128 South

Published on Apr 29, 2017 voltlife

"A slab of droney techno, featuring a dirty squelchy bassline from a Doepfer A108 and some messed-up mostly analogue drums."

sine lab one

Published on Feb 28, 2017 voltlife

"A one-take jam with harmonic oscillations, a drunken PLL, clangy FM percussion and swooping self-oscillation."

VOLTLIFE: Kamieniec in the feedback loop of a delay

Published on Dec 31, 2016 voltlife

"It's common to use a high- or low-pass filter in the feedback loop of a delay, but phasers can also produce attractive effects. This is a short demonstration of Xaoc Devices' Kamieniec phaser in the feedback loop of Roland Demora delay module."

VOLTLIFE: Tonnetz Sequent for tonal progressions

Published on Dec 29, 2016

"Demonstrating one way to use Noise Engineering's Tonnetz Sequent for tonal progressions (as used in my previous video [here]

Rather than fully traversing the Tonnetz using all transforms, using just the Leading and Relative transforms keeps chord movements to thirds and the circle of fifths, making for a more "traditional" tonal progression. The Home transform allows return to a tonal centre."

Tonnetz Game

Published on Dec 19, 2016 voltlife

"A mellow ambient track, based around simple harmonies from Tonnetz Sequent driven by a Pittsburgh Game System. More patch details to follow."

VOLTLIFE: Kamieniec quick patch

Published on Dec 6, 2016 voltlife

"My first exploration with Xaoc Devices' Kamieniec phaser. Sorry for the shaky camerawork, but it sounded so good I just wanted to get it out there!

The input is some chords from Braids in WTx4 mode, sequenced by a Verbos Multistage, with occasional changes to the chord timbre. The 4 and 6 stage outputs of Kamieniec are used as a stereo pair, with some delay added externally.

Modulation is mostly simple, but in the last part I run the Kamieniec's LFO output through a Doepfer A189-1, mostly in XOR mode. This creates interesting quasi-fractal stairstep patterns, which is added to the internal triangle LFO to produce a mix of typical phaser swoops and almost chiptune-like chirps."

Generative Study 1

Published on Nov 10, 2016 voltlife

"An experiment in structured generative patching, bringing some larger-scale structure to a completely self-running patch. There are several distinct "movements" that have subtle differences between them, as well as the melodic and timbral variations that come from the interplay of random and sequenced elements.

The rhythmic and structural core of the track comes from an A143-4 and a Pittsburgh Sequencer. One A143-4 LFO acts as a clock, and another much slower one speeds the clock up and down, from low audio rates down to one beat every couple of seconds. The square out from that second LFO clocks the Sequencer, so that it gets a different value each time the main clock comes down from audio rates. The slow LFO outputs are multed to several other modules, allowing other parameters to depend on the speed of the clock.

The audio core of the patch is a Rubicon/Dixie II/uFold combo, acting as a classic Buchla-esque complex VCO. The Dixie sine FMs the Rubicon, the output of which goes through a VCA. One Maths envelope opens the VCA, with the fall time lengthening as the clock slows. Another exponential Maths envelope drives both the TZFM index and the Symmetry of the Rubicon: this allows the attack to make the most of the richer TZFM while sacrificing tuning, while the tail comes back into tune. The fall time of this envelope is modulated by yet another A143-4 LFO, and depending upon this and the pitch, the Rubicon's sounds vary from bells and chirps to deep drums and woody bass notes.

Dixie's triangle output goes through uFold into Optomix. A division of the main clock goes through Branches into the Optomix strike input, and Branches' probability is modulated by the main clock speed, so that in the slower passages we hear occasional plucks from the wavefolded Dixie. A ViLFO goes through a VCA into the Optomix Control input, and a Pitts Sequencer opens that VCA. This adds slower swells during some "movements": exactly the same audio source as the plucks, but these sound a bit like solo strings.

The melodic content comes from a Moskwa sequence through a VCA, which is CVed by a Verbos Multistage clocked at /8 of the main clock. This varies the range of the melodic CV. The CV is then quantised to a minor scale by an A156, then is distributed by an A185-2 to the Rubicon and Dixie to keep them in tune. Another clock division goes through Branches to Moskwa's direction input, bringing further melodic variation.

Finally, there's a graunchy sci-fi noise that come in during the slowest parts of some movements. This is a Pittsburgh GenXpander's OE output through a Pittsburgh Filter in Bandpass mode into a VCA and then a Wow & Flutter. The VCA is only opened when the main pitch is mostly static, thus giving a textural counterpoint when the main sequence gets too boring. This works by feeding the main pitch CV into an Elby Slope Detector, whose output goes into Function with a slow rise time and sharp fall. The Function output then goes into a Z4000 envelope. Thus, the envelope is only triggered when the pitch has been static for long enough. This envelope then opens the VCA as well as driving the cutoff frequency to create a noisy sweep. Finally, the Pitts Sequencer also controls an A152 which sites between the Slope Detector and Function: when the Sequencer value is beyond a certain point, it cuts off the CV to Function. This means that the noise sweeps can only occur when the string-like Dixie swells are absent or quite, bringing further variation between the movements."

Phaseloss

Published on Oct 26, 2016 voltlife

"A dark drone-like improv full of analogue instabilities and distortion.

A Doepfer A196 is trying to track the formant output of a Mannequins Mangrove (which is sequenced by Turing Machine through an A156). But on top of the typically wonky tracking of the PLL, the waveshape of the Mangrove is being slowly modulated, causing further judders, slides and glitches.

The PLL's VCO out is mixed with its phase comparator output and the steady square output of the Mangrove, forming a kind of drunken trio out of a single generative melody. The mix then goes into a Doepfer A108 filter, with the 24dB/o output going into a Vox Delay Lab for spacey/shimmery reverb and long delay. Also, the A108's BP output is patched into its own feedback loop, and when I turn up the feedback a wailing, sync-like resonance bursts forth."

Sketch for the Lost

Published on Oct 11, 2016 voltlife

"An ambient track based on subtle polymetric sequences and timbral variation.

Harmonic drone/sequence: Verbos Harmonic Oscillator into Clouds pitch shifting +1 octave with slight feedback. 7-note Moskwa sequence to HO scan input; slow LFO into width.

Main slow melody: MS20 Mini triangle wave (with subtly resonant filters) through uFold into long delay. Choices joystick controls fold amount and amount of LFO to uFold symmetry. MS 20 sequenced by Verbos Voltage Multistage through A156 and poorly calibrated English Tear (so the low notes go off key, but interestingly, I think), advanced by three gates in each 7-step Moskwa cycle.

Thin backup melody: MS20 multed to A189-1 for subtle bitcrushing, through Serge Resonant EQ into Wow & Flutter for short and wobbly delay. LFO modulates bit reduction; manual tweaking of EQ and delay feedback."

VOLTLIFE: Synthrotek ADSR percussion

Published on Oct 10, 2016 VOLTLIFE: Synthrotek ADSR percussion

"A quick demo of using Synthrotek's new ADSR module (see my previous video for a full demo: [posted here]) to shape noisy percussion sounds.

Like many people, I normally just use an AR envelope for percussion, since it's simple and snappy. But for some sounds such as claps and pseudo-gated snares with a sustained portion, an ADSR gives you the ability to carefully shape the initial hit, noisy sustain and release. VC control over the release and whole ADSR time allow for varied percussion sequences.

The ADSR is driven by short gates out of a Pittsburgh Game System, and it opens a Pittsburgh dual VCA. The VCA is fed with a mixture of two noise sources (band-passed white noise and a Braids in CLKN mode) and a nasty FM tone (a Rubicon pulse through-zero modulated by a Dixie II square). In the last part of the video I mult the ADSR output to the Rubicon's FM index to give it more dynamism."

VOLTLIFE: Synthrotek ADSR demo

Published on Sep 25, 2016 voltlife

"A brief overview of Synthrotek's new 4hp envelope module, with some patch ideas. Demonstrating ADSR and AR modes, linear and exponential slopes (plus some tricks for getting other envelope shapes), self-cycling and voltage control."

http://synthrotek.com

Performance Study

Published on Aug 29, 2016 voltlife

"Playing around with some ideas for a live performance."

Gloomy day improvisation

Published on Aug 5, 2016 voltlife

"Getting to grips with Mother 32, Pittsburgh Game System, and DSI Curtis filter."

Suitcase Explorations 1

Published on Jul 7, 2016 voltlife

"Experimenting with a selection of modules to put into a portable skiff for a live ambient/drone/noise improvisation."

Update:

Suitcase Explorations 2

Published on Jul 10, 2016

"Another experiment in improvisation with my Euro suitcase synth."

Mother of Clouds

Published on Jun 25, 2016 voltlife

"A rough ambient improvisation with my new Moog Mother-32, sequenced by Moskwa, and heavily processed by Mutable Instruments Clouds. Clouds is doing some pitch shifting with feedback and reverb, with its Position modulated by an LFO and Freeze occasionally activated. The Mother-32 patch uses a mix of pulse and saw, with heavy use of filter self-oscillation to add high harmonics, and lots of manual tweaking.

The only other part is a baseline made by a Dixie II saw through a Syntrotek Dirt filter, playing a randomish sequence from Turing Machine. Both parts get some additional delay from a Vox DelayLab."

Harmonic Method 1

Published on May 2, 2016 voltlife

"The start of a series of experiments looking at ways to get chords and harmonies out of a modular synth. To start with, here's a straightforward approach based on three analogue VCOs and a manually-tuned three-channel sequencer. However, it's given some added tweaks to bring more harmonic and timbral variety."

VOLTLIFE: feedback tamed; feedback mutated

Published on Apr 21, 2016 voltlife

"Patching a compressor to prevent clipping in Tyme Sefari II's feedback loop, then using it to bring in different sorts of wildness."

VOLTLIFE: Glitch experiment 1

Published on Mar 21, 2016 voltlife

"A quick patch exploring some intentionally glitchy effects with Tyme Sefari II.

A Verbos Harmonic Oscillator provides the background drone through Erbe Verb and Clouds. Three individual outs from the Harmonic Oscillator then go through a modulated crossfader into Optomix, which is struck by random gates, creating plucks at three different but harmonically related pitches.

These plucks then go into Tyme Sefari, which is set up as a short looping delay with feedback. The loop end is modulated by Maths, causing glitchy jumps through the buffer.

I also use two gates, derived from clock divisions of the random gate source, to create further variation. One reverses the buffer direction, and the other switches on a pitch shift via the A Sound of Thunder expander. With feedback, this creates a low-fi version of the classic shimmer effect."

VOLTLIFE: The birth of Frankensynth

Published on Mar 18, 2016 voltlife

"A montage showing the dismantling of my old studio and its rebirth as a towering wall of synth."

Peneplain

Published on Feb 8, 2016 voltlife

"An ambient piece that drifts through darkness and light with minimal human intervention. The tones are mostly conventional, but the interesting part is the way that structure can be given to what could be an endlessly self-running generative patch.

The main drone is a Verbos Harmonic Oscillator through Doepfer A189-1 (in short delay mode) and uVCF (slightly resonant LP). Slow modulations affect the width and centre inputs of the HO, the BC input of the A189-1 and the filter cutoff: interactions between the harmonic movements from the oscillator, A189-1 delay time and filter cutoff produce ever-changing textures ranging from slow swells to softened digital glitches.

The quasi-melodic part is Braids in PLUK mode, with the semi-random melody coming from an A149-1, quantised to a pentatonic scale by Braids, while Klasmata generates Euclidean triggers to drive the plucks. I usually find the pluck mode a bit harsh on Braids, so I used an R52 to warm it up and a Serge Resonant EQ to roll off the lows and vaguely emulate a resonant body from an acoustic instrument. Both drone and plucks go into Erbe Verb set to massive, spacious, on-the-edge-of-oscillation mode.

There's also a couple of plonky tuned percussion parts that come in during the middle section. These start with two individual harmonics from the HO, so they'll always be in tune with the drone. These go through two channels of Optomix (though one is first ring-modded against itself to double its pitch), into Wow and Flutter for some quick warbly delays, then into a Vox Delay Lab for a longer stereo delay with reverse effects.

The structure is all driven by a Verbos Voltage Multistage, which is clocked by a uLFO to get longer step lengths than the VM can do with its internal clock. CVa controls the density of Klasmata's rhythms, from one pluck per bar through to livelier patterns in the middle. CVb controls Erbe Verb's mod depth, pushing it up into shimmer mode at various stages to create a choir-like backing. Two VM gate outs drive a sequential switch to turn the Optomix percussion on for a few stages then off again. The uLFO's sine out controls the uVCF cutoff, subtly reinforcing the stage movements with filter swells.

Within that structure, the generative elements come from the A149-1 and a Turing Machine, combined with switches and logic. The Turing's Pulse 1 out clocks the A149-1, thus controlling when new notes are generated. Its Voltage out controls pluck length while the main output controls the R52 cutoff to further mute the shorter plucks. The timing of the percussion also comes from a combination of the Turing's Pulse outs with logic and clock division. Given the shift-register-based quasi-randomness of both the A149-1 and the Turing, combined with the Klasmata rhythms, this gives subtle structure to the melodic patterns."