ALM System Jams

video uploads by ALM TV

Playist:
System Jam #1

This patch is from a series of jams featuring an all ALM groovebox style setup with sequencing from the ASQ-1 & Pam, sounds from Squid, Akemie’s Taiko & Tyso Daiko, and mixing via 2 MEGA-TANGs, Jumble Henge & MFX. A faderbank with 16 offsets is patched around the system for performance and macro controls (making use of the assignable CV inputs of Squid, Pam and MFX).

Big thanks to Ed2d (Edd Butterworth @begg_egg) for the patch / performance and Andrew Duff (@allthesixes666) for the video synth visuals.

Patch notes:
A chord and bass line from the Squid Salmple are processed through the built in channel filters with their cutoffs controlled via assignable CV by the faderbank offsets. The bass line is only triggered, with pitch changes occurring via stepping through different cue sets. The v/oct inputs are used to transpose the chord and bass lines together using the ASQ-1’s global transpose function.

The snare and vocal samples are also a single sample using cue sets to step through different sounds each time the channel is triggered. An additional snare from the Tyso Daiko is layered in and processed by gated PL8 reverb from an MFX.

The faderbank sliders control many changes including open hi-hat width, sample pitch, and the snare/vocal rolls. To create the fast rolls, Pam’s new ‘ratchet’ wave is used to trigger the sounds, with the slider controlling the width parameter to let more/less ‘triggers’ through.

System Jam #2

This patch is from a series of jams featuring an all ALM groovebox style setup with sequencing from the ASQ-1 & Pam, sounds from Squid, Akemie’s Taiko & Tyso Daiko, and mixing via 2 MEGA-TANGs, Jumble Henge & MFX. A faderbank with 16 offsets is patched around the system for performance and macro controls (making use of the assignable CV inputs of Squid, Pam and MFX).

Big thanks to Ed2d (Edd Butterworth @begg_egg) for the patch / performance and Andrew Duff (@allthesixes666) for the video synth visuals.

Patch notes:
A chord sound from Squid starts off the track with a different cue set for each chord shape. Each time the channel is triggered, the next cue set is selected to back a new chord.

The bass line is created using Akemie’s Taiko with pitch sequencing from the freely looping Quaid Megaslope into the ASQ-1 Quantiser. The Taiko is processed through the MCFx2 with envelope modulation from a Pip Slope that’s triggered at the same time. Using one of the faderbank offsets to the Taiko’s ‘Ratio’ CV input, the bass line is transposed up to produce a lead sound at select times.

The remaining drums and percussion sounds come from the Squid and Tyso Daiko.

System Jam #3

This patch is from a series of jams featuring an all ALM groovebox style setup with sequencing from the ASQ-1 & Pam, sounds from Squid, Akemie’s Taiko & Tyso Daiko, and mixing via 2 MEGA-TANGs, Jumble Henge & MFX. A faderbank with 16 offsets is patched around the system for performance and macro controls (making use of the assignable CV inputs of Squid, Pam and MFX).

Big thanks to Ed2d (Edd Butterworth @begg_egg) for the performance and Andrew Duff (@allthesixes666) for the video synth visuals.

Patch notes:
A unique bubbly sound from the Tyso Daiko is triggered using a voltage controlled Euclidean pattern from Pamela’s PRO Workout. One of the faderbank offsets is patched and assigned to control the number of Euclidean trigs, resulting in more or less frequent rhythms as the slider is changed. The pitch of the Daiko is controlled by the un-synced, freely looping Quaid Megaslope.

Both the kick and snare samples include cue sets, which are set later in the jam to ‘step’, jumping through different sounds each time the channels are triggered. The Squid’s built in channel filter is used on the kick drum, creating breaks in the patch as it is lowered. It is controlled by hand using the rightmost faderbank offset slider.

System Jam #4

This patch is from a series of jams featuring an all ALM groovebox style setup with sequencing from the ASQ-1 & Pam, sounds from Squid, Akemie’s Taiko & Tyso Daiko, and mixing via 2 MEGA-TANGs, Jumble Henge & MFX. A faderbank with 16 offsets is patched around the system for performance and macro controls (making use of the assignable CV inputs of Squid, Pam and MFX).

Big thanks to Ed2d (Edd Butterworth @begg_egg) for the patch / performance and Andrew Duff (@allthesixes666) for the video synth visuals.

Patch notes:
The airy chords are produced by the Squid Sample and sent via the MEGA-TANG to the Ensemble Ensemble engine on the MFX, adding a stereo width. Throughout the patch the send of the bass line is increased to send it though the ensemble effect as well.

The bass sound comes from a 303 sample on the Squid that is split into cue sets. At each new trig, a different point of the bass line is played back. The bass line is downsampled and filtered internally by the Squid, with the cutoff controlled externally by one of the faderbank offsets.

The remaining drums and percussion sounds come from the Squid and Tyso Daiko.

System Jam #5

This patch is from a series of jams featuring an all ALM groovebox style setup with sequencing from the ASQ-1 & Pam, sounds from Squid, Akemie’s Taiko & Tyso Daiko, and mixing via 2 MEGA-TANGs, Jumble Henge & MFX. A faderbank with 16 offsets is patched around the system for performance and macro controls (making use of the assignable CV inputs of Squid, Pam and MFX).

Big thanks to Ed2d (Edd Butterworth @begg_egg) for the patch / performance and Andrew Duff (@allthesixes666) for the video synth visuals.

Patch notes:
Low, tuned down chords from the Squid create an atmospheric backdrop in this track. A bubbly bass sound from the Tyso Daiko is triggered via Pam using a voltage controlled Euclidean pattern + downwards ramp Flex Op. One of the faderbank offsets is patched and assigned to control the number of Euclidean trigs, resulting in an increase of the number of trigs that are then ramped down in speed via the Flex Op.

The same faderbank slider is also controlling the hi-hat channel’s loop type on the Squid, creating a ratcheting effect followed by reversing loops as the offset is increased. This ‘macro control’ technique works great for performance, creating greater changes in a patch from a single control. Another place this is used is in the down sampling of the 2 hi-hat samples. Their sample rates are controlled simultaneously by another faderbank offset that is also assigned to control a low pass filter on the kick drum.