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Post by spacedog on Feb 18, 2019 13:24:17 GMT
Pay Homage to the Ancient KrellTheme: Create a short example piece, or even a full track, that imitates the famous soundtrack from the film "Forbidden Planet". Submission window: Monday 18th Feb -> Monday 25th Feb (23:59:59) Background: Bebe and Louis Barron created the music and sounds (or, electronic tonalities, as they were called) that made up the score for the 1956 film, "Forbidden Planet" in the style of Musique Concrete, which started decades earlier. Within the film an ancient and long-dead alien race known as The Krell are referenced, hence a number of patches emulating these sounds are known as Krell Patches. So, your mission (should you decide to accept it) is to create a piece (fully formed, or just a sketch, your choice) that pays homage to this style of music. Don’t worry about making an exact Krell patch, it’s more about the spirit of the sound design, so feel free to experiment. Whilst Krell Patches are usually self-generating, don't worry about this either - if you can do it, great, if not, just use some MIDI or CV input. To put a few boundaries on this, MIDI or CV input to the AE Modular is allowed (as noted), but not samples, and as much manipulation and processing as possible should be done within the AE Modular. As not all of us will have effects within our modulars, some external processing is allowed. Multiple recordings are also allowed, just as long as they are all from the AE Modular. So, let's pay homage to the Ancient Krell with our sounds and/or videos. Get creative and have fun.
The challenge is set, and runs during the submission window set out above, however, please feel free to add entries or leave comments after the initial challenge has ended. Each entry should contain:- Link to audio or video example (embedded preferred)
- Short (or not so short) patch notes, explaining how you have built on the above theme
Your entry can be as short/long as you wish, a simple sound or a track, use external fx or synths, do what you can in the time you have - go wild, make the challenge yours! You are welcome to use previous entries, as inspiration, build on them to form something new, or just use in a different way, you are welcome to submit multiple entries. If you are posting on social media (youtube, soundcloud) , please tag with #AEChallenge and #AEModular, and include a link back to the challenge thread here on the AE Modular forum. Everyone is actively encouraged to comment on entries, provide feedback and ideas... you are welcome to continue commenting/discussing outside of the submission window. the more we discuss the more we all learn 
This is part of the AE patch challenge series - if you would like more information, or have ideas for the challenge, please post on the patch challenge thread.
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Post by spacedog on Feb 18, 2019 16:33:11 GMT
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Post by NightMachines on Feb 18, 2019 16:58:21 GMT
Those patch challenges are really fun. I've been really looking forward to them in the past couple of weeks and somehow I am able to make time for them, even if I wouldn't make time to play with my synths otherwise. Thanks for keeping them going! Here's my experiment for this week: I don't have the new ENVs with CV-able attack and decay times, so I created a faster patch in which I switch between two old-version ENV's with slightly different decay times, using a VCSWITCH. There's also a lot of random stuff going on, although I kind of wanted it to be even more audible. I think it's the VCO FM which overpowers things a little bit. I played a second, more musical, drone part on top, because I felt like making it a little more fleshed out as a track (the video in the top right corner on the green screen). Here are the important bits of my patch:  There's also a somewhat randomly triggered LOPAG in there. |
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Post by spacedog on Feb 18, 2019 20:29:38 GMT
Those patch challenges are really fun. I've been really looking forward to them in the past couple of weeks and somehow I am able to make time for them, even if I wouldn't make time to play with my synths otherwise. Thanks for keeping them going! Here's my experiment for this week: I don't have the new ENVs with CV-able attack and decay times, so I created a faster patch in which I switch between two old-version ENV's with slightly different decay times, using a VCSWITCH. There's also a lot of random stuff going on, although I kind of wanted it to be even more audible. I think it's the VCO FM which overpowers things a little bit. I played a second, more musical, drone part on top, because I felt like making it a little more fleshed out as a track (the video in the top right corner on the green screen). Here are the important bits of my patch: There's also a somewhat randomly triggered LOPAG in there. Good stuff, NightMachines , I enjoyed that. I did have a moment's worry when the third hand suddenly appeared in the top corner. That will teach me to watch before I read
Not having the new ENVs either, I was thinking of another way of generating the varying ENVs - mainly as I don't yet have a VCSWITCH. I shall see if my thought experiment on the way home tonight can translate into a reality. I liked the LOPAG plucks as well, really nice. I had a similar idea for a source of randomness.
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Post by thetechnobear on Feb 19, 2019 11:26:06 GMT
to relax last night, I decided to play a little bit with ideas that might be useful for this challenge... whilst doing so , the following dropped out, so I just grabbed the Zoom H5, and recorded it . I thought it contained some nice bits, and wanted to retain it, before dismantling the patch for other ideas. warning, its not really a 'track' , just a capture... and the first minute is a bit 'wild', then it chills out a bit. but I wanted to keep it, as I might use bits of it as background textures for a track in the future - so the wild bits might be still useful   patch is pretty much as others are doing I expect, noise->s&h -> 2att for random feature. .. using 2 different LFOs as clocks, so we get two different sample values. I also don't have the newer 2env, so no envelope control via cv so what I wanted to test, was a) how slow can an oscillator go (since we have cv control over it) b) what about using a divider to slow things down, with a LP filter to slew it. (a) doesn't work, they are too fast, though you can tease VCO to go a bit slower with the 0v into mod (with freq), useable for a normal lfo, but not really slow enough for krell/ambient. (b) does work, and is what is being used in this patch.... you'll need the filter down low, and the finally tune the CV1 - what your after is the range there its smoothing it out to a rising and decaying curve - play with it, and which divider rate to use, and also the clock into. then you can get CV1 to have different speed envelopes (if you have it too high, you'll just get clicks as it won't smooth enough) .. unfortunately I only have one divider, but you can still get different envelopes by using different outputs from the divider, and additional filters... so in this example Ive got 2 voices going on its not as good as a dedicated cycling envelope, just had to use what I have.... tip: have a look at the noise output on an oscilloscope (a free virtual one is good enough), look closely at what the rate knob does, its quite interesting... so... now Ive done krell standalone on AE (twice) , I think I'll probably do the next one in collaboration with my eurorack btw: robertlanger it would be nice for a next gen LFO to have rate control over it... (it'll be interesting to see if the new 2OSC/d goes slow enough for LFO use?) |
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Post by spacedog on Feb 19, 2019 17:17:58 GMT
Last night I started out with good intentions of creating those varying envelopes, combined with some randomness... in the end the patch got away from me and I suddenly realised that when I accidently pulled out the lead to the oscillator it was still playing.
So, here it is, my homage to the Krell's last meal - and it sounds like it may have been what killed them off.
I will do something a bit more "in keeping" later, but I thought this was amusing for now.
I did also do my best to sketch out the patch but, as I said, it really did get away from me. It was whilst drawing it that I could see the interesting feedback loop that I had created - unintentionally, as it happens. The delay is from the AE Modular and there is some reverb added outside (as I don't have one inside ). |
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Post by spacedog on Feb 19, 2019 17:26:41 GMT
to relax last night, I decided to play a little bit with ideas that might be useful for this challenge... whilst doing so , the following dropped out, so I just grabbed the Zoom H5, and recorded it . I thought it contained some nice bits, and wanted to retain it, before dismantling the patch for other ideas. warning, its not really a 'track' , just a capture... and the first minute is a bit 'wild', then it chills out a bit. but I wanted to keep it, as I might use bits of it as background textures for a track in the future - so the wild bits might be still useful patch is pretty much as others are doing I expect, noise->s&h -> 2att for random feature. .. using 2 different LFOs as clocks, so we get two different sample values. I also don't have the newer 2env, so no envelope control via cv so what I wanted to test, was a) how slow can an oscillator go (since we have cv control over it) b) what about using a divider to slow things down, with a LP filter to slew it. (a) doesn't work, they are too fast, though you can tease VCO to go a bit slower with the 0v into mod (with freq), useable for a normal lfo, but not really slow enough for krell/ambient. (b) does work, and is what is being used in this patch.... you'll need the filter down low, and the finally tune the CV1 - what your after is the range there its smoothing it out to a rising and decaying curve - play with it, and which divider rate to use, and also the clock into. then you can get CV1 to have different speed envelopes (if you have it too high, you'll just get clicks as it won't smooth enough) .. unfortunately I only have one divider, but you can still get different envelopes by using different outputs from the divider, and additional filters... so in this example Ive got 2 voices going on its not as good as a dedicated cycling envelope, just had to use what I have.... tip: have a look at the noise output on an oscilloscope (a free virtual one is good enough), look closely at what the rate knob does, its quite interesting... so... now Ive done krell standalone on AE (twice) , I think I'll probably do the next one in collaboration with my eurorack btw: robertlanger it would be nice for a next gen LFO to have rate control over it... (it'll be interesting to see if the new 2OSC/d goes slow enough for LFO use?) Now that's more like what I was trying to do, thetechnobear you've got a really nice feel to that and I can see why you grabbed it quickly. Definitely something that would be great in a track, I agree. As you can hear, I really didn't get that close, although yours was that kind of vibe that I had in my head... my patching fingers just had a different idea though. My other excuse is that I was listening to Edgar Froese's "Aqua" just before I do have an idea for creating the varying envelopes, I just didn't get it out of my head; your idea was one that I hadn't considered though. For me, that's the wonder of these patch challenges and I really do learn a lot from looking at how others more experienced than me approach the idea. |
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Post by thetechnobear on Feb 19, 2019 18:58:52 GMT
I like your shorter bleeps - I tend to struggle to get short sounds on the AE without getting a click on the attack... divider-> filter idea, funny thing is, this idea comes from the digital realm - its 'common practice' to use low pass filters to smooth out digital signals (as we get from the divider), and Id been messing with this earlier in the day in code to 'fix' zipper noises - so was fun to see if analog filters could play a similar role. Its fun to swap ideas between the digital and analog realm, can lead to some interesting places. (as its never a perfect translation either way ) |
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Post by mobius on Feb 20, 2019 5:00:21 GMT
spacedog, your patch kinda spans the gap between krell and noises i'd expect you might hear in the jungle of an alien planet -- I love it!
I've been MIA/busy the last month or two - turns out 18 month olds are exhausting - but am really hoping to get some time this week (or somewhat soon, at least) to take a crack at this. Todd Barton's Krell Patches are one the things that really bit me in the sense of wanting to go the modular route, so I figure I have to at least do this one... right?? |
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Post by thetechnobear on Feb 20, 2019 19:48:21 GMT
am really hoping to get some time this week (or somewhat soon, at least) to take a crack at this. Todd Barton's Krell Patches are one the things that really bit me in the sense of wanting to go the modular route, so I figure I have to at least do this one... right?? definitely try to give it a go... even if you don't get a chance to complete it, you'll have fun trying I always find I learn something when attempting the krell patch, as its almost always forces you to use things in a way you've not tried before, its almost like a jigsaw puzzle, where you have to reshape your pieces |
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Post by admin on Feb 23, 2019 1:03:35 GMT
OK, I didn't have much time this week so I'll upload the very first attempt. I've tried to connect the noise and S&H to as many inputs as possible, but still there isn't enough chaos for my taste. The bubbling sound is the Nyle filter in self oscillating mode with resonance being modified by S&H going through the Wasp BP filter which is cv controlled by an LFO. Just some melody on top to show the stark difference between the Krell talk and "earthly music". Also everything goes through the pitchdelay on the MultiFX with Parameters 1 & 2 being modified by S&H and noise. |
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Post by spacedog on Feb 23, 2019 19:05:34 GMT
I had a second attempt at paying homage to those Krell - here I tried out some interesting ideas, including my thought experiment made real for switching envelopes. There is an external delay and reverb and I made two passes of the same patch and mixed them for the final track to get more variation in sound.
Here it is, once again it's not very tuneful:
The main thing that I was trying here was to create that varying envelope, but without the benefit of CV control of the ENV or a VCSWITCH. I had a thought that I could use two outputs from the LOGIC module, combining an LFO with two different outputs from the TRIQ164 into two different AND gates. I used these to trigger two different ENVs, through to each channel of the VCA, then to the MIXER.
Each channel of the VCA was fed by a differently filtered output from the OSC. The OSC CV was modulated via an attenuated LFO for a slight variation. I've drawn it out below - although it's not shown (but it is noted) each filter was modulated by an LFO via S&H using NOISE as the trigger.
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Post by mobius on Feb 25, 2019 15:58:55 GMT
Ok, a bit under the wire, but better than never! Here's my homage to the Krell patch:
It's a bit on the simple side, but I'm also a big fan of the generative ambient soundscape-y kind of stuff so that's what I often find myself gravitating towards.
Patch details: I also don't have the new 2ENVs with the CV control, and actually am still (mostly) working with the Rack 1 modules + Logic and Divider. Thinking about the approach to this patch, I knew the variable attacks/decays and timing of notes would have to come from somewhere else. Fortunately I have a current work in progress in the breadboards that I knew would play a key part.... the Electric Druid VCLFO. I don't have all the CV controls working as I would expect or like them to, but the enough of the circuit is working that I felt this would be a great trial run with it.
The voice here is very simple: VCO Saw -> VCA -> Filter [LP, BP] -> Delay. As I don't have the Multi-FX or other effects in my rack, there is some Calf Reverb and Tape Simulation added in Ardour as I was processing the recording. (Note: I have much to learn about working with Ardour/DAWs in general, so apologies if the track is not quite there, so to speak)
The more interesting part of the patch obviously is the control/timing aspects. The VCLFO is front and center as it is controlling the VCA for the voice; it's set to a Triangle wave with S&H'd Noise setting the Frequency. The variation in attack and decay comes from the chip's Wave Distort CV, also being fed by the S&H Noise. So between those two parameters, you get a nice variation in both note length, and the way in which it comes in and out. The trick that I had to figure out with this setup was how to change the pitch when a note was not playing i.e., the VCLFO wave was at the end of it's cycle. Sending the Wave through a 2ATT and using the INV output into the Logic module was close, but it triggered too soon/as the current note was decaying away. The aha moment was then using the second 2ATT to pull the inverted wave level down until the peak of it *just* clears the Logic's trigger threshold. In hindsight 2ATT -> Logic IN3 -> INV3 into one of the main logic inputs also would probably work and be simpler, but oh well - live and learn. Either way, this gives you a nice End of Cycle/signal going to 0V Trigger/Gate.
The pitches are just an LFO triangle wave being sent to the other S&H input, being triggered by the above "EOC" gate and sent to both the VCO and the Wasp Filter.
I think that's about it. Hope you enjoy the audio!
Cheers!
Edit: Oh, and yes, the Soundcloud is extremely sparse at the moment. I've been mostly just using the AE in a Patch, Play, TearDown sort of way and not really done much recording. But this was quite fun, and what a difference a few effects added in the DAW can make. Hoping to do more of this and go back to some of the older challenges for some more recording practice and motivation. So stay tuned and hopefully will have more stuff to listen to in the future.
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Post by spacedog on Feb 25, 2019 16:36:30 GMT
Ok, a bit under the wire, but better than never! Here's my homage to the Krell patch:
It's a bit on the simple side, but I'm also a big fan of the generative ambient soundscape-y kind of stuff so that's what I often find myself gravitating towards.
Patch details: I also don't have the new 2ENVs with the CV control, and actually am still (mostly) working with the Rack 1 modules + Logic and Divider. Thinking about the approach to this patch, I knew the variable attacks/decays and timing of notes would have to come from somewhere else. Fortunately I have a current work in progress in the breadboards that I knew would play a key part.... the Electric Druid VCLFO. I don't have all the CV controls working as I would expect or like them to, but the enough of the circuit is working that I felt this would be a great trial run with it. The voice here is very simple: VCO Saw -> VCA -> Filter [LP, BP] -> Delay. As I don't have the Multi-FX or other effects in my rack, there is some Calf Reverb and Tape Simulation added in Ardour as I was processing the recording. (Note: I have much to learn about working with Ardour/DAWs in general, so apologies if the track is not quite there, so to speak) The more interesting part of the patch obviously is the control/timing aspects. The VCLFO is front and center as it is controlling the VCA for the voice; it's set to a Triangle wave with S&H'd Noise setting the Frequency. The variation in attack and decay comes from the chip's Wave Distort CV, also being fed by the S&H Noise. So between those two parameters, you get a nice variation in both note length, and the way in which it comes in and out. The trick that I had to figure out with this setup was how to change the pitch when a note was not playing i.e., the VCLFO wave was at the end of it's cycle. Sending the Wave through a 2ATT and using the INV output into the Logic module was close, but it triggered too soon/as the current note was decaying away. The aha moment was then using the second 2ATT to pull the inverted wave level down until the peak of it *just* clears the Logic's trigger threshold. In hindsight 2ATT -> Logic IN3 -> INV3 into one of the main logic inputs also would probably work and be simpler, but oh well - live and learn. Either way, this gives you a nice End of Cycle/signal going to 0V Trigger/Gate. The pitches are just an LFO triangle wave being sent to the other S&H input, being triggered by the above "EOC" gate and sent to both the VCO and the Wasp Filter.
I think that's about it. Hope you enjoy the audio! Cheers!
Edit: Oh, and yes, the Soundcloud is extremely sparse at the moment. I've been mostly just using the AE in a Patch, Play, TearDown sort of way and not really done much recording. But this was quite fun, and what a difference a few effects added in the DAW can make. Hoping to do more of this and go back to some of the older challenges for some more recording practice and motivation. So stay tuned and hopefully will have more stuff to listen to in the future.
I enjoyed that, thanks for taking the time to work on this, mobius. The challenges are open-ended, so the timing was no problem. I was impressed at the overall sound that you achieved, very much in the spirit of Todd himself I was particularly interested in that Electric Druid website - lots of interesting things there. I feel that I have lots of catching up to do. |
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Post by rockysmalls on Mar 4, 2019 17:21:23 GMT
of course the Krell have a very ‘cosmic’ sense of time, so technically and in an Altair lV sense this contribution is well within the window!! and by the same logic Shakespeare totally knew he was writing the script to a Classic Sci-Fi film when he authored The Tempest. I started the patching trying to replicate a self generating patch I’d made for Ripplemaker in ios. As the new Volca Modulars are clearly modelled on O-coasts and Ripplemaker is absolutely modelled on an O-coast.. this could also pass for a contribution to the “ain’t got no GaS challenge ( i’ve coveted an O-coast for a good while and the volca seems a nice cheap alternative desire ) 2 chicks with one brick, so to speak of course the patching soon went ‘Off Piste’ and I started making it up as i went along... One thing it did bring to light is what Technobear mentioned a while back, that it is a pity that the LFO module has no CV input.. Robert? a revision anytime soon?? meantime i guess I should remake the patch and try using the 2nd of the 2ENV as an LFO so I can send S&H signal to randomise length of cycle.. I was surprised , and very taken by how much it sounds like vintage Barron stuff.. it’s entirely mono with only the lo-fi DELAY module as an effect.. the patching went as follows: VCO triangle wave > VCA 2ENV > CV1 of VCA 2S&H > DCV1 of 2ENV NOISE > IN1 of 2S&H LFO (pulse out) > trig1 of 2S&H 2S&H out1 > MULTI MULTI out > CV1 of SVFILTER MULTI out > sync of LFO MULTI out > mod in of VCO SVFILTER LP out > DELAY in DELAY out > MIXER 4-4 MIXER 4-4 outA > AUDIO OUT > recorder LFO pulse out 2 > DIVIDER clock DIVIDER /8 out > gate1 3VCSWITCH io1 of 3VCSWITCH > VCO cv LFO triangle out > 1a 3VCSWITCH LFO square out > 1b 3VCSWITCH LFO square out > gate1 2ENV |
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Post by thetechnobear on Mar 4, 2019 17:41:41 GMT
wow, only just had some time to catch up on entries here... really great stuff, what surprises me , is that they all have a very different feel to them ... really enjoyed them all. also great to see so many entries - keep them coming. (I think I might redo this, when I finally get around to getting the new 2ENV and 2VCA!)
finally, out of completeness, here is a link to the small clip of the 2nd go at AEC 7 (featured at end of AEC8), I didn't post it properly, as I wasn't really feeling it in the end... so just felt like pulling it apart, and moving on, but it did though have a very different approach to my previous attempts. it was based around 4 voices, 2 from eurorack, 2 from AE modular , with the AE Modular being controlled by CV from Eurorack. what was tricky was Marbles was the main source, but it only has 3 random gates/cvs .. yet for 4 random voices, with 4 random envelopes (2 AD, 2 D) , I needed 8, plus I wanted also some random modulation as well. the way I did this was to use Marbles as a CV generator, but then use Hermod to generate further random gates and cv from these 'seeds', it worked actually quite well, in that everything could be nicely sync'd and also some basis of commonality, so although the seeds are random the derivatives are not, so tie together. (oh, and all pitches were quantised which helps ) as for AE Modular, what I did there was to send 2 pitch, and 2 envelope CV, and a clock, and send back noise to the eurorack... then finally audio back to the eurorack, to get mixed. (might have also gone into the spring reverb!?) |
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Post by arti on Mar 16, 2019 19:52:55 GMT
Here is my take on Krell related patch I don't have new ENV module or 3VCSwitch so I've tried to get close to that sound without those modules: VCO (a) sawtooth > NYLE hp in VCO (b) sawtooth > WASP (b) in VCO (b) triangle > 2VCA in1 NOISE analogue > SPRING REVERB in NOISE digital > 2S&H in1 LFO (a) sawtooth > VCO (b) pwm LFO (a) pulse > SEQ16 clk LFO (b) square > 2ATT/CV in1 LFO (b) square > ENV gt1 LFO (b) triangle > WASP (a) cv1 WASP (a) lp > DELAY in WASP (b) lp > 2VCA in2 ENV > 2VCA cv1 ENV > 2ATT/CV in2 2VCA out1 > WASP (a) 2VCA out2 > MIXER4-4 A2 NYLE > MIXER4-4 A1 STEP10 10th step out > SEQ16 reset SEQ16 cv > VCO(b) cv1 SEQ16 gate > 2S&H trig1 SEQ16 gate > NOISE cv MIXER4-4 outA > MASTER I/O audio1 MIXER4-4 outB > MASTER I/O audio2 2S&H out1 > DELAY cv 2S&H out1 > BEAT DIVIDER multi > VCO(b) cv2 > WASP (b) cv2 > STEP10 clk 2ATT/CV inv1 > WASP (b) cv1 2ATT/CV inv2 > VCO (a) cv2 2ATT/CV inv2 > 2VCA cv2 DELAY out > NYLE lp in DELAY wet > NYLE cv1 - I'm not sure if it does anything at all SPRING REVERB out > DELAY in2 VCO(a), NYLE/hp and REVERB weren't part of the Krell patch. VCO/NYLE hp provided the sound of warning siren (at 2:43)and REVERB (fed by noise) produced the disaster of unknown origin (3:08). For the dramatic purposes, the springs were abused manualy Hearing sirens Ancient Krell knew they were already doomed but, as You can hear, they kept playing their music untill the end. This is my homage to this brave race. Pure live session with AEM only (plus Behringer Xenyx's delay on top) |
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Post by visuellemusik on Jul 15, 2020 20:15:12 GMT
Hi, I may be a bit late to the party, but when I got my FMOS I decided to try out a simplified version of Todd Barton's Krell patch as described here:
Although I stuck to the principles described there:
Simpified Krell Patch FlowchartI ended up with a bit of a different sound as to be found with Todd Barton's Buchla:
Yet I like the result and I would not say it sounds "cheaper" than the Buchla, but just different ;-) Using the superb grid.aemodular.com I made an overview of the modules used and added some lines via inskape to show the basic patching:
Here are the details: Random attack modulation:
2ENV end1 > 2ENV gt1
2ENV end1 > 2S&H(a) trig 1
NOISE a out > 2S&H(a) in 1
Random release modulation:
2ENV end2 > 2ENV gt2
2ENV end2 > 2S&H(a) trig 2
NOISE a out > 2S&H(a) in 2
Main envelope:
2S&H(a) out 1 > ADSR a cv
2S&H(a) out 2 > ADSR r cv
ADSR out > 2VCA in 1
Random 1V/oct:
ADSR end > ADSR gate
ADSR end > 2S&H(b) trig 1
NOISE a out > 2S&H(b) in 1
Random FM modulation:
ADSR end > 2S&H(b) trig 2
NOISE d out > 2S&H(b) in 2
VCO:
2S&H(b) out 1 > 2CVTOOL in1
2CVTOOL out1 > QUANTIZER cv1
QUANTIZER out 1 > FMOS cv 1
2S&H(b) out 2 > FMOS dpt cv
Main VCA:
FMOS out > 2VCA in1
2VCA out 1 > NYLE FILTER bp in
Random filter modulation:
2S&H(b) out 1 > NYLE FILTER bp in
Bandpass filter:
NYLE FILTER out > DELAY in
Effects:
DELAY out > MULTIFX in
Main out:
MULTI FX l > MASTER a1
MULTI FX r > MASTER a2 One important thing here:
To get the patch going / start self-playing all three envelopes have to be triggered once using their individual trigger-buttons, because the envelopes then will provide the necessary EOC("end of contour")-trigger with each end of their "contour" ;-)
Attachments:
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Post by admin on Jul 16, 2020 1:20:14 GMT
Hi, I may be a bit late to the party, but when I got my FMOS I decided to try out a simplified version of Todd Barton's Krell patch as described here: Wow, thanks visuellemusik, this is a great sounding patch. It's almost unbelievable that these sounds are coming from the AE ... the FMOS seems to be a game changer! Also thanks for explaining the Krell patch so clearlu, I will now make another attempt at it since when I entered my first attempt I clearly had no idea what I was doing. |
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Post by MikMo on Jul 16, 2020 7:41:08 GMT
Ohh, i'm so glad i decided to add an FMOS to my order.
Mikael / MikMo
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Post by visuellemusik on Jul 17, 2020 15:01:51 GMT
Hi, I may be a bit late to the party, but when I got my FMOS I decided to try out a simplified version of Todd Barton's Krell patch as described here: Wow, thanks visuellemusik , this is a great sounding patch. It's almost unbelievable that these sounds are coming from the AE ... the FMOS seems to be a game changer! Also thanks for explaining the Krell patch so clearlu, I will now make another attempt at it since when I entered my first attempt I clearly had no idea what I was doing. To me FMOS indeed is a game changer, but tbh the NYLE FILTER also has quite a big part producing the overall sound, sometimes even adding notes by itself, because resonance is almost all way up [at least in that recording] ;-) |
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andy
New Member
Posts: 38
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Post by andy on Dec 8, 2020 13:50:54 GMT
Hello and sorry for reviving this thread and being waaaaay too late for the challenge. Still I thought I post a patch, as I think it does well to showcase the endless possibilities offered by the Algodrone. So, here I am, conducting the Krell Philharmonic: It is a very simple patch: Algodrone algorithm 35 > Wasp Filter (H and L inputs) > MultiFx Shimmer > Stereo Out LFO Triangle > ENV Out 1 > Filter CV in ENV Out 2 > Algodrone Parameter 3 CV in LFO 2 Pulse (not synchronised) > Sample & Hold Trigger In Noise > Sample & Hold > CV Attenuator > Algodrone Frequency CV in Apart from this, it took about 2 hours of painful tweaking of 8 knobs to get this result: Algodrone Parameters 1, 2 and 3 and the fine frequency, Noise Rate, Wasp Filter Cutoff, Attenuator (CV from the S & H) and LFO 1 Pulsewidth. I've a photo showing the position of knobs if anyone is interested... Now, after recording this, I realized that if I add subtle CV modulation to Algodrone Par 2, the melody produced changes quite a lot, while maintaining the overall sounding of the piece. With a slow LFO modulating it you can get probably hours without any melody repeating. Couldn't be bothered though, as I decided to go on a quest to try some Berlin School stuff... |
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Post by admin on Dec 8, 2020 22:06:49 GMT
Hello andy, this is fabulous, great use of the Algodrone! I'm very pleased that the old patch challenges still find challengers! They are meant to be a resource of inspiration at all times for anyone, so thank you for reviving this thread and sharing your patch with us. I would actually be very interested to see your patch, so please upload the photo when you can. Berlin School is also very dear to my heart, alas, I haven't been able to nail it yet, probably because I just don't know which scales to program, but definitely something that I would love to see done more with the AE modular. Cheers, Carsten. |
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andy
New Member
Posts: 38
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Post by andy on Dec 9, 2020 14:05:09 GMT
Berlin School is also very dear to my heart, alas, I haven't been able to nail it yet, probably because I just don't know which scales to program, but definitely something that I would love to see done more with the AE modular. Thanks, Carsten! I am just starting to learn about the techniques related to Berlin School, so when you do nail it, would you make a video? I've learned pretty much everything I know about using the AEM from your tutorials and music videos anyway. Below is a poor quality photo of the Krell patch (the CAT S41 has the worst camera of any smartphone I ever seen). Still, the knob positions on the Algodrone can be seen, the LFO is at the slowest setting, triangle output. LFO 2 is actually a trigger from the Topograf as I also tried tweaking the Chaos knob, but in the end any LFO pulse or trigger source should be fine. S&H modulation of the Algodrone frequency is very subtle. Attachments:
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pol
Wiki Editors
Posts: 1,349
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Post by pol on Jul 6, 2022 20:14:08 GMT
Think I have paid homage to the Ancient Krell, and the most modules I've used in a Patch Challenge so far,
Best use of Kurt's Deadband so far, lovely on wavefolded bass!
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