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A Xaotic Mood

There’s a sequencing technique that I’ve been exploring over the last year or so. Though I’m not vain enough to believe that I’m the first to use this technique, I can’t say that it’s one I’ve heard often, if at all. It’s not a technique or patch that I’ve seen discussed anywhere, whether online or in any of the various modular synthesis books I’ve perused these last several years. It’s not a hard technique. In fact, it’s quite simple. I call it “Fading.”

Though not difficult, Fading, to me, is intoxicating. It allows short(er) sequences to have a sort of variation that simple random or probability-based techniques can’t readily provide. Random bits within sequences are great. Occasionally you’ll get a random pitch in place of the programmed note in the sequence, but the variation is minimal, and if you use random on too many of the steps, the sequence is no longer identifiable. Probability added to, or substituted for, random is also cool, but the effect only goes so far. Occasionally a note in a sequence will not be played, or sets the likelihood of a note playing a random pitch. These are all great effects, but they don’t provide something truly unique. Fading is different in that it introduces variation in a somewhat chaotic manner. What then, exactly, is Fading?

Fading is the process of using a staggered clock to drive an un-enveloped, sequenced sine wave through a highly resonant low pass filter with its cutoff frequency being slowly modulated such that sometimes some of the notes in the sequence cannot be heard while others are sometimes accentuated.

Fading

There are several sorts of variation that Fading introduces to a sequence. The staggered clock1 assures that repetitiveness is kept at a minimum, so long as the stagger is not divisible by the number of steps in the sequence.2 A staggered clock, rather than facilitating an ongoing, repetitive sequence, also allows for dramatic holds. Modulating the cutoff frequency ensures that notes disappear and reappear, sometimes dramatically in an almost ghostly manner. Sometimes a note may not be heard at all, while at other times growl, and sometimes distortion, is introduced when the note of the sequence and the cutoff frequency are in alignment. There are sometimes drastic volume changes from barely there to screaming, and all of it is done organically as notes pass through the filter. It all depends on where the cutoff frequency is at a particular time. The combination of sequenced pitches alongside an ever-moving cutoff frequency is a rudimentary form of chaos. The process is determinative, and could be predicted if we knew the exact speed and range of the modulation, the exact offset point in the filter cutoff frequency, and the frequency of all of the notes passing through. But since we don’t know all of those factors, the outcome itself cannot be predicted exactly. The result is a dance of notes that seem to float in time and space, and the sequence becomes something more than a set of notes played by an oscillator.

This patch started with the Sitka Instruments Gravity, a basic clock with few bells and whistles with a tempo of 58BPM which was sent to the input of a VCA as well as the Nonlinearcircuits Divide & Conquer. With a clock source like Pam’s this extra step isn’t needed, but Gravity only outputs short triggers, rather than gates, and using a clock divider was the only way to get the five on five off staggered clock. With a little patch programming of Divide & Conquer, specifically using the /2 output to the input for the 5/2 and /5 outputs, I was able to get a /10 division of the tempo which output a gate with a 50% duty cycle. This gate was sent to the CV input of the aforementioned VCA, creating a five step on, five step off clock. The output of the VCA was sent to the external clock input on Moskwa II in order to drive the sequence forward.

Moskwa II is one of my favorite sequencers. It’s eminently playable, feature rich, and nearly every facet can be modulated. Like every other Xaoc Devices module I’ve used, Moskwa II takes modulation, even heavy modulation, quite gracefully via its expander module, Ostankino II. It’s only shortcoming, which can be remedied by pairing it with a second unit, is that it’s only eight 8 steps rather than 16, though Xaoc definitely provides avenues in order to mitigate the potentiality for repetition. While the patch starts cycling through its eight step pattern in five step increments, as the piece rolled on, I slowly began to introduce modulation from a self-modulated Batumi II using 4-way cross modulation3 in order to create chaos-like LFOs, and Zadar, via some offset and attenuation in Samara II, in order to effect various facets of the sequence. Random, Slew, Probability, and the First and Last Step parameters were all modulated at different rates and ranges. This allowed the sequence to move, as if alive. It could be as many as eight steps, or as few as four, and could start or stop on any sequential set of steps in the sequence. At one moment all eight steps were active; the next could be four, five, six, or seven steps, and begin and end in different places in the ring. These steps were also moderately slewed and randomized so that any given step might be any of the currently active steps, and step three and five might slew dramatically or not at all.

The pitch CV from Moskwa II was patched to the v/oct input on the ever-glorious Odessa, set in five voice mode with some slight detuning. The Fundamental output was patched straight to Zagzreb as the filter. Normally I would only use one output for a patch like this, but I specifically chose to use the stereo LP24 outputs because summing the fundamental sine wave was just a bit louder and more prominent in the mix. I experimented with modulating the Spread, but the effect wasn’t really compatible with the Fading technique I tried to foster through this patch, so I quickly abandoned it. The cutoff frequency was modulated using an offset and attenuated cycling triangle wave from Zadar, set at a 20 second cycle. The time was arbitrarily set by ear to what I thought sounded good, careful to not allow the cycle to introduce too much silence at any given time. Fading requires a delicate balance of the knob offset on the filter and the modulation depth. Too high of an offset and you get too many notes; too much negative voltage modulation and you get long periods of silence. Sometimes I like to work with the offset below the lowest note and only modulate upwards. Other times I prefer to set the offset closer to the mid-point and modulation in both directions. A lot is dependent on the filter itself, and it’s rarely the same for any two filters.

But in this patch, using just the fundamental sine wave seemed too basic. I wanted something more, without being distracting. Fortunately Odessa is capable of many sonic feats, and partials fluttering about in the stereo field is one of them. In many patches I’d opt for something like piano samples of pinged high pitch sine waves to serve as ornamentation, but today there was no need. Sending one of the chaos-like LFOs to the Bank Length was all the ornamentation necessary to complement Odessa’s sine wave melody, and because the partials from the Even and Odd outputs are all derived from the Fundamental, everything just worked. I did choose, however to not filter this voice. The volume is quite low, almost like a chorus of bugs in a distant tree line, or hearing a casino just close enough to be heard, and didn’t clash with or detract from the melody so I let it ride without any processing besides effects.

Both the filtered fundamental and its choir of fluttering partials were sent to the ever wonderful Samarkanda for some creative stereo delay. The settings are rather basic; a simple quarter note clock, which was slightly multiplied on one side to create some subtle stereo movement. I also sent the feedback output to the ever wonderful Bizarre Jezabel Mimosa to add a bit of fizz to the delay trails. I meant to introduce this effect well into the recording, but I forgot to lower the input level before I hit record so it was ever present through this recording. The effect, however, is subtle enough that it didn’t matter much. T added a tasteful amount of noise to the overall signal.

With the melody and its complement in place, it was time to add some warmth to the patch. The sine waves from Odessa are beautiful, but most of the pitches in the melody are fairly high, and of course its partials even higher. Fortunately, Xaoc has the perfect companion: Sofia. My initial thought was that I’d use its slightly overdriven fundamental as a drone, creating some movement with the stereo Elements it can create, but that was a dead end for me. It wasn’t terrible, but it never did sound right. The Elements were distracting no matter how low in the mix I tried to put them. The best outcome was still too much, and so decided on a straight fundamental. I was remiss by not trying to modulate its level slightly, even if only a small quiver or waver, but that wasn’t something I thought of until I’d heard the recording several times. This bass drone sat very deep in the mix. It didn’t need to be prominent, but merely present; something to add a smidge of weight and a slightly darker color to the piece, and Sofia’s slightly saturated sine worked a treat.

But the patch wasn’t over. Despite this patch being about Fading, it wasn’t everything. One piece of gear I’ve had for a while but which has gone criminally underused is the wunderkind Chase Bliss Audio Mood MkII. I can’t rightly explain why I haven’t used it much. If I were forced to give an explanation I’d likely say that I’m one of those guys who buys gear in chunks. I can go six months with nothing new, but then I’ll go on an ill-advised spree and purchase several choice pieces in a short span. Though this means I’ve got gear, it also means I don’t always take the necessary time to use it and learn its intricacies. Such is the synth life, I suppose. But today was a day that I’d had enough of staring at this beautiful lavender box that I knew held many wonders.

At first I was a bit unsure. I’d used it some before, but never enough to know what I might like from it, or how to get it. After a couple hours of exploration I decided on using Stretch Mode, which acts as a time stretcher of sorts. At first I sampled just one snippet of the prefade mix of Odessa’a filtered fundamental and its partials, and although that was nice, the magic didn’t really start to happen until I started overdubbing bits of the sequence. Along with generous amounts of Fade so that as newer material was recorded, older bits within the buffer slow fade away Frippertronics-style. Once I introduced Mood into the mix, I lowered the sequence to a level that was barely audible except for during very quiet parts of Mood’s output. I wanted Mood to be the star of the second half. I manually modulated both Length and Modify, changing grain length and playback direction and speed respectively. I used most of the range for manipulating Length, but I generally kept Modify in the 10 o’clock to 2 o’clock range, not wanting playback of the grains too fast. When I wasn’t wiggling knobs, I was overdubbing. As the piece started to come to a close, I opted to record silence into the buffer while allowing the older bits of audio to fade away gracefully so that the piece might conclude gracefully. I’m quite awe-stricken with the result of Mood in this patch. It’s a beautiful machine, and I shan’t neglect it again.

All three voices, Odessa’s melody and ornamentation along with the delays output, Sofia’s drone, and Mood’s granular smoke show were sent to the ever-beautiful Walrus Audio Slöer reverb, with an octave down effect, and a bottomed out clock for a bit of lo-fi goodness. In a discussion on Modwiggler another user, Starthief, and I were discussing some of our favorite reverbs. We both agree that Slöer is beautiful, but that it’s not quite lo-fi enough. That its clock should go even slower to introduce more aliasing. But one thing Slöer excels at are the details at the edges of the sound. A close listen will reveal the reverb sort of falls apart at the edges. A slight bit of crispiness that falls away not unlike animated pixels falling away from its previous form. Slöer has been my go-to reverb since I got it. I highly recommend checking it out.

Modules Used:
Sitka Instruments Gravity
Nonlinearcircuits Divide & Conquer
Xaoc Devices Moskwa II / Ostankino II
Xaoc Devices Odessa
Xaoc Devices Zagrzeb
Xaoc Devices Sofia
Xaoc Devices Samara II
Xaoc Devices Zadar
Xaoc Devices Batumi II / Poti II
Xaoc Devices Samarkanda
Bizarre Jezabel Mimosa
Addac Systems Addac814 6×6 Stereo Matrix Mixer
ST Modular SVCA
Knob Farm Ferry

Outboard Gear Used:
Chase Bliss Audio Mood Mk2
Walrus Audio Slöer
Noisy Fruits Lab Lemon

Plugins Used:
Klevgrand Luxe

Improvised and recorded in one take on iPad in AUM via the Expert Sleepers ES-9.

  1. A staggered clock is one that is sometimes on and sometimes off. For instance a five step staggered clock will be on for five beats, then off for five beats. ↩︎
  2. If you use a clock that is divisible by the number of steps in the sequence you’ll have repeating patterns which is definitely not what we want. ↩︎
  3. Four-way cross-modulation involves using each sine wave output to frequency modulate the next LFO in the chain. LFO 1 modulates LFO 2, which modulates LFO 3, which modulates LFO 4, which cycles around to modulate LFO 1. This feedback method creates chaotic signals at the outputs. ↩︎
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This Is Not Like Riding A Bike

Nine months ago I set up a patch on the main synth for which I had plans. I’m drawn to all sorts of music. Having spent my younger years as an orchestral brass player, classical and other forms of orchestral music have long since been in my listening rotation for decades. What started with Tchaikovsky and Brahms in junior high led to more modern composers like Ólafur Arnalds, Jóhann Jóhannsson, and Max Richter in my thirties and fourties. Several years ago while perusing a “What am I listening to?” post from my favorite artist, Steven Wilson, I happed upon Max Richter’s album Three Worlds: Music For Woolf Works. It’s the soundtrack for a modern ballet by Wayne McGregor about the life of British author Virginia Woolf. From my very first listen I was captivated. Tuesday, the final track of the album, a nearly 22 minute piece, was especially beautiful in a way I find hard to describe. For years I’ve returned to that track as a means for emotional support. And on an August day last summer I decided I wanted to do a version of Tuesday using both acoustic instruments like xylophone and a Tascam Portastudio, as well as Chromaplane and a full modular synthesizer.

My plans were grand, and what I wanted to do was clear in my head. I made sheet music, transcribing parts by ear. I rehearsed those parts until they sounded good enough to move on. But what started as a manageable project turned into a reality check. My goal was to perform the entire piece in one take, as I do for all of my recordings. I knew it would take a lot of rehearsal, but I was okay with that. And then I got stuck. I ran into problems I couldn’t overcome, both with my skill level and my gear. There were some things even intense rehearsal couldn’t sort, or at least I couldn’t figure out how to sort them, and I had issues understanding how to mix many more outputs than I had inputs for. So I let the patch sit with the idea that I would take some time to figure it out, or at least find some way to keep moving forward. But I never did figure it out, and yet the patch continued to sit, over a hundred cables draped about, sprawling across the synth like cobwebs on an old bookcase. I had hopes. I had plans. And for nine months it sat; the memory of its machinations fading further by the day. It wasn’t until recently that I realized I either needed to shit, or get off the pot (as my mom used to say). After nine months of exclusively playing my Make Noise synth I was itching to play my main synth again, and I finally came to the realization that if I wasn’t ready to immediately resume working on it, the patch on the wall had to come down. A few days later, I finally took it down. I knew that I’d never again get what I had, despite some pretty thorough note taking, but at the same time I knew I couldn’t use it. It was bittersweet.

A few days later I decided it was time to finally patch the main synth again. After nine long months it was overdue. And when I walked up to it to get started I was filled with emotions, and, if I’m honest, slightly intimidated. My Make Noise synth is pretty large and fully featured. It’s not really wanting for anything that wouldn’t be gratuitous at this point. But my main synth is about two and a half times larger and with a whole lot of modules that are complicated. I hadn’t used any of them in a while, and I balked.

This is not like riding a bike.

But rather than stare at the wall in a fit of paralysis I decided to make a definitive choice. The base of the patch, like my last Make Noise patch, Sketch 23, would be a fixed chord that was level controlled by nothing other than chaos. Although Spectraphon can certainly be used in a low frequency chaos mode as a modulator, it functions very differently than the chaos circuits from Nonlinearcircuits. And if I’m honest, I missed using modules like The Hypster and Let’s Splosh. Chaos was an immediate infatuation when I got my first chaos module, the venerable Triple Sloth. That first module sent me down a hole of research into what chaos is as a scientific and mathematical principle, and I felt like it was a good parallel to life. I’ve used it consistently ever since.

Although the patch is structurally similar to Sketch 23, and is performed in a similar way, how it was put together was very different. Having decided to use a chaos driven chord as the base, I immediately started patching the X, Y, Z, and U outputs of The Hypster to the CV inputs in the ever-flexible Intellijel Amps. As I began to connect the patch cables from The Hypster I wasn’t exactly sure which quad of oscillators I wanted to use, but at this point when someone mentions a quad oscillator my mind immediately goes to the Synthesis Technology E370. It’s extremely powerful, and very flexible. And because I wanted to minimize any issues with the patch as I progressed, I decided to use a familiar set of wavetables made up of sines along the X axis. My original intention with Sketch 23 was to use a E7 chord, but for some reason ended up with a straight EMaj7 chord, so I rectified that oversight in this patch, only in a higher register. The waves were quite simple. A bank of sine waves that move up and down the harmonic series. In order to create harmonic movement, each of the wavetables were modulated by four outputs from the very awesome Nonlinearcircuits Frisson. If I’m honest, I’m not sure what sorts of waves Frisson produces. I’ve never put any of the outputs, which should all be reasonably similar, though each with a different phase and amount of slew, under a scope to get a picture of Frisson’s general wave shape. But I’ve used it a bunch, and, like most chaos, it’s definitely periodic. Each oscillation just slightly different from the last. These differences bore out in the patch with how the harmonics would flow up and down with each pass of the CV. Sometimes the harmonics rise and fall quickly, while others move a bit more methodically. Though the top note of those harmonic progressions had a ceiling set by attenuation, that top note wasn’t always the top note. Sometimes it was a pitch lower. Sometimes more. The movement was generally predictable, though not really. Just as chaos ought to be.

Using the chaos outputs from The Hypster to control audio levels requires some thinking and tinkering. Not because of some complication, but because the four outputs can vary wildly in their output levels. The X output is about 6V point-to-point, ranging from -3V to +3V. Outputs Y and Z range like a standard LFO, from -5V to +5V. U, on the other hand, is a hot signal that can have a massive 20 volts point-to-point, ranging from -10V to +10V. I’ve used these signals from The Hypster for similar purposes before, and I knew about these voltage differences between the outputs, but it had been so long that I’d forgotten all of the information except that output U was the strongest one. That mis-remembrance, along with a solid dose of stubbornness by refusing to RTFM, caused some early frustration. I fiddled with the CV knobs of the VCA for what seemed like hours, even if it was only a few minutes, in order to get the balance I was looking for from each chord tone. And I continued to refine and tweak those CV attenuation knobs all the way through recording this patch. Adjusting this one part of the patch was a recurring theme from beginning to end. My problem was two-fold. I wanted the fundamental of the chord, E, to have the strongest level, while needing to tame the highest tone, D. I had some level of issue with both. Using the U output for the fundamental I’d over attenuate and lose the bottom tone, or else it would it would clip in the VCA. The highest note of the chord, because of the harmonic shifts as the wavetable was modulated, was either too loud, or way too loud, even though the CV level from Output Z wasn’t particularly hot. It took a while to coax that channel to a reasonable level, and even still it probably could have been a bit lower in volume.

The Hypster’s Frequency was low; below 9 o’clock on the knob. Gain was set moderately high at about 11 o’clock, while Damp was set to just above 9 o’clock. All three of The Hypster’s CV inputs were modulated by three outputs from Triple Sloth. Frequency was regulated fairly lightly. I generally don’t want modulation that will have drastic speed differentials. I like a signal that can move slightly faster and slightly slower, more like a natural ebb and flow than purposeful or dramatic increases and decreases. As a means to keep the signal from becoming too much like a standard sine wave Damp received about the same amount of attenuated modulation as Frequency. Gain, which influences a number of attributes in the U signal (from which all of the other signals are derived) before it goes through the various chaos circuits was modulated more heavily, which kept the level and amount of feedback at generally high levels.

These chord tones, modulated through the harmonic series by The Hypster served as a cloud of ghosts. Each tone drifted in before slowly drifting away. The movement was subtle; almost dainty. This floating chord was then sent to a pair of Echofix EF-X2 tape delays for some echo action. Feedback was set reasonably high. Were it even just a little higher we’d be on the edge of self-oscillation. And these beautiful repeats danced in the stereo field, first with the third chord tone (G#) and fifth (B), the third and its harmonics climbing upwards in the left channel, followed by the fifth and its harmonics cascading downwards in the right. After a bit, the seventh (D) was also modulated up and down, though because of its presence, I decided to keep it centered. I thought about sending that tone on a panned adventure moving back and forth in the stereo field, but I reasoned that it would compete a bit too strongly with the stereo separated movement already happening. The repeats are already delicate enough. I saw no need to box them out when I didn’t have to.

Like Sketch 23, these chord tones and their movement were the inspiration for the patch, but they needed a more substantial base. Enter Chainsaw. The Acid Rain Technology Chainsaw is not a new module. It’s been around for several years, and even if it’s been replaced by an even more feature packed Ripsaw, it’s still a quite powerful, and immensely popular oscillator. Though paraphonic, a form of polyphony where each individual oscillator does not have its own discrete signal path, Chainsaw is capable of producing up to three note chocrds using three separate v/oct sources. It’s a huge sounding oscillator, capable of producing a 21 oscillator swarm that morphs from rich saw waves to a wonderful array of square waves. The various oscillators can be detuned from just slightly to absolute cacophony, and it’s a drone master. I had three separate v/oct signals from the Elektrofon Klang patched to Chainsaw, though two of them were identical in a bid to reinforce the bottom note (E1). As a way to add more harmonics I also had Chainsaw play a B2 (power chord 🤘) for a two note drone. Using Frisson to modulate both the wave shape and the detuning created a perfect amount of movement to keep it from becoming stale.

Initially I ran Chainsaw right to the mixer, but the waves were simply too rich and drowned out the floating chord I’d worked so hard to get, and so decided to run it through a filter. Choosing a filter this time was a bit difficult. My first inclination was to use the Bizarre Jezabel Seju Stereo, but the right channel simply didn’t work. I’ll have to test that further at some point, but it meant that was out of the running (which is a shame because the filter sweep sounded ace in the one channel). Next I tried the Bizarre Jezabel Pkhi Mk3, and although it was nice, it wasn’t special. It was fine. I then tried the Bizarre Jezabel Blossom, a spin off of the venerable Mannequins Three Sisters, but didn’t really care for the more drastic differences between the channels in this application. Although Pkhia is physically closer to the Chainsaw than all but the Seju Stereo, I didn’t try it until last. It’s not that I don’t like it. I do. But I’ve used it a lot and was hoping one of the others would be right for the job. Pkhia is a very interesting filter. It’s a multimode filter with simultaneous stereo LP, BP, and HP outputs, with shared resonance and filter cutoff. In a small twist, you can modulate each side’s cutoff frequency separately to create some very interesting movement in the soundstage, which greatly enhanced and accentuated the movement of Chainsaw. Two outputs from Frisson were patch to each side’s CV input to have an organic flow. As an added bonus, although I didn’t use them in this patch, Pkhia also has a switch to use it as a sort of DJ filter, with LP on the left channel and HP on the right channel. Pkhia also has a VCA with CV inputs. This filter can be both subtle or rich, and embodies the “sweet” nature of Bizarre Jezabel Filters.

With the chaotic chords and bass drone settled, it was time for embellishment. I was initially hesitant to go an already well travelled route by using the Poly Multisample algorithm in the Disting NT. I’ve done that patch a bunch. But this was my first time back on this synth in a long time, and whether nostalgia compelled me, or else I simply retreated to what I was comfortable with, I don’t know, but Soft Piano is exactly where I landed.

I’ve used lots of techniques to play Soft Piano. Sequencer and gate? Check. Turing Machine? Check. Random gates and CV? Check. Chaos? Check. But perhaps, my favorite technique, even if it often takes a lot of time to set up in a way I like, is to use four chaos signals, in this case -X, -Y, -Z, and -U, to the inputs of both the Nonlinearcircuits Let’s Splosh and Numberwang which produced interrelated gate and CV signals at their respective outputs. If you use cyclical or clocked inputs with these modules, a steady pattern will emerge. But when using chaos, you get a somewhat predictable stream of gates and CV that hint at a pattern, but that are liable to deviate regularly, both in their timing and distribution. Even without modulating the source module, in this case The Hypster, the pattern stretched and contracted; notes stayed the same until they didn’t. That’s the nature of chaos.

I used six total gate outputs from Numberwang, combined with Stackcables, into the two gate gate inputs for the Poly Multisample algorithm, and two highly attenuated and lightly offset outputs from Let’s Splosh into two pitch CV inputs. These four signals controlled eight simultaneous voices, and it took a goodly while to find the right combination of outputs, particularly from Numberwang, in order to get a piano sound I was happy with.

The stereo outputs from Disting NT were sent to the always-awesome Venus Instruments Veno-Echo, perhaps my favorite Eurorack delay overall. Veno-Echo was set up to be fairly slow, and with a smidge of sample reduction in the feedback loop. Two more gate outputs, picked at random, were patched from Numberwang which turned the Reverse parameter on and off on each side for those occasional intoxicating “zip” sounds of reverse delay.1 A mix of the dry piano and its repeats was sent to what is perhaps my favorite granular processor, the Dradd(s). Although Stereo Dradd was released a fairly long while back, I didn’t jump on it immediately. I’ve been using dual Dradd(s) for a long while and have been happy with the results. Initially I tried it in Grain mode, but just wasn’t all that happy with the results, so I decided to go with Tape mode, and strongly preferred the whacked out tape machine vibe. As this voice was introduced, there was no modulation. The Dradd(s) output an occasional hiccup at half speed. But as time progressed I introduced yet another set of chaos signals to modulate P2 on both Dradd(s), which controlled the speed and direction of playback. At first the effect was subtle. By the end it was a crazed out, all wet affair that sounded like a tape machine away about to simply fall apart.

All of the audio was sent to the always wonderful Walrus Audio Slöer for some lofi, lightly pitched up reverb. Slöer is the perfect sort of reverb for a patch like this. With its internal clock set at the minimum via the Stretch slider, the edges of the audio seemed to disintegrate in highly musical ways; as if notes were falling apart rather than fading away gracefully. It’s a highly compelling effect in the right circumstances, and this sort of patch, inherently filled with noise and digital artifacts, practically begs for that sort of treatment.

The last part of this patch was to use the always fun Industrial Music Electronics Malgorithm MkII. I don’t normally add in a hardware effect on the output bus of a recording, but I wanted this whole recording covered in a high noise floor and with its integrity questioned. My first thought upon patching it in was “Man, I really like the high noise floor, even with the output at 100% dry.” In fact, after hearing it, that noise floor was purposefully introduced as the first thing you hear in the recording. Initially I wanted the output to have a varying amount of both sample and bit reduction to add a certain level variable crunchiness to the output. And while I liked the result, I was taken aback when I experimented with one of the wave shaping modes, even if meant having to scale way back on my initial intent as a means to accommodate it. I’m a huge fan of distortion. I’ve used it a bunch in many patches, and I’m beginning to come around to digital forms of distortion in some applications. That said, the digital distortions in the Malgorithm are anything but subtle. In fact, I’ve generally ruled them out of most patches because they’re simply too overwhelming, and with no way to control them other than with the amount of input volume the modules receive, I haven’t found many applications suitable for them.2 But this particular distortion just sounded so good that I felt the need to use it, even if in the end it might have proven sub-optimal. Because of how overwhelmingly loud Malgorithm’s distortions are, I could only mix the wet signal in very slightly, perhaps only five percent. Any more and the dry audio was completely decimated. This meant that I lost most, if not all, of the more subtle movement created with the chaotic modulation to both the bit and sample rates. Out went the grunginess of hitting a Nyquist Frequency, and in came near full audio destruction. And because the wave shapers on Malgorithm are only an on or off proposition, there was no way to gracefully fade in the distortion, which, in a perfect world, is what I would have preferred to do. The only way to fade in the distortion was to use introduce more wet signal to the mix. It was all or nothing, and I gratuitously chose all.

Modules Used:
Nonlinearcircuits The Hypster
Nonlinearcircuits Frisson
Nonlinearcircuits Let’s Splosh
Nonlinearcircuits Triple Sloth
Nonlinearcircuits Numberwang
Synthesis Technology E370
Intellijel Amps
Intellijel Quad VCA
Expert Sleepers Disting NT (Polyphonic Multisample)
Addac814 6×6 Stereo Matrix Mixer
Venus Instruments Veno-Echo
Pladask Elektrisk Dradd(s)
Vostok Instruments Asset
Elektrofon Klang
Acid Rain Technology Chainsaw
Bizarre Jezabel Pkhia
Industrial Music Electronics Malgorithm
ST Modular SVCA

Outboard Gear Used:
Echofix EF-X2
Walrus Audio Slöer
Noisy Fruits Lab Lemon

Improvised and recorded in one take on iPad in AUM via the Expert Sleepers ES-9.

  1. Is it even ambient if it doesn’t have reverse delay? ↩︎
  2. I’d bet that noise artists could get loads of mileage from the many wave shaping modes and combinations available. ↩︎

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Made Noise – Sketch 23

When I walked up to the synth today, I only had a vague idea of what I wanted to do. I knew I wanted something reasonably simple sounding (even if the technique isn’t simple at all) and slow moving. I’ve been intently listening to an incredibly well done drone-y album by ambient artist Fields We Found, which inspired me to move back into a particular sound I enjoy intensely, but with a twist.

The drone that starts the piece is about as simple a patch as they come. A saw wave from the Sub output of Spectraphon’s Oscillator A through QMMG in LP mode with a high dose of resonance, and the cutoff frequency modulated by an attenuated triangle function from Multimod which produced a throat singing or “Ooooooooohm”-like sound. I never wanted too many harmonics to peak through. Its entire point was to be the foundation of everything, but more of framework off of which everything else might be supported, not a focal point. Everything in this patch was moving, and it needed some kind stability, though not stillness. Despite being the first sound in the piece, this bass drone was the last part to come together. I’ve found that I often compose in the same way I write. An idea will start to materialize, which leads to other ideas. These different ideas get synthesized together (literally!) which lead to yet more ideas for further combining. It can all be quite fluid, but very rarely is it sequential.

QMMG’s output was patched to the Bruxa for texturization and a bit of growl. It seems that no matter the context of a patch, Bruxa can find a way to fit in. It’s one of those modules. In this patch both Decay and Absorb were modulated by Spread triangle functions from the same Multimod modulating QMMG’s filter cutoff, with a side of patch programming its CV output to Time (the one with the attenuverter).

If you’ve read this site at all in the past you’ll know that I adore using very slow, free moving, unsynced waves to modulate the level of sounds in and out. To me it’s an incredibly inspiring sound that never gets tiring. These sorts of drones put me in a peaceful mindset quickly, and that’s something my soul can use of late. In the final track of the aforementioned Fields We Found album there’s one particular tone that is being modulated, either via frequency or amplitude modulation (I suspect it’s the former), and I wanted to try and replicate that sort of feeling, only throughout this patch.

Although I initially imagined Sketch 23 as a patch that would be predominantly be played within the NUSS, I ultimately decided to use a mixture of Spectraphon and DPO as the four oscillators that made up the bulk of the patch. Each oscillator was tuned to a different chord tone. Harmonically it’s a simple CMaj7 chord comprised of a C Major triad, C, E, and G, plus the major seventh B at the top. I know that when I imagined the patch I initially wanted to use a slightly more edgy C7 chord, but for some reason I just didn’t. At first I used the sine wave outputs from each oscillator, but later decided on adding some texture. For the two lower notes, C and E, I used the mixed outputs of each Spectraphon oscillator, though neither were modulated at all, both were set with a relatively low number of upper harmonics, and both had a smidge of FM as each oscillator modulated the other. The two upper notes of the chord, G and B, were sine waves from DPO, with Oscillator B FM-ing Oscillator A. All four outputs were patched to the first QXG, which received CV signals from Polimaths’ channels one, three, five, and seven.

One of the features that has me smitten on the Make Noise Polimaths is that it has a built-in ability to do amplitude modulation as a core part of an envelope. It’s a very unique sort of AM in that it contours with the function itself rather than separately acting upon the function or already modulated audio in a second VCA. And it was this feature, inspired by that one tone in “part five” of that Fields We Found album, that I wanted to not only use, but feature in this patch.

Polimaths is a wonderful module. Though not fit for every modular application, there are many for which it might not just be a good tool, but perhaps the best in all of Eurorack. It’s innovative in so many ways, and was built for polyphonic applications like this one. Even if you don’t pair it with Multiwave or use it with the rest of the NUSS it can find a place in any case. This patched started with already long rise and fall segments, only getting longer via its very excellent Spread Modulation scheme. In this patch lower pitches were controlled by longer envelopes, with higher pitches being progressively shorter. This helps form the pyramid shape of the parts for this piece. Lower, fatter sounds tended to be around longer, with notes becoming gradually shorter as the pitches move upwards. The oscillation amount and rate were equal for all four of the functions I used. Polimaths was set to both cycling and bipolar modes. I didn’t want constant sound. I wanted each chord tone to float in and out on its own terms, each fluttering about through the stereo field. One thing I’d probably change is that once the patch was recorded it seems like the oscillation amount was a bit too high. It doesn’t ruin or distract the listener, but I was going for a more subtle effect. It was more like a medium tremolo as opposed to a light fluttering of each note. It’s just not quite as delicate as I initially imagined, though still quite beautiful and compelling. In fact, it makes me want to learn how to patch these sorts of functions so that I might be able to use them in applications on Subsystems. These sorts of oscillating functions are ultra-cool, and useful in so many ways. All four functions were modulated in QXG such that they panned throughout tye stereo field throughout the piece. Each tone not only gently faded in and out, but also slowly danced from left to right and back again.

With the chords sufficiently flitting about the soundstage, it was time for ornamentation. The chord tones was the major point of the patch, but it was clear that something was missing. Although I tried several different ideas, none of them stuck. Either they were too dry or just didn’t fit. Then I remembered a passing scene in one of the original Echophon videos, and decided that was my path. I was going to finally figure out how to tame the beast. I have a funny relationship with Echophon. It’s definitely not a delay for every type of patch. It can be used like a standard lofi digital delay, but that buries the lede. Echophon isn’t a standard delay. It’s a pitch shifting maker of sonic wonders, but it definitely takes time to learn. And while Echophon is quite old, over a decade old at this point, I haven’t had one for very long, and I just haven’t really tried to flesh out its strong points. But that video gave me ideas, and I was bound to explore them.

Normally with delays I tend towards longer delay times. Most of the stuff I make moves rather slow, and much of my delay use isn’t to induce echoes or repeats, but as a means to stretch out and lengthen tones; a means to fill in space and make already long tones longer. But I quickly discovered that although Echophon can delay up to 1.7 seconds, that’s not where it really shines.1 Echophon has a signature sound. It’s pretty easily identifiable when you hear it. It’s covered up with digital aliasing. The mix knob is controlled by a vactrol so it’s never fully dry. Sometimes that sound is great, but when it comes to much longer pitch shifted tones that sound can become distracting. But with the right input, and the right delay time and feedback settings, those metallic tones from Echophon can sound like Candyland in all the best sorts of ways. A shimmering wonderland of bouncing partials that spirals upwards.

The input for this voice was simple. A sine wave from STO, enveloped by Contour via Optomix, sequenced by sending a negative offset and attenuated triangle function from Maths to the input on Wogglebug, while using its Burst output to quantize the Stepped output in René’s X Channel. These notes by themselves were a bit plain; plain sine waves with a snappy envelope. But once they went through Echophon’s pitch shifter and recycled through its feedback Loop 1, these tones turned into dancing sparkles that floated upwards and away like fireworks. It’s these sorts of tones that the Echophon excels at, and I’m glad to have finally discovered some of its secrets. The only modulation was a slow moving triangle function from Multimod to the Mix knob which was at about 50% attenuation, though I think it did go full wet. The mix of a delay isn’t something I’d normally modulate, but with this input, constant repeats got very busy, very quickly. Adjusting the mix was the best option I could come up with, which worked great, especially since, because of being controlled by a vactrol, even full CCW on the Mix knob is never fully dry. Normally this sort of vactrol bleed is undesirable, though I’ve learned to really lean into vactrol bleed in other contexts, but in this piece it worked out wonderfully. It wasn’t until this patch that I was able to coax out some of Echophon’s magic sauce, and I’m here for more.

All three parts, the bass from Spectraphon and QMMG through Bruxa, the fluttering chords from Polimaths, and the crystalline pings of STO and Echophon, were sent to Mimeophon with a fairly long delay time, and the Maneco Labs Otterley for reverb. The end of the piece, after the STO pings fluttered away for the last time, saw Otterley’s Reverb 2 make an appearance with its reverse granular delay at an octave up, which created a choir-like response that ended the piece perfectly.

Modules Used:
Polimaths
Spectraphon
DPO
QXG
QMMG
STO
Bruxa
Echophon
Mimeophon
Wogglebug
Contour
Optomix Rev2
René Mk2
Maths
Multimod
Channel Saver
modDemix
CV Bus Mk2
Maneco Labs Otterley

Outboard Gear Used:
Noisy Fruits Lab Lemon

Plugins Used:
Klevgrand Haaze 2
Klevgrand Luxe

Improvised and recorded in one take on iPad in AUM via the Expert Sleepers ES-9.

  1. There are likely many, many settings which use longer delay times to great effect. I, however, have not yet found them. ↩︎

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Made Noise – Sketch 22 rev3

This patch is one of those patches that ended up very differently than it began. I suppose such is the life of many patches. Sometimes it’s because the electrons just aren’t flowing how you imagined, while others are borne from a drastic difference between the sound you heard in your head, and the one the synth is actually creating. Modular synth can be funny that way, and oftentimes the instrument guides you where it wants to go. It’s up to us to tame its moodiness and create something musical despite our initial intentions. Today was one of those days.

Initially I was looking for an unstable sound via Spectraphon’s Noise mode. Something wobbly and uncertain. And although I was able to find that instability, it just sounded…bad. Not “bad” bad in some objective (or even subjective) way, but kind of like when you go to take a huge gulp of Coke, only to discover too late that it’s Dr. Pepper in the cup. I was set on a particular sound, and when I thought I might have produced it, it was something wholly different. I can’t tell you how long I futzed with the patch to try and finally squeeze out the sound I was hoping for, but it was all to no avail. Fortunately Spectraphon with its four modes is ultra-flexible, and although it came as a result of a much longer process than just using and tweaking Spectraphon, I was finally able to find a nice, wobbly starting point from which to use as the base of the melody line while in standard SAO mode.

This patch begins with Tempi and René driving a very slow bass line, the progression of which was ripped directly from Alessandro Cortini’s piece, ERA, from Make Noise’s album Strega Music, showcasing the then new Strega standalone semi-modular synth and FX unit. Despite a deep back catalogue, ERA has always been one of my favorite Cortini pieces. The entire sequence is but four repeated notes, E1, F#1, G#1, and B1. It’s a deep and rich bass line; its major key giving off vibes of triumph. My first inclination was to keep the bass line a pure sine wave, but that was overtaken by my desire to instill some kind of evolution and movement to an otherwise short, repeated phrase, so I mixed in the Odd and Even outputs. Initially Partials, Slide, and Focus were only very lightly modulated to create subtle movement. Partials with a slow moving Smooth random output from Wogglebug(1), with Slide and Focus both being modulated by two separate Multimod outputs, which are Time and Spread adjusted copies of the Smooth random output of Wogglebug(2). I decided, however, to use a seldomly triggered oscillating function from Polimaths to Spectraphon’s Focus CV input, which resulted in some very compelling movement in the stereo field, while not actively serving as a distracting feature. Between us, this oscillating movement in the bass line, despite its sparseness as the patch progresses, is one of the most interesting parts of this recording.

The piece starts off with the bass line progression’s pure sine notes, but on the third repeat of tye sequence the Odd and Even outputs were slowly mixed in. The sine wave was enveloped by Contour, using gates from René’s Y-GT output to both trigger the envelope, and also to determine its Hold length before ending with a fairly long decay leading into the following note in the sequence. Although the piece starts with what appears to be a pretty heavy repeat of the note’s initial attack, something I still don’t particularly care for in the recording, once the Odd and Even outputs were introduced that rough jump smoothed out and was never evident again. The Sine wave was sent directly to the output mixer. The Odd and Even outputs, however, went through a slightly different process. In an attempt to keep this part of the bass line as subtle as I could while still allowing it to be dynamic and interesting, and as I’m wont to do in many of my patches, I patched the Odd and Even outputs to channels one and two of QMMG, and used a slow moving triangle function from Maths to modulate the cutoff frequency. This allowed the various partials, sometimes fluttering about in the stereo image, to remain subtle, never truly pushing any other voice to the sidelines, while still giving the bass line depth and a bit of complexity. Mixed together, the sine wave allowed the bass line to retain its heft in the middle of the stereo field, while the Odd and Even outputs widened the image a bit in a very compelling way to keep it interesting. Despite being a short four step sequence repeated over and over, it never really sounded the same on any given repeat of the sequence. It was always subtly changing.

The melody line was also borne of a familiar patching process. Tempi drove René’s X Channel in a five step on, five step off pattern using the Start/Stop parameter on the FUN page, while feeding Spectraphon’s Oscillator A v/oct input. The sine wave output was sent to QMMG. Its first stop was for some volume control in VCA mode. Perhaps it’s just a perception, but it seems to me that Spectraphon’s outputs run on the hot side. Even when I’m going straight to the mixer I often feel like I need to tame the signal first. But a hot output wasn’t the only reason I wanted to use a lower level into the filter. I was trying to induce wobble for instability in the melody line, and one of the key factors using a filter to get that wobble is that the sine wave’s level needs to be somewhat low. I discovered this technique accidentally a little over a year ago. Once I lowered the level by about 45%, the output was patched to another QMMG channel in Low Pass Filter mode, with moderately high resonance and a bipolar triangle function from Maths moving the cutoff frequency, though at a different rate than the function controlling the bass line. I really adore this technique of playing sequences using start and stop clocks with unsynced, slow moving signals moving the cutoff. It allows for surprises, while still remaining essentially pure. The 16 step sequence, between the five step start and stop clock that drove it along with the ever moving cutoff frequency which frequently goes low enough to hide notes, never repeats. The sequence itself never changes, but its manifestation is also never the same. Sometimes notes are brought in subtly. Other times they scream from the high, nonlinear resonance of QMMG. But even though the notes themselves never change, the melody line is always morphing. There s never a sense of repetition, but familiarity from Deja vu.

The filtered sine wave melody line was then patched from QMMG to Bruxa. Normally I would start off a performance with Bruxa running at a moderate input level somewhere around or just below unity level, and with the mix fully dry, before easing in more volume or a higher mix level (or both). But because the volume of the output was Spectraphon was lowered before being filtered in QMMG, I had Bruxa’s input level maxed from the start, and the slightly wet output from Bruxa was the finishing touch for the sort of wobbly unease I was seeking. In this patch, Bruxa was thoroughly modulated, using a Time and Spread shifted Smooth random outputs from Wogglebug(2) to both the Decay and Filter parameters, slowing moving those parameters around, while both of Bruxa’s CV outputs self-modulated Absorb and Time (the one with the attenuverter CV input). Modulating Time in this way, so long as the attenuverter is set very low, creates an almost flanger-like sound, which I find intoxicating.

I don’t think it’s a secret that I’ve come to adore Bruxa. In almost every patch it seems to add some missing ingredient or another that elevates the result. It’s become nearly a must-use in most of my Make Noise patches. It’s a master at adding grit and texture to anything you run through it; the answer to lots of questions. Need some noise? Bruxa. Need a wall of sound? Bruxa. Need to wash everything out? Bruxa. Need some subtle wobble? Bruxa. Though I won’t go so far as to say we need a stereo Bruxa, I would say that I wish there were one. But even though it seems unlikely that we’d ever get a stereo Bruxa, faking it can open up a wide array of possibilities.

Though there are many ways one might widen Bruxa’s output to form a stereo image right in the case, both QPAS and Mimeophon do great, I’ve come to using a plugin for this job. I’m not a huge fan of using plugins. I’m most definitely a hardware guy. I love my buttons and knobs. But sometimes a tool is so very useful and unobtrusive that not using it actively detracts from the final result. For me, that tool is the Klevgrand Haaze 2, a plugin designed to liven the stereo field using several different methods from the Haas Effect to mid-side processing. It works great for both mono and stereo sources, and opens up Bruxa’s mono output to fill the stereo field in a way that feels natural and complete. Haaze 2 has become a staple for me when using Bruxa. The difference is immediate and transformative.

The output from Bruxa wasn’t sent only to the output mixer, however. The signal was multed via the excessively useful CV Bus before being sent to Multimod(2) for some fun play with it as a delay. I originally bought a Multimod the day it was announced. In fact, I ordered it the second the video stated it was a modulation source. I had long thought that modulation sources was a weak spot for Make Noise. Sure, there is Maths, Function, Wogglebug, and others, but before Multimod, no matter the patch, I always seemed to run short on modulation. But by the time I watched Sara Belle Reed’s introductory Multimod video, which heavily showcased using Multimod as not only a CV source or a way to spread around modulation, but as a pitch shifting delay, I went and ordered a second Multimod specifically with the intent of using one to spread modulation about, and the other as an audio processor. Before I got a third 4-Zone CV Bus Case, I had this second Multimod in my effects section of the case. This isn’t the first time I’ve used Multimod as a delay. But it always surprises me when I do. The result is almost always much cooler than I expected, and is always full of surprises. This patch was no different. After experimenting with several different outputs, I ultimately chose outputs five and seven, which were Spread such that they were at 2x and 4x the input respectively, creating an echo at one octave up in the right channel, and two octaves up in the left channel, while the input, the melody line, played steadily through the center channel. These delays created a lot of movement as the piece progressed, and was a compelling way to accentuate the very slow melody line.

All three voices, the Spectraphon bass line, Bruxa infused melody, and the delayed outputs from Multimod(2) were all sent to Mimeophon for delay, as well as the Maneco Labs Otterley, via a high pass filter, for reverb. Everything was mixed before being processed by the Klevgrand Luxe plugin.

I won’t try and hide my excitement about this patch. I’m very taken aback by this one in a way I haven’t been in a long time. It’s quite beautiful, with a high sense of hope and maybe even triumph. It’s a feeling I need of late, and this patch and its recording has served as a sort of cathartic outlet for a lot of frustration and discontent in my personal life.

Modules Used:
Tempi
René Mk2
Spectraphon
QMMG
Bruxa
Mimeophon
Multimod
Optomix v2
Contour
Function
Maths
Wogglebug
Polimaths
Channel Saver
modDemix
CV Bus Mk2
Maneco Labs Otterley

Plugins Used:
Klevgrand Haaze 2
Klevgrand Luxe

Improvised and recorded in one take on iPad in AUM via the Expert Sleepers ES-9.

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Made Noise – Sketch 21 rev6

Although last year I immediately made a patch once Jamuary was over, this year was a little different. Jamuary really wore me down, and I just wasn’t ready to step back up to the synth. A patch a day everyday for 31 days is a lot of patching. They all seem to run into one another in a huge blur. But as tiring as Jamuary was this year, I knew it wouldn’t be very long before I had an itch to scratch, and this one came suddenly.

It’s amazing sometimes where one might get inspiration. Sometimes it’s a bird singing or the sight of something special. This time, for me, was the last place I might have thought. A short snippet from Sarah Belle Reid’s video documenting a Buchla 200 system, one of the first to have been built, wherein she did a patch using two smooth random voltages to modulate the wave shape of the Buchla 258, and two unsynced cycling triangle functions to control their respective levels. There was nothing fancy about the patch, nor was it particularly musical in context. It wasn’t designed to be anything more than a very simple demonstration of the 258’s waveshaping abilities. But something about that sound really captured my attention. I listened to that section several times, and decided that was my next direction.

Sketch 21 started with two Contour envelope generators cycling unsynced. I’m not sure why I went with Contour, a discontinued take on an ADSR envelope generator, when I have several AD function generators in the Make Noise synth that are quite like the Buchla 280 Quad Envelope Generator used by Sarah. Perhaps it was because I had just received my second Contour to complete a pair, as well as the “legacy” section of my Make Noise Synth.1 My plan was to use two Make Noise Classic workhorses DPO and STO, after all. Or perhaps I thought I might use the Sustain parameter on Contour. In any case, I decided to use it and quickly discovered one of its “shortcomings.” Contour is old school. Yes, it can cycle, but you have to do it via patching the End Of Cycle output to the Gate input. There is no “Cycle” button or switch like there is on Function, Maths (at least the modern Maths), or Polimaths, which necessitated manually triggering each Contour using a PrssPnt and quickly switching patch cables in order to get the patch started. This wasn’t a problem, per se, and it’s not really a “shortcoming” that Contour needs manual triggering to start a cycle. The Buchla 280 functions in exactly the same way, but it is a conscious step that must be affirmatively taken, and it needs to be executed properly in the right time frame lest you be forced to start the patch over again. Fortunately both envelopes were quite long, approximately 10 and seven seconds long at the start of the patch, but I won’t say I was perfect on every run through. Once I set this part of the patch, however, I was pushed into changing it slightly. Contour is a Make Noise version of an ADSR. In order to sustain notes, a gate is required. But the End Of Cycle output on Contour only outputs a trigger when it’s patched to cycle. To get around this small hurdle, I patched the EOC gate outputs on the Contours to René’s X and Y clock inputs, with both channels set to output gates on each step, which then gated each envelope as it cycled. As each envelope completed, the EOC trigger moved René, which in-turn gated Contour to restart the envelope, with the benefit of a gate to use for the Sustain parameter. That said, I’m not really convinced that those gates were long enough to activate the Hold parameter. I couldn’t really hear a palpable difference, but stuck with the patch.

The envelopes created were fairly long, about 10 seconds and 7 seconds total, with an Onset (read: the A and D in an ADSR) long enough to hear the volume move in, as opposed to having a hard transient, and a long Decay. The timing of the envelopes moved the sequencer, but the functions themselves also controlled the articulation of each of the two oscillators used in the patch. I regularly use slow moving waves to control oscillators like this. Like, a lot. Most often they have rather long attacks, but I wanted the attack of these envelopes to be more like bow strokes than long fades. Smooth but not overtly long. A noticeable rise, while still exhibiting some measure of haste.

Once the envelopes and their general cadence were set it was time to move on to the two voices. My first thought was to really modify this patch by using Spectraphon and thinking about waveshaping via modulating its Partials, Focus, and Slide parameters, but I quickly moved away from it. Instead I took the route, in Sarah’s footsteps, of using oscillators with waveshaping as an explicit parameter, choosing a mix of the sine and Final outputs on DPO for the bass, and a mix of the sine and Shape output of STO for the higher voice. In Sarah’s video, she very specifically used a Smooth random output to modulate the wave shape for each oscillator of the Buchla 258 so that the timbre and tone was constantly shifting in unpredictable ways. That was the entire point. And while I initially followed Sarah’s patch by using the Smooth output from Wogglebug, by the second or third recording I had switched to using a modulated chaos signal from Spectraphon, via a Spread Multimod. Throughout most of the six recordings of this patch I used four of these Multimod outputs to modulate the waveshaping of both oscillators. Shape, Angle, and Fold on the DPO, and Shape on the STO. But something felt odd in the modulation on the DPO. It would too often cause the bass to all but disappear because of how Shape and Angle interacted with one another. This is, of course, expected, but it had worn out its welcome after several iterations and constant adjustments to try and mitigate the issue. Once I arrived at this final revision I was using DPO’s Oscillator A to modulate the B side, via the Mod Bus, at audio rate. The results are a richer bass throughout, with sometimes wild timbres and textures. I stuck with an attenuated, moderately slow moving chaos signal from Multimod to modulate STO’s shape, which, to my ears, creates some of the most interesting movement in the piece.

As each oscillator was introduced, both started as humble sine waves. Even as gain was added, the bass note never seemed to lose that “saturated sine” sound, but the higher voice from STO was very woodwind like. At times one might hear something like a clarinet or a bassoon. But as the piece progressed, I introduced the Final and Shape outputs via mixing in a pair of modDemixes. Each mix output was sent to QMMG’s channels one and four respectively. I tried every sort of amplitude processing I had in this synth. My initial thought was to, like Sarah, use vactrol controlled low pass gates. Then I experimented with using a low pass filter with the cutoff fully closed, but that wasn’t as nice. Then, on a whim, I tried modulating the level in regular old VCA mode. To my surprise, this allowed for the sort of response I heard in my head, and I stuck with it (though I did revisit these experiments at least once more through the tweaking process). Alongside the oscillator outputs I also introduced a form of noise2, courtesy of the Woggle output from the Audio section of Wogglebug. Each noise source was enveloped in a DXG using the same Contour envelopes controlling the rest of the audio, before being high pass filtered through QMMG’s channels two and three using inverted versions of those same envelopes. As audio from each oscillator fades in, so does the noise, and as it gets louder, it also gains a bit of low(er) frequency information to fill out the sound.

All four sounds, the oscillators and noise, exited QMMG via the mix output before being sent through Bruxa for even more heavily texturizing of the sounds. As the patch began, Bruxa’s input level was set moderately with no distortion. As the piece progressed I added distortion to both voices via QMMG’s feedback knob, as well as by eventually pinning Bruxa’s input level before introducing the wet signal. This allowed for a slow build and lots of harmonics to chew on in Bruxa’s filtering and delay processing. As the recording progressed I slowly raised Bruxa’s mix to full wet, allowing its cryptic feedback loop(s) to introduce its own chaotic behavior. But I also wanted more movement, and decided to repurpose two of the chaos signals from Multimod that had initially modulated DPO by using them to modulate Bruxa’s Decay and Absorb, while modulating Time with one of Bruxa’s CV outputs. The resulting sounds are huge, oftentimes almost cinematic in scale.

Bruxa’s output was sent to the output mixer (AUM via an ES-9), where it was stereo-fied by a brilliant plugin called Haaze. Though at its most basic level Haaze does use the Haas Effect, it has a full cabinet of tools one might use to create a stereo signal from a mono one, or liven up a pedestrian stereo signal. It’s a subtle yet impactful way to process a mono signal to create as wide a stereo field as you want. I chose to remain a bit more modest. The stereo field is there, but not overtly wide.

This signal was then sent out of the mixer to Mimeophon for some stereo delay. The third repurposed chaos output from Multimod was patched to color just to create a bit more subtle movement. Everything was sent to the Maneco Labs Otterley for reverb. And what was interesting is I finally found a way to utilize its Reverb 2 as one of my favorite effects: granular delay. These sounds leave a trail of pitch shifted grains in the wake of a sound like a bio-illuminescent trail in the water. At times they sound like an accompanying string orchestra echoing back with tremolo strokes in an intensely beautiful way.

If I’m being completely honest, this recording wasn’t originally conceived of as a normal post on peaks and nulls, but as a recording for something to be released. But I was never able to quite capture the magic of this patch in a single performance. Feel-wise, rev2 is by far my favorite of the recordings. Everything seemed to line up perfectly. The modulation was at the perfect speed. The interactions between modulated signals was ideal. But that was a very early recording before a lot of tweaks were made. Most of those changes improved the recordings immensely, but I see this patch as one that got away. Something was lost amongst those revisions, never to be recovered.

Modules Used:
Contour
René Mk2
DPO
STO
QMMG
Bruxa
Maths
Spectraphon
Multimod
modDemix
DXG
Wogglebug
Mimeophon
CV Bus Mk2
Maneco Labs Otterley

Plugins Used:
Klevgrand Haaze 2
Klevgrand Luxe
Toneboosters Equalizer 4

Performed and recorded in 1 take in AUM on iPad via the Expert Sleepers ES-9.

  1. Although not all of the modules in this section are officially discontinued, some of them are (Echophon, Contour), while others are all but discontinued, not having been made in several years (Optomix v2, LxD), and the DPO is an OG DPO with 6 vactrols (last made in 2014 or early 2015). The only readily available modules in the row are Maths and STO. ↩︎
  2. Count me among those who would do unspeakable things for a simple white noise output in Make Noise’s catalogue that doesn’t require patching and using complicated modules. It’s noise! Even Buchla and Serge thought it appropriate to provide a noise output. ↩︎

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Jamuary 2631

Well, the last day of Jamuary has come, and even though I initially wanted a special send off patch for the final day, life just didn’t work out that way this year. See the theme for 2630 for more details.

This patch was a simple restructuring of 2629, substituting Echophon, with Bruxa in the feedback loop, as the main effect on the ring modulated melody line. I really enjoyed this patch and using 0-Ctrl as the primary sequencer for the melodic voice. For more detailed patch notes, see 2629.

Modules Added:
Echophon

Performed and recorded in 1 take in AUM on iPad via the Expert Sleepers ES-9.

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Jamuary 2630

Today is somewhat of a cheat post. I didn’t record this on 1.30. Unfortunately, as we were wisely taught in the 80s (yet it’s a lesson many seem to have either forgotten or never learned), shit happens. I wasn’t able to record a patch on Friday. But I do have a bonus patch. I recorded two patches on the 28th, though I only posted one.

This patch is virtually identical to 2628, only rather than using Echophon as my main effect, I used Bruxa, which seems to me to be an improvement in almost every way. Enjoy!

Performed and recorded in 1 take in AUM on iPad via the Expert Sleepers ES-9.

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Jamuary 2629

I had a goal when I walked up to the synth today: use at least two sub-patches that I haven’t used during this Jamuary. I knew one technique I was going to use off the bat. It had been a while since I did a “pinging QPAS” patch, and it was conducive to the mood I was in. The other manifested as I looked at modDemix. “Ring modulation! Of course!” To me this patch is almost a stereotypical Make Noise Patch™️. It’s the kind of sound that comes so very naturally from a Make Noise synth. The sort of patch that it was made to do.

This patch was made up of two basic parts. Tempi clocked both channels of René which sent out two trigger sequences from the X and Y channels to both inputs on QPAS, using the Low Pass outputs to create a stereo percussive beat. René was being modulated by two sample and hold signals in order to change the Snake of each channel and keep the trigger sequence from repeating itself. QPAS was highly modulated by Wogglebug’s Woggle VCO output, which is the first time I’ve ever use any of Wogglebug’s VCO outputs for any reason. I started this portion of the patch to serve as a percussive base. And although I think this part served that function admirably, it’s hard to describe many of the sounds produced by QPAS as something reminiscent of percussion. Maybe percussion stretched out like putty. Or a DJ scratching a turntable. The audio rate modulation from the Wogglebugs to both Radiate inputs fundamentally changed the sounds to something I very much enjoyed, though it’s quite hard to explain. The Burst outputs from both Wogglebugs also modulated the !!¡¡ inputs, while a fast moving Ramplet signal from Multimod modulated the cutoff frequency. Resonance was set high enough, about 10:30), for fairly lengthy tails on each ping, though, as with any ping from any filter, higher pitched notes were shorter than lower pitched notes. The result is more like the results of a loosely evolving drum circle with funky instrumentation where the only requirement was “stay in time” than a real groove of some type. It’s background noise to create a mood.

There is no real science to this part of the patch. It’s a bunch of triggers to the inputs, and a bunch of high frequency modulation being thrown at about every CV input except Resonance. But it’s also why using Make Noise is often special. One can get deep into the weeds with complicated patching techniques, patch programming, and circuitous routing of both control and program signals. But one need not do that in order to get good results that are fun and unique. Make Noise is one of those modular environments that really takes modulation well. As with anything one can go overboard and really muck a patch up, but generally speaking Make Noise modules tend to take high levels of modulation gracefully.

The second voice in this patch was made up of two sine waves from Spectraphon ring modulating each other at a 1:1 frequency ratio (I.e., they were tuned to the same note) in modDemix. Spectraphon was sequenced by 0-Ctrl, with one of its gates reversing direction. Although it’s useful in many respects, I don’t use modDemix very often for any “important” role. I’ll sometimes use it as a simple mixer and a simple VCA with a unipolar envelope or gate, but most often I’ve used it as a simple level attenuator for a too hot signal. Though I do have times when I’ve used it as a ring modulator, those times are few and far between. It’s just not really a sound I use that much (and when I do it’s almost always in a context very close to this patch). But today ring modulation was the point, and I really dig the result. Improvising the gating of the sequence was a kind of fun I don’t normally have when using the modular. It was lots of knob-twisty goodness. That said I had hoped that the short decay envelope from 0-Ctrl would have been shorter. I’m not sure whether it was because of being externally clocked or whether there was an actuator problem, but there just didn’t seem much difference between using the Dynamic Gate and the Dynamic Envelope outputs (which signifies my lack of understanding the Strength Control(s) and how it related to the Speed control, and thus the longer-than-desired envelopes being an actuator issue). These Dynamic Envelope hit a LPG in QMMG. From QMMG, the signal was patched to Bruxa for some light echo and texture. Bruxa, once again, provided a bit of magic to the sound. The ring modulated tones were great on their own, which is why I never overdid the wet/dry mix on Bruxa in this patch, but the bit of added echo and noise to the ring modulated sequence was special.

Modules Used:
Tempi
René Mk2
QPAS
0-Ctrl
Spectraphon
Wogglebug
QMMG
modDemix
Bruxa
Mimeophon
Maths
Multimod
CV Bus Mk2
Maneco Labs Otterley

Performed and recorded in 1 take in AUM on iPad via the Expert Sleepers ES-9.







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Jamuary 2628

Today’s Jamuary patch was about cleaning up 2627. There isn’t much that’s substantively different. I used slightly less modulation to Echophon’s Feedback CV input and QPAS in general, and removed Echophon’s Freeze gate. The sequence is the same. These changes made a palpable difference for the better. Everything is more clear and much less disjointed. I also added the Maneco Labs Otterley in lieu of using Halo.

Performed and recorded in 1 take in AUM on iPad via the Expert Sleepers ES-9.

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Jamuary 2627

I’ll admit that I was pretty hyped about 2626. It’s not a sound I typically create, and sometimes a change of pace is what’s needed to gather perspective. In that light, when I walked up to the synth for 2627 I knew I wanted to continue down that path and further explore this sequence with different patch routings and effects. Yesterday I used Mimeophon for both the melodic sequence and the bass line. Mimeophon was a logical choice, it’s a crazy good stereo delay, but I had other ideas I wanted to try. Other textures I wanted to explore. Although I’ve been heavily invested in using Bruxa of late, particularly during this Jamuary where I’ve used it several times, I wasn’t yet ready to delve into un-clocked texture creation. I still wanted a delay that’s controllable, or at least clockable. Echophon was calling my name.

Other than being a certified delay junkie, I’m not sure what drew me towards Echophon. It was discontinued years before I was involved in Eurorack, is only mono (input and output), and it has a very opinionated sound. This isn’t your everyday digital delay with clean repeats. It is an unabashedly lofi pitch shifting digital repeater with an external feedback loop, and sound signature that, if you know it, is unmistakable. It can be harsh. Notes alias with regularity. It’s quirky, weird, and it can be unruly. And in that space it’s perfect.

The core of this patch is the same as 2626. Tempi clocked René, which sent out pitch and gate sequences for a highly modulated Spectraphon arpeggiated line, and a multi-output mix of oscillators from Spectraphon and DPO through a QMMG for bass. And despite the bass line still using Mimeophon (primarily as a means to thicken the sound up), the melody line was patched to a clocked Echophon. Pitch shifting was set to what I’m pretty sure is a fifth above the input pitch. Initially I wanted to this patch with no delay before introducing some of the wet signal. But because Echophon uses a vactrol to control the wet/dry mix, the wet signal is never fully closed off. Having a shadow of the delayed signal, however, was an interesting effect in itself, and so chose to lean into a bit at the beginning. As the recording progressed, I added modulation from Wogglebug’s Stepped output, which also acted as a control signal on several facets of the patch, to Feedback. Not long after I also added a clock-divided gate from Tempi to toggle the Freeze function, which repeated the buffer while the gate was high. This is also when I introduced the feedback loop to and from a heavily modulated QPAS and completely transformed the output.

Although I enjoyed using Echophon for this patch, something led it awry. Whether it was too much modulation, Freezing too often (or at all), or the feedback loop, there was something disjointed between the dry signal and the affected signal. They didn’t always seem to go hand-in-hand. The dry signal sounded dry, and the wet signal didn’t always resemble what went in. Upon listening back multiple times, I think it’s the Freeze that is pulling the output away from the input. It seems to repeat a small section too often and for too long without allowing itself time to breathe in between Freezes.

Modules Used:
Tempi
René Mk2
Spectraphon
DPO
QMMG
Wogglebug
Channel Saver
Multimod
Echophon
QPAS
Mimeophon
CV Bus Mk2

Performed and recorded in 1 take in AUM on iPad via the Expert Sleepers ES-9.

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