Week 37 of #52weeksofsound and I thought I'd try a 'krell' patch… I've known about them (and generative music stuff in general) for a while, but never really explored it yet — UNTIL NOW. /.... ..../ Main 'melody' is in the left channel, a delayed version is in the right channel (delay time modulated by randomness), and a slower pulse/drone straight down the middle. Also ambient noises from outside via the e912.
I've been playing with this patch for most of the week… early on I was in the house (who isn't?) and a lorry must have gone past because there was a delicious low rumble as 'something' resonated. So I started playing with the modular. This is the product of multiple unsynchronized modulations (2 LFOs plus the envelope geenerators self-triggering), modulating the filter cut off, delay time and envelope attack/decay times. There are no VCAs in the audio path, so there's always a low rumble going on.
As it's a Friday, the building site behind the house is active, which adds some interesting interjections to the mix I think!
Reverb (big and cavernous) is added from the mixer, and this is actually the 'live stereo mix' (I have the individual tracks for a later remix perhaps).
(I ran out of patch leads again — very much looking forward to getting my next order!)
Due to the unsynchronized modulations, the patch evolves over time and seems like it never repeats — for me, it's quite nice simply as a background ambience.
A few additions to the modular this week: FMOS and MULTIFX modules (supplied by Juno in the UK) and the initial prototype of the soon-to-be-released 'rbss' from Wonkystuff.
rbss is providing the main tempo clock, and the clicky rhythm (mutating over time), SEQ16 driving the FMOS through the MULTIFX reverb and a simple saw fading in and out. the rbss is also modulating the multiplier control on the FMOS — depth being modulated by an LFO.
With a small 'chance' dialled in on the rbss the sequence mutates slowl over time, so there are enough repetitions to hang on to, but enough variation not to be boring (I hope!)
This started out as an attempt to show the different extremes of the rbss module — using the rbss outputs directly as sound sources:
The first has been heard before, the slow click of the rbss' "a out" feeding into the wasp filter, with a fair amount of resonace dialed in and frequencey being modulated by a slow LFO.
The second source is what happens when you clock the rbss with the square wave output of the VCO: a pseudo wavetable oscillator. Modulating the 'chance' input means that the wavetable can mutate as the piece progresses (either manually or by some other modulation source).
The fog is deadening all sounds this morning.
I realised that I was putting this together around 11AM, so thoughts inevitably turn to sacrifices of the past, but also to the news yesterday that there is some hope from the direction of the USA.
Week 47 of #52weeksofsound… Almost the same patch as last week's track.
After working on 'LongForm', I kept the patch set up and added a noise source to the pulse. Pleasingly this sounded to me like waves crashing on the beach from a distance, so I kept it. Coupled with whatever was happening outside via the e912 (cars and leaf blower?) and some interjections from the FMOS and feedback within the MULTIFX I find this simultaneously calming and full of suspense. Odd.
An experiment in self-defining music: using a self-triggering envelope, and using the envelope-end signal to clock the rbss modules as well as the envelope-start. rbss modules are controlling the attack and decay of the envelope (and thus the tempo), each rbss being set to a different length so that the patterns don't repeat. rbss' are also used to control the pitch and modulation depth of the FMOS, as well as the lofi-delay's delay time.
The drone in the background is just the VCO through a slowly modulating filter into the lofi-delay (being modulated as described above).