system.
We don’t normally stock non DIY products at Thonk, but when Olivier offered us a worldwide exclusive on the first batch of his new Ears module… how could we refuse?!
This module brings together two of the most (if not the most..) prolific and creative designers in the open source Eurorack scene, Mutable Instruments and Music Thing Modular.
Ears is Mutable’s take on Tom Whitwell’s Mikrophonie module, Ears is a perfect match for physical synthesis modules like Rings or Elements, but it can also be the gateway between external audio sources and your modular system.
4hp
5mA draw on both the +12v and +12V supply rails
25mm deep"
Published on Sep 15, 2016 Robin Rimbaud-Scanner
And a couple of user videos:
"First play today with Ears, Mutable Instruments take on Tom Whitwell’s Mikrophonie module. Literally only the first patch set up wto test it out today. Qu-Bit Electronix provides a constant drone, taking a loop of my voice humming away, as Elements is played by Ears, with the various changes affected by my touch. Arturia BeatStep Pro offers up the melodic content. Simple but fun. This looks likely to live in my performance case for some time now!"
Experimenting with Mutable Instruments Ears Contact Mic Module
Published on Sep 15, 2016 Leafcutter John
"Ears is released on Friday 16th September 2016 and is available through Thonk. https://www.thonk.co.uk
In order of appearance:
1. Tapping the inbuilt pickup through clouds.
2. Ears triggering a René sequence into Rings...
.....Then plugging the audio output of Ears into the in of Rings.
3. Pinging an ossilating Wasp filer.
4. Running contact mic from fan into Ears - Wasp - Clouds.
5. Contact sound of Clouds button through Ears - Wasp - Clouds...
.....Then controlling Clouds hold using inverted Ears gate.
6. Music box Contact Mic - Ears - Wasp - Clouds.
7. Feedback through Ears builtin pickup - Wasp - Clouds.
8. Spring box - Contact Mic - Ears - Wasp - Clouds.
9. Bowed Cymbal - Contact Mic - Ears - Wasp - Clouds.
10. Percussed Cymbal - Contact Mic - Ears - Wasp - Clouds.
11. Stick-rub Cymbal - Contact Mic - Ears - Wasp - Clouds.
12. Stick-rub Cymbal - Contact Mic - Ears - Wasp LFO on cutoff - Clouds.
ALM Busy Circuits Pamela's New Workout is the main clock and trigger sequencer.
Channel 1 sends a random gate to trigger the Korg SQ-1 (settings: x1, Gate, RSkip CV1).
Channel 2 is triggering the S&H on Mutable Instruments Kinks (settings: /2, Gate, RSkip CV1, EStep 05, ETrig 05).
Channel 3 sends a gate to the strum input on Rings (settings: x2, Gate, RSkip CV1).
Channel 5 is self-patched into the CV1 input on Pam's, sending a random CV to control the amount of random skipping on the rest of the tracks (settings: /5, Random, Level 70%, Offset 30%, Width 100%).
Channel 6 is triggering the kick drum on channel 1 of Mutable Instruments Peaks (settings: x1, Gate, RSkip CV1, EStep 05, ETrig 03).
Channel 7 is triggering the strike input on the second channel of Make Noise LxD (settings: x1, Gate, RSkip CV1, EStep 05, ETrig 04).
"An ambient piece for my Eurorack modular system. All sounds/effects from the rack.
Patch Notes:
Piano Sound: Mutable Instruments Rings (in symphathetic string mode) being excited by Mutable Instruments Braids in "CLOU", running through a Make Noise MMG and a Laurentide Synthworks VG2. The VG is getting a quick exponential envelope from a Make Noise Maths. Rings going through a Mutable Instruments Clouds in granular mode with audio-rate random modulation from a Qu-Bit NanoRand. As the song progresses, I slowly make the envelopes on Maths longer and turn up the wet/dry mix on Clouds. Rings is also multed to an Alright Devices Chronoblob delay.
Lead: A second Mutable Instruments Rings (also in symphathetic string mode) being excited by the same Mutable Instruments Braids in "CLOU", except that the signal is multed straight from the MMG bypassing the LPG for a constant drone. This Rings is going into a Mannequins Three Sisters filter into the high input and output and then into a Make Noise ErbeVerb.
Bass: Make Noise STO running into a second Mutable Instruments Clouds in looping delay mode on the lowest quality setting and a Mutable Instruments Streams in compressor mode.
All sequencing provided by a Korg Electribe 2 via a Vermona QMi2 MIDI to CV module."
1. Mutable Instruments Beads - exploration and tutorial by Tom Leclerc
2. Mutable Instruments Beads (no input) by Robin Rimbaud-Scanner
First play with the Mutable Instruments Beads texture synthesiser. And here's
a wonderful surprise - if you leave both audio inputs unpatched, then after 10
seconds it begins to granulise a collection of stored raw waveforms taken from
Mutable Instruments Plaits wavetable module. So here's a piece using Beads as
the lead voice on this cinematic piece, with no other inputs. I added other
instruments afterwards for rhythm and bass, and the singular pulse that holds
throughout is from the Make Noise Mysteron. This is just an idea to show Beads
in a very musical context
3. Heidi Concrète (featuring Mutable Instruments Beads) by Robin Rimbaud-Scanner
An experimental piece using Mutable Instruments Beads, the texture
synthesiser, processing an audio file. No addition effects or processing were
used. This is simply a live exploration of a single audio file with Beads. The
original voice introduces and closes the piece so you can compare the two
sonic worlds before and after Beads. The voice is taken from a scanned phone
call in the early 1990s that features on my Delivery (1997) album.
4. A Little Beat with Mutable Instruments Beads (Wavetable Mode) by midcentury
modular
This is Beads running in the internal wavetable mode (and a kick drum from
plaits). I've got a gate going into freeze that acts as a mute when the kick
comes in (sort-of side-chain like), and I'm also manually pressing it to mute
and sustain the random sequence.
The pitches are not from an external cv source but generated internally with
the peaky random distribution into the time knob. The pitch changes with this
parameter seem to be somewhat harmonically related (though I'm not sure what
specific scale) to the root set by the pitch parameter.
5. Overdriven Ambient Looping with Mutable Instruments Beads by midcentury
modular
This video is some improvised choir sounds (from the Ableton Operator synth,
played with a midi keyboard) ran into Mutable Instruments Beads in the
delay/looper mode (with "sunny tape quality") Throughout, I add to the buffer
by tapping out of freeze mode and back in. When the feedback is up, things
stick around, so you can progressively add more and build up the buffer. I'm
also experimenting with overdriving the input (by turning up the audio level
going into beads from ableton with the top left 1U knob)
6. Mutable Instruments Beads (Scorched Cassette Mode) and Ciat-Lonbarde
Plumbutter Deerhorn by midcentury modular
This patch is my attempt at using Beads to add some Cocoquantus-like magic to
the Deerhorn. I think the downsampling, lower-bitrate and whatever other DSP
tricks are happening in the Scorched Cassette mode are crerating a somewhat
similar vibe to the 8-bit dolby loopers in the Coco, and I think this adds
some really nice fizzy textures to the warm, raw-oscillator tone of the
Deerhorn). Beads is also pitching down the two tones from Deerhorn to add a
bit more melodic content.
There is some very subtle modulation coming from the orange out on Deerhorn,
but it's not really doing a ton and could probably be left out and you
wouldn't be able to tell much of a difference. There is some audio-rate
modulation coming out of one of the white deerhorn outputs into the density
input, which is modulating some of the AM stuff going on when density is high
towards the end of the track.
No idea why the snapping gesture with the density knob caused the "knock on
wood" sound, but I think it was a pretty cool accident!
7. Noisy Experimenting with Mutable Instrument Beads, Blades Ripples and Plaits
This patch (at least as much as I remember it...been a while since I made
this) is Beads and Blades in a sort-of feedback loop. Blades is over-driven
and self-oscillating, and the outs are sent to control seed and freeze on
Beads (which is using the internal wavetable generator as audio input). After
trying out various ones, I found these two control inputs on Beads the most
interesting with audio rate signals. The outs of Beads are going into the
audio inputs of blades. Both modules outs are multed out and into veils which
is acting as a stereo mixer. Ripples (which is getting some noise into its
cutoff modulation input from Plaits) is providing some audio rate modulation
to some of the Veils channels.
"Beads is a reinvention of Mutable Instruments’ Clouds.
The concept is the same, live granular processing of an incoming audio signal, and the labels on the panel remain familiar.
The similarities stop here. The hardware and software have been redesigned from the ground up, with several goals in mind: a crisper and broader sound palette, more control, better playability, and direct access to exciting new features.
DOTTING THE I’S AND CROSSING THE T’S
Beads’ vastly improved specifications allow a higher audio quality, a longer buffer, the use of better interpolation and anti-aliasing algorithms, and key DSP blocks to run at a faster rate. Granular processing can now go to new territories, such as formants, wavetables, hard-sync-like sounds, or crispy noise.
The range of parameters, their response to the turn of a knob or a CV modulation have all been refined, for new possibilities such as reverse playback or percussive envelopes.
CONTROL, CHAOS AND CHARACTER
Control. To trigger or schedule grains, Beads provides new features to divide or randomize an external clock or trigger stream, spray bursts of grains in response to a gate, or get the grain rate to track a V/O CV or the frequency of an external oscillator.
Chaos. Each key parameter of a grain comes with its own attenurandomizer, which allows direct CV control, CV control of the randomization (spread) of this parameter, or internal randomization using some of Marbles’ algorithms.
Character. Beads provides four audio quality settings, which go well beyond buffer sample rate and bit-depth: they affect the clock of the converters, the amplitude limiting and saturation of the signal path, the tone of the reverb, and additional media-emulation effects. From a pristine digital device to a dirty cassette, through a mode reproducing some of Clouds’ characteristics.
MODES?
Beads can operate as a delay without the need to switch to a different mode: just ask it to play a never-ending grain. Its DENSITY, TIME and SEED controls are repurposed to allow various features such as tap-tempo, beat slicing, time-stretching, or comb-filtering at rates tracking V/O.
Without any audio input, Beads will granularize 8 internal banks of wavetables.
"Another downtempo patch for my eurorack modular suitcase. Featuring a Teenage Engineering PO-12 for percussion. Heavily featuring Mutable Instruments Clouds and Rings.
Patch notes:
Main pad: Mutable Instruments Rings (fed by Bastl Noise Square) into Mannequins Three Sisters multed into Mutable Instruments Clouds (on looping delay) and Make Noise Erbe Verb.
Bass: Make Noise STO into Mutable Instruments Streams (VCF mode).
Lead: Mutable Instruments Braids (Pluk) into Make Noise MMG into Alright Devices Chronoblob Delay.
Percussion: Teenage Engineering PO-12 into Mutable Instruments Clouds (granular). Size is randomly being woggled by Qu-Bit Electronix NanoRand and pitch is being randomly woggled by Make Noise/Wiard Wogglebug.
All sequencing provided by the Korg Electribe 2 via MIDI with the Vermona QMI2."
"This ambient modular synthesizer patch is an attempt at creating generative music - music that is ever-different & changing, as created by a system. The patch could go on and on with very little or no repetition or interaction. As you see in this video, I powered up the case and walked away, letting it run by itself.
Generative Music revolves around the idea that music, or sounds may be "generated" by a musician selecting parameters within an ecology, such that the ecology will perpetually produce different variations based on the parameters and algorithms used.
I chose to record a long video for those who want background music, music to fall asleep to, or to find the best music to listen to while studying, or for those wanting to hear dreamy yet spooky cinematic analog sound progressions.
My original thought on this piece: imagining someone who's in a deep dream state but experiences subtle interruptions, as if they are getting knocked in and out of consciousness because they are dizzy or hungover.
Only using 2 oscillators (Make Noise's STO and Pittsburgh Modular's Oscillator) and a lot of effects, this one even surprised me! Some of the deep tones sound like brass instruments blaring, while others formed melodies that sound like French Horns.
While some reverb is coming from the Mutable Instruments Clouds, the entire mix is sent through an Eventide H9 Harmonizer Effects Processor.
Clouds Parasite - 1. Oliverb Mode Published on Jun 6, 2015 mqtthiqs
"First demo/tutorial of the Clouds Parasite free alternative firmware for Mutable Instruments Clouds. More information and download at http://mqtthiqs.github.io/parasites."
Clouds Parasites - 2. Resonestor Mode
Published on Jun 6, 2015
"Second demo/tutorial of the Clouds Parasite free alternative firmware for Mutable Instruments Clouds."
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.
