PATCH / STEREO 4 VOICE GENERATIVE CHORDS / Joranalogue Audio Design system

video upload by Joranalogue Audio Design

"'I had a blast creating this patch on a giant Joranalogue eurorack system. I implemented a lot of small tricks, let me write out the main ones down here...'—Simon


Kickdrum
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Filter 8 is getting pinged by a clock pulse (generated with a looping Contour 1), routed through Warp 1. A second Contour 1 is used to modulate the frequency of Filter 8. A Step 8 being clocked with the same pulse from Contour 1 is modulating the exponent parameter on Warp 1 (controlling the amount of distortion/waveshaping). The pattern is 7 steps long. By adjusting the exp knob manually I have additional control over the distortion.

Hats
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An output of Orbit 3 is routed through Pivot 2 which acts as a vca. The envelope (saw shape) from the Contour 1 creating the clock is routed through Fold 6 to create 2 peaks instead of one (by adjusting the fold parameter you can even create triplets etc). The output of Fold 6 modulates the pivot parameter on Pivot 2. This opens and closes the vca.

Chords
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Four Generate 3s are tuned to the same note and sequenced seperately. To create 4 quantized pitch cv signals I used 2 Step 8s and an external quantiser. First I divided my clock by 4 with another Step 8. I used this clock for the two other Step 8s. The first one is creating a stepped random lfo (by sampling random voltages) which then gets quantised using an external quantiser set to C Maj (all the white keys). This signal then gets sent into the second Step 8 set up as a shift register. Because of Step 8's precision the analog outputs 1, 3, 5 and 7 are still quantised voltages and those are being used to sequence the chords on four Generate 3s.
We are listening to the even outputs. The levels for all 4 oscillators get modulated by 4 outputs of a Walk 4 clocked by the same slowed down clock (his creates some volume dynamics between the voices).
The even outputs are mixed on Morph 4 and then routed (in stereo) to a pair of Filter 8s. The frequencies of these filters are modulated by 2 outputs of a slow Orbit 3.
To create a slight detune (or vibrato) I used 4 out of phase outputs of a self-oscillating Filter 8 set to low mode to modulate the phase parameters on all 4 Generate 3s (just a little bit!).
To create a little bit of room for the kickdrum I use a side-chain patch. I multed the audio of the kickdrum and route it through a Contour 1 set up as an envelope follower. By inverting and offsetting the output of this Contour 1 and using that signal to modulate the vcas on Morph 4 I am able to 'duck' the chords whenever the kickdrum hits. I use an envelope follower to analyse the audio instead of a fixed envelope because the kick is very dynamic.

The audio is routed through an external reverb for added ambience.

Bass
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The sound of the bass is created by using the saw output of a Cycle 5 patched through a Filter 8 (lp output) with some feedback (a seperate output patched back into the Lin FM) for a bit of added character. As a vca for this sound I used Mix 3. The same ducking envelope as before is used to duck the sound, but first the envelope gets multiplied by 2 on Bias 2. By doing this I'm able to get some distortion out of Mix 3.
The sequence for the bass is a mix of a random sample and hold made with a Step 8 and several rise outputs of Contour 1s triggered by a few gate outputs on the different Step 8s already being used in the patch. The signals are mixed in a Select 2 and a Mix 3 and then quantised, before being sent into both the V/oct input on Cycle 5 and Filter 8.

Percussion
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One percussion sound is Collide 4 being pinged (monitor output). The other percussion sound is a Filter 8 being pinged. As triggers I use a few gate outputs of the Step 8 modules used in this patch. The gates are first mixed on 2 seperate Add 2s and then routed into the according ping inputs. These two sounds are mixed in stereo."