MATRIXSYNTH: 3 Modules #50: Dual Looping Delay, Clouds, Ears

Thursday, March 22, 2018

3 Modules #50: Dual Looping Delay, Clouds, Ears


Published on Mar 22, 2018 Comparative Irrelevance

"I know a lot of people build Eurorack systems to process external audio, and Clouds and DLD are both good candidates for that purpose, so let's give it a stab.

By the way, what are your thoughts on using external audio in this series? Do you think it goes against the premise of "just three modules"? My feeling is that it flies as long as it's just a basic sample or loop like this. It should be pretty evident what the raw sample sounds like and what sounds or effects are produced by the modules, and the majority of the "performance" should take place in the rack, so to speak.

I'm not planning on relying too much on external audio, but I think it makes sense to include it occasionally as it's a pretty common way to work with the modular, and it makes for a more musical use of "effect module" combinations like this one. Perhaps I should get a sample player like a TipTop One in place of Ears, as a way to integrate that aspect more closely with the rack?

Patch notes:

Patch wise, this is pretty simple: audio comes in from my computer (playing a short piano loop I recorded earlier), is passed through Clouds' granular mode and then into the DLD, where I'm using the two channels in stereo.

I'm using Ears as a sort of "performance control", with the envelope follower output patched to Clouds' Position and Density. That way, I can scrape and push the contact mic surface to access different parts of Clouds' frozen buffer. With the Density knob set to 12 o'clock, no grains are produced as long as I'm not touching Ears. Hitting/pushing the contact mic harder leads to a higher density of randomly distributed grains, so there's a somewhat logical connection between the tactile interface and the sound produced.

I'm using Clouds to produce "impulse" sounds, with lots of reverb to make long, sustained tones from short snippets of the piano sample. DLD to makes a backdrop of short, rhythmically pulsating loops – using different subdivisions of the clock for each channel can make for some really hypnotizing rhythms.

In the beginning you can hear the clean sample passed through for a while, before I turn up Clouds' dry/wet blend to full. From there on you're only hearing the sound as processed by the modules until I turn the blend down again around the 8 minute mark.

* * *

Thanks for watching!"

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