3 Modules #9: Rings, Branches, Peaks

Published on Jun 2, 2017 Comparative Irrelevance

"I'm pretty happy with how the "mood" turned out in this one. It feels cinematic, in a way, with heavy brass bass and dramatic bell stabs.

Patch notes:

Noise tools only provides a steady clock to get the patch started. Branches takes that clock as input, and channel 1 randomly flips between outputing a static voltage to (A) Rings' frequency input, and (B) Rings' structure input. In effect, it jumps between to "preset" states on Rings.

Branches' channel 2 uses the same clock input, and randomly chooses whether to forward each trigger to Peaks' channel 1 (A) or 2 (B).

Peaks' channel 1 is in the alternate drum mode. The sound it produces is sent into Rings' input, to be further processed by the resonator. Rings is in the alternate inharmonic strings mode (flashing red LED), which has a built in reverb. No external effects were used in this patch.

Peaks' channel 2 is in tap LFO mode, producing a stepped random voltage. This is sent to Rings' V/Oct input, controlling the fundamental of the resonator. Because Branches will randomly omit triggers sent to the LFO tap input (or rather, send those triggers elsewhere), the LFO tempo changes continually. However, it's still related to the master clock, and so it stays "in time" with the patch. The result is kind of like a randomly changing clock division. Pretty cool interaction between Branches and Peaks there, I think.

Thanks for watching!"

All Parts here.

3 Merry Modules #38: Tides, Clouds, Ears

Published on Dec 24, 2017 Comparative Irrelevance

"Happy droning holidays to all! I hope you're enjoying the day with your loved ones. And even if you don't celebrate Foodmas, there's hopefully nothing stopping you from enjoying some modular synthesis this winter morning! :)

Patch notes:
I'm playing a sample from a completely randomly chosen song through Ears and into Clouds, while using the envelope follower and threshold gate signal generated from the sample to control the patch. I'm using Tides as a typical LFO to scrub back and forth through Clouds' buffer by way of the Position parameter, shuffling the input around somewhat.

The gate signal from Ears enables Clouds' winter themed freeze. As the sample reaches its crescendo, the buffer is frozen and held until the levels recede. However, the Position modulation keeps the frozen buffer from sounding static. Ears' envelope follower is patched to Tides' level, so the louder parts (i.e. when freeze is engaged) have the greatest modulation range – the most movement of buffer playback position, in other words.

You may notice that I have Clouds' Pitch turned up fairly high. This is because the sample itself is played back at a much slower than natural rate and is consequently pitched down, so I'm compensating for some of that pitch drop in the granular playback.

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Thanks for watching!"