Romance in Garden Pleasance

davidryle

"A dreamlike piece using the modular synth, guitars and Korg Wavestate. A centerpiece effects line consists of the Meris Hedra pitch shifter, Strymon Blue Sky shimmer reverb and Klark Teknik 3rd Dimension spatial enhancer."

Apex 9

davidryle

"Live recording of the modular. The challenge was to create three distinct parts to string together to make a musical journey.

The first section is centered on the Moog Subharmonicon and a few extraneous sequences controlled by a synthesizers.com Q119 step sequencer. The 24 bars passes through 3 segments with pitch transpose and discrete pad sounds.

The second section is isolated to a Mutable Instruments Rings and Delptronics drum patch with an STG PostLawsuit LPF with an Ian Fritz DDVCO swell.

The final third segment is two STG Soundlabs voltage sequencers with four vco's sourcing pitch voltages from a David Dixon ASR and run through a digital delay.

All these parts are managed by a sequential switch (synthesizers.com Q962) and a synthesizers.com Q960 step sequencer.
Other sequencers included the MI Marbles, INSTRUo harmonaig, Make Noise Pressure Points (x2), and Moon Modular 563 Trigger sequencer.

I just stood back and started the thing and then tweaked some levels. Pretty easy money for managing the robots and all..."

Taurus Littrow Touchdown

davidryle

"Lost In Space again. The Moog Subharmonicon drives as the centerpiece to clock everything in the modular. All sounds are from the Subharmonicon and the modular. Additional editing for levels done after the recorded take. I added the Apollo 17 mission communications after and the bass line and additional kick drum from the midpoint. Everything else was tracked at the same time into Cubase. Delay and reverb pedals included a Behringer DD400, Empress Reverb and EH Canyon. All footage public domain from NASA and Internet Archives."

Cave Giants

davidryle

"A live performance with the 5U large format modular synthesizer.

Starting with an Encore Electronics frequency shifter and Yusynth Arp 4072 filter. Modulations to the frequency shifter from a Sputnik WCRS, and an Ian Fritz DDVCO in harmonic sequence mode.

The bass sequence is driven by the STG Soundlabs suite with two VMS and one TMS, a pair of EG's, a Switch module and the Time Divider. Clock timing from Cubase via dinsync to the Time Buffer. Four synthesizers.com Q106's into a Q150 transistor ladder filter and an Oakley SVF.

The melodic sequence is a pair of Q960 sequencers to a pair of Q106's through an STG Sea Devils filter and Q107 SVF.

The percussive tick sound is a Sputnik voltage controlled slope.

Delays and reverbs include Behringer DD400's, Empress reverb, Strymon Blue Sky, Electro Harmonix Canyon, TipTop DSP with Valhalla Shimmer and Modcan 73B.'

Ashes on the western wind

davidryle

"I am using the 5U large format modular along with the Korg Wavestate to perform a real time studio recording.
The crux of the idea was to use the Q119 step sequencer to control the voltage-select outputs of the STG Soundlabs Switch module. The main step sequence is from the Synthetic Sound Labs Mini Sequencer.

I also used the Q123 Standards module from synthesizers.com to transpose interval shifts to some of the oscillator pitches. The drone over the top of them made for some mode changes which I liked.

The kick drum and paper snare sounds were gate triggered from the Q963 Trigger Bus.

A blend of the other STG Switch outputs are layered and sent through a Modcan dual delay for the main sequence line. A trigger mini-store controls an Oakley VCADSR envelope timing from these outputs. Decay and Sustain stages of the Oakley are controlled by rows from the Q960 sequencers.

Some of the sine wave pitched drones in the background are also tapped from rows of the Q960's. Their gate envelopes are managed by the Moon 563 Trigger sequencer and a few channels of the SSL Octal VCA and Expander.
Sound sources are Q106's, Dove Waveplane, SSL DDVCO and S1200 vco. The final signal train is through the Yusynth Arp 4072 low pass filter.

The Wavestate is played by hand with a patch I constructed called Malachite Temple.

Everything is summed to three channels on a Mackie mixer and recorded direct to Cubase. Video editing done in Final Cut Pro."

Hidden Hand

Published on Apr 13, 2020 davidryle

"Korg Wavestate performance. Voice file from the internet."

Quilted Glass

Published on Apr 5, 2020 davidryle

"Learning to program the Korg Wavestate keyboard.

A pretty simple but fun exercise in pitch and wave sequencing. Layer A & B have complimentary pitch sequences and layer C is a separate mallet pitch sequence. Layer D is for the played line which contains a wave sequence from flute to string sounds. The modulation knobs are controlling the timing and pitch sequences on layer A & B. The Mod wheel is controlling the Amp Envelope release duration on layer D. Vector stick is just for layer volume.

Thanks for watching!"

Gone In A Day

Published on Mar 7, 2020 davidryle

"I had some fun with INSTRUo Harmonaig and a few select 5U modules.

The modulation to the Harmonaig (Inversion and Voicing) was with a pair of STG Soundlabs Voltage Mini Store modules.

The main transpose sequence was from a Mini Sequencer built by Synthetic Sound Labs.

The pattern gate selection and VMS stepping were done with the STG Time Divider.

Some magic mojo was stirred in with the selection of dotted notes against straight notes. The Trigger Sequencer was the Moon Modular 563. It sent gate timings to the four voices run through the SSL Octal VCA and AD/AR Expander.

The four oscillators were a Mos Lab 901 bank, DDVCO, SSL 1200 and Q106.

Filters included Yusynth Arp 4072, Dotcom Q107 in high pass mode and Mos Lab 904-A.

The final reverb is the Z-DSP from TipTop Audio with a 'Halls of Valhalla' card."

STG LFO Sync Test

Published on Nov 15, 2019 davidryle

"Suit and Tie Guy Envelope Generator in LFO A mode. This thing loops in SYNC mode with the other sync bus modules to give a wonderfully musical performance tool for rhythm and phrasing.

I used an Ian Fritz DDUVCO and Synthetic Soundlabs VCO throughan Ian Fritz 5 Pulser for the sound sources. An STG Soundlabs Post Lawsuit Filter was used on the SSL vco and a synthesizers.com Q150 ladder filter was used for the DDUVCO part.

A pair of Lexicon dual delays (MX200) added some tape delay DSP effects to the final signal.

The entire STG Soundlabs module suite can be bought from stgsoundlabs.com Check it out!"

Dove Audio D100 WTF Demo

Published on Oct 13, 2019 davidryle

"Dove Audio D100 WTF Oscillator demo. A very quick rendering of the dynamic waveform animation possible with the Window Transform Function that the D100 does so well. It is very organic.

I used two step sequencers from sythesizers.com, three LFO's and a delay from Modcan to demo this. No filters or VCA's are used here."

Sand Blind

Published on Sep 22, 2019 davidryle

"5U Large Format Modular Synthesizer. This self-playing piece is structured around a simple sequence from the synthesizers.com Q960 step sequencer.
It is generating a seven step "circle of fifths".
There are three VCO's - Synthetic Sound Labs Double-DekaUltrasonic VCO, an SSL VCO through a 5-Pulser and a trio of Mos Lab 901's and 904-B filter.
The DDVCO is tuned to the low root, the Mos Lab's are tuned to a ninth above and the SSL is a fifth above that. The mix from a STG Soundlabs mixer is then run to an Empress reverb in modulation mode and a TC Electronic tape delay DSP from the D-Two rack delay.
A secondary voice from the Sputnik West Coast Random Source module to a FSFX Braids in Harmonic mode is the detuned sliding discordant background melody. It has a slew integrator FM modulation to give it the slowly bending pitch effect. Timbre and Color are modulated from the WCRS as well. It is further flanged by an SSL Digital Delay.
Several filters (dotcom Q107, STG Sea Devils, Yusynth Arp 4072 and a Mega Ohm Audio CdS) are being pinged by various envelopes - some looping. They are STG Soundlabs EG, Q109's and Oakley Sound Labs VCADSR (Krisp1 build).
A pair of STG Voltage Mini Stores are producing a rapid loop step sequence to a pair of Q106's which come and go in the background.
There are a couple of noise pads in the background. One is from a pink noise to an Oakley VCSVF in band pass which is modulated from the WCRS and an LFO then on to a Strymon Blue Sky pedal. The other is a quick fluttering high white noise sound through an Encore frequency shifter (which is pitch modulated from a Q960 sequencer) and then sent to a Jurgen Haible Tau "Pipe" Phaser.
Further gate and LFO timing is handled with the Moon Modular M563 Trigger Sequencer, the SSL V-Gates, a pair of Q962 Sequential Switches and Q961 Interfaces.
Other modular delays involved are the Modcan 73B Dual Delay and a custom Behringer DD400 digital delay."

Diamonds

Published on Jul 27, 2019 davidryle

"Another adventure with the Arturia MicrFreak, Empress Reverb and Strymon Blue Sky.
The opening sequences are from the MicroFreak. The bass is a pair of Q106 vco's through a Q107 filter. Sequenced by the Q119 step sequencer.
Clocking from the MicroFreak. Clock dividers included 4MS OCD and RCD.
Percussion by Korg Volca Drum.
I noodled around with the System 8 and faded out with a pair of vco's (Harvestman Piston Honda and Ian Fritz DDVCO) sequenced by MI Marbles. Digital delays provided by Modcan and Behringer.
Thanks for listening!"

Until We Remember

Published on Jul 6, 2019 davidryle

"Arturia MicroFreak sequence controlling a Q960 step sequencer. The bass line is the Mutable Instruments Braids in 5U. The chorus voice is a Q106 with the Synthetic Sound Labs digital delay and Strymon Blue Sky reverb. Two Suit & Tie Guy envelope generators control the various bass and chorus voices from the Q960. A Modcan 73B delay is used with the MicroFreak.The Roland System 8 is playing an arpeggiated part over the top for background effect.
All recorded in real time to Cubase. Edited in Final Cut Pro."

SSL Trio Demo - OLD LEATHER

Published on Jun 1, 2019 davidryle

"A demo of the trio of modules from Synthetic Sound Labs.

They are the V-Gates digital/analog sequence gate control, the Octal VCA module and the envelope Expander module.

This is a very simple example of using the V-Gates in digital mode and random function to send gate signals to the envelope expander which is controlling the choice of notes from a four part chord set (root, third, fifth and seventh).

The second channel of the V-Gates is sending a trigger to mix with the downbeat trigger for the kick drum.

The 5th and 6th channels of the octal vca and expander are controlled externally from some clock timings for the bass and root doubled to an echo.

These modules are available from Synthetic Sound Labs in 5U format at...
www.steamsynth.com

This is a opening demonstration of the trio of modules. There is a lot more going on in the patch which I will not take the time to describe. The audio is a real-time recording of the patch direct to Cubase in one take. These modules have much more elegant potential for musical control than I could impart here. I plan to use them extensively in the future.

Thanks for listening."

Days of Light

Published on Apr 14, 2019 davidryle

"Modular synth piece. Large format 5U and Eurorack.
Starting off with the Q-Bit Chord generated round. Mutable Instruments Marbles sending it a pitch c/v. The Root run direct to the mix and the htree intervals sent through a Synthetic Sound Labs Seqwencer IV sequential vca. The next few sounds fading in and out are the MI Rings and Piston Honda. Both controlled from Marbles.
Finally the main melodic content is pitch directed by Instruo Harmonaig to the 5U. The Harmonaig is pitch controlled from a Q60 step sequencer from Synthesizers.com and a pair of STG Soundlabs Voltage Mini Stores for transposing and voicing.
The pitch data from the Harmonaig sends a root pitch to a Q106 vco and FSFX built MI Braids. The Q106 is fed through a modular build of the Behringer DD400 digital delay and the Braids is timbre modulated by an Oakley VCADSR.
The three other interval c/v's are sent to three more Q106's. The third interval is split into two rhythm patterns gated by a Moon Modular M563 trigger sequencer, STG Soundlabs Trigger Min Store and various LFO's from Mega Ohm Audio. The filter is an Oakley SVF (band pass). The second tap is into a Modcan 73B delay and direct to mix.
The fifth interval is through a Q107 resonant state variable in band pass with 1v/oct tracking for a sine wave output and send through a Strymon Blue Sky pedal. Slew is from the Harmonaig.
The seventh interval is routed through a Q150 transistor ladder low pass filter.
Other delays and reverbs are from a pair of Lexicon MX200's and a T.C. Electronic D-Two delay. Recorded direct to Cubase in one pass. Video from my iPhone and edited in Final Cut Pro.

Thank you for listening!"

The Mystic's Cloak

Published on Jul 22, 2018 davidryle

"Metropolis, Pressure Points + Brains, 2x Turing Machine, 2x Q960, Moon Modular M563 Trigger Sequencer and a Q119 step sequencer are used to conduct a looping round of notes and key changes to various euro and 5U modules, (mainly Rings, a Modcan 901 VCO suite and several Q106 VCO's).
A pair of the STG Soundlabs Envelope Generators and Sidecars are used with a Mega Ohm Audio CdS for the percussive elements.
Longer gate timings for the background sequences from the STG Voltage Mini Stores and Trigger Mini Stores are stretched out by the use of a triple switch from synthesizers.com and a pair of (62 Sequential Switches.
The phase shifted noise is from the Jurgen Haible Tau Pipe Phaser.
The noise wash and background discordant chord pads which begins and ends the piece are a recording of Mutable Instruments Rings into the Makenoise Morphagene. The Morphagene is run into a Z-DSP with Halls of Valhalla ensemble chorus and a Clouds in feedback loop. Various LFO's are handling the feedback and mix between these elements.
Additional effects include Electro Harmonix Canyon in tape delay mode, two Behringer DD400 delays, a Modcan 73B dual delay and a Synthetic Sound Labs 1210 Digital Delay.
All recorded in a single take to Cubase and video edited in Final Cut Pro."

The Final Ascent

Published on May 19, 2018 davidryle

"Built from a bass line on the large format modular Q960 sequencer and a progression from Cthulhu Chords. A second section using MI Rings, a Turing Machine, a second Q960 with the Double Deka VCO/5 Pulser and four Q106 vco's through a Segwencer. Other synths included the OB6, JV1080 and System 8.
Recorded in Cubase and video edited in Final Cut Pro."

Rescue Poole

Published on Apr 21, 2018 davidryle

"Taking inspiration from a sonar rescue sequence in a 50 year old film.

The sliding ping sound (approaching the target) features the STG Soundlabs Envelope Generator and Sidecar module. I am using a slow LFO with a ramp wave to the T1 input which controls the delay of the envelope. There are three timed gates. One is from the source LFO which fires the envelope initially and makes the FM/Sync sound. The other two (low ping and high ping) are from the EG T1 and T4 stages. Panning is with a Q111 pan module from synthesizers.com.

The original film sounds are much less complicated and only two sounds are used to create the sonar effect. In this example I used three sounds but the idea is the same in general."

The First Fire

Published on Jan 1, 2018 davidryle

"The Promethean Chord. Six oscillators stacked three ways and sequenced with two Q960's. Another trio of notes sequenced with the Q119. The bass line is sequenced from the Metropolis. Fast looping sequences from the STG Suite. Drums sequenced from Grids and 4MS RCD. A played line with the OB6."

Induction Conduction

Published on Dec 30, 2017 davidryle

"The Last Drone of 2017. A modular synth piece. The bass drone is a pair of Q106 VCO's with a ramp and a saw wave into the Q150 Transistor Ladder filter. Modulations coming from some Mega Ohm Audio LFO's. The audio is then sent through a Synthetic Sound Labs S1310 Digital Delay which is modulated by another Mega Ohm Audio LFO.
Mutable Instruments Braids (Frees State FX build in 5U) along with the triple saw mode. A synthesizers.com Q960 step sequencer sends the voltages for the slow changing chords. Frequency Modulation is from the Yusynth Quadrature LFO. The mixed signal is then sent through a Z.Vex Instant LoFi Junky pedal and on to a moogah (Synthcube) SEM filter in high pass/notch mode.
A dual walking sequencer line is faded in and out. It is made with a pair of STG Soundlabs Voltage Mini Stores in a 5 against 7 step pattern. They are sent through quantizers on to a pair of Q106 VCO's. One VCO is sent through a Behringer DD400 digital dely module and the other VCO is sent through a Modcan 73B Dual Delay. They are mixed into an Oakley Audio (Krips1) Diode Super Ladder filter in low pass mode.
A fast 24 step sequencer line from another Q960 is playing a Q106 VCO triangle waveform into a Mega Ohm Audio modified Q109 Envelope Generator and on out to a TC Electric D-Two digital delay. They are faded in and out via a Makenoise Maths and Synthetic Sounds Labs Octal VCA.
The final bell sound is a step sequence from a Q119 into a trio of Q106's. Two of the VCO's are used in an FM sync mode with ramp and saw waves, and the third VCO is a triangle waveform. They are sent to the X and Y inputs of the Oakley Ring Modulator (Krisp1). That is sent to a Q107 State Variable Filter in low pass mode. The filter is modulated by the modulator VCO (triangle output) if the two Q106's in FM mode. The signal is voltage panned to stereo with a Q111 Pan/Fade module.
All timings are taken from Cubase midi out to dinsync via Mode Machine converter. The BPM is 80. ALM's Pamela's Workout, Synthesizers.com Q173 Gate Math, STG Soundlabs Time Buffer, Time Divider and Integer Divider modules divide down the timings for all sequencer events. I just performed final mix fade in and fade out. Additional reverbs and delays are from a pair of Lexicon MX200 delays."