A longer improv and edit inspired by this modular bebop sketch.
This track started out as a test for my old Boss SE-70 Super Effects Processor - the kitchen sink FX box from the 90’s, loved by The Prodigy - which I had dusted off to check out the pitch shifters.
A medium-paced Wogglebug conducted two Plan B Model 15s and Maths. There was a bit of FM and wave-folding involved. I’ve always felt that the Wogglebug had the jazz so it was a short jump of the imagination to add some Rhodes/ Cwejman RES-4-ish tones from a Clavia G2 Voice Filter patch and some brushed beats.
I guess this was an exercise in re-contextualisation - hope you enjoy it!
Showing posts with label wiard. Show all posts
Showing posts with label wiard. Show all posts
Thursday, 29 June 2017
Thursday, 11 May 2017
Patch Tips #28 - Wavetable Clock Multiplier
Driving a wavetable oscillator to get reliable clock multiplication, regardless of changes in tempo. A follow-up to these posts (1, 2).
Clock division is easy and instantaneous. Getting faster pulse streams from a master clock is an imperfect science, even with dedicated solutions. Here is a multiplier patch that tracks changes in tempo and avoids the lags and glitches that can affect modules which try to average or predict incoming clocks.
In a sense, it’s an analogue rather than digital approach: instead of counting pulses or square waves from a master clock (tap tempo etc.), we use a sawtooth wave to voltage address a suitable waveform in a wavetable module.
If we scan a wave that contains four equally placed pulses (see image above) we can quadruple our ‘clock’. If the amplitude of our sawtooth remains constant - i.e., we read out the entire contents of the page - we will always get four pulses for each single sweep of the saw, regardless of how fast or slow that saw moves.
Here’s how it sounds: wavetable-clock-multiplier.mp3
For this patch, I used a sawtooth LFO to drive a Richter Megawave. I multed this saw and used one copy to trigger one envelope (master clock, left channel voice) and patched the other to the input of the Megawave. I patched its output to a second envelope and voice (multiplied clock, right channel). I used the sine waves in ’Miniwave’ (Bank 14, Wave 3) as they are more regular than the pulses in Bank 7. Fortunately, these sines were enough to trigger my envelopes. I kept the multiplication at x4 but modulated the frequency of the LFO (and the pitch of the audio VCOs) with a voltage offset and a clocked random voltage.
To get voltage control over the multiplier e.g., jump from quarter notes to 16-ths, we can do two things: either select a new wave via CV or manually select the wave with the most pulses and control the amplitude of the sawtooth with a VCA, as you would with a wave-folder. Much like the old Beat Folder patch, we are re-assigning voltages. But instead of using an analogue transfer function, the wavetable module allows us to look up a series of digitally stored arbitrary values.
If you want to read some more about the Megawave and its many uses, head here. The Megawave is full of maths, a ‘best-of’ transfer functions (see the Socket Rocket manual for ideas). This is my sort of module. It’s multifunctional - not because it has many modes but because its principle function can be re-imagined according to the desired use.
Clock division is easy and instantaneous. Getting faster pulse streams from a master clock is an imperfect science, even with dedicated solutions. Here is a multiplier patch that tracks changes in tempo and avoids the lags and glitches that can affect modules which try to average or predict incoming clocks.
In a sense, it’s an analogue rather than digital approach: instead of counting pulses or square waves from a master clock (tap tempo etc.), we use a sawtooth wave to voltage address a suitable waveform in a wavetable module.
If we scan a wave that contains four equally placed pulses (see image above) we can quadruple our ‘clock’. If the amplitude of our sawtooth remains constant - i.e., we read out the entire contents of the page - we will always get four pulses for each single sweep of the saw, regardless of how fast or slow that saw moves.
Here’s how it sounds: wavetable-clock-multiplier.mp3
For this patch, I used a sawtooth LFO to drive a Richter Megawave. I multed this saw and used one copy to trigger one envelope (master clock, left channel voice) and patched the other to the input of the Megawave. I patched its output to a second envelope and voice (multiplied clock, right channel). I used the sine waves in ’Miniwave’ (Bank 14, Wave 3) as they are more regular than the pulses in Bank 7. Fortunately, these sines were enough to trigger my envelopes. I kept the multiplication at x4 but modulated the frequency of the LFO (and the pitch of the audio VCOs) with a voltage offset and a clocked random voltage.
To get voltage control over the multiplier e.g., jump from quarter notes to 16-ths, we can do two things: either select a new wave via CV or manually select the wave with the most pulses and control the amplitude of the sawtooth with a VCA, as you would with a wave-folder. Much like the old Beat Folder patch, we are re-assigning voltages. But instead of using an analogue transfer function, the wavetable module allows us to look up a series of digitally stored arbitrary values.
If you want to read some more about the Megawave and its many uses, head here. The Megawave is full of maths, a ‘best-of’ transfer functions (see the Socket Rocket manual for ideas). This is my sort of module. It’s multifunctional - not because it has many modes but because its principle function can be re-imagined according to the desired use.
Friday, 6 July 2012
Turing with Bitsy
A quick jam featuring two DIY shift-register-based random sequencers, Tom Whitwell's Turing Machine and my own Bitsy.
Playing with sequencers that you can't program, only influence, is great fun. As you can hear, the two make a great team!
Just add a quantizer, and you're away. (Turing left, Bitsy right).
Tom managed to pack a lot into his sandwich design. It's tight in places, but it does all fit. My own DIY projects have been primitive by comparison, using perf-board and flying connections for the pots and jacks. The one benefit of this method is that it's more forgiving of part placement when it's time to screw the module together. I might have to revisit some of the jacks to help them sit better. I made two minor changes to Tom's design, one out of necessity, the other for aesthetic reasons: I ordered the wrong size polyboxes, so substituted ceramic caps for C10 & C11, and I went for a green LED, rather than red. I still need to paint the legends, but don't mind the look of the sticker residue for the moment.
You can find extensive information on the Music Thing Random Sequencer project here, here and here.
Thanks for a great instrument, Tom!
Playing with sequencers that you can't program, only influence, is great fun. As you can hear, the two make a great team!
Just add a quantizer, and you're away. (Turing left, Bitsy right).
Tom managed to pack a lot into his sandwich design. It's tight in places, but it does all fit. My own DIY projects have been primitive by comparison, using perf-board and flying connections for the pots and jacks. The one benefit of this method is that it's more forgiving of part placement when it's time to screw the module together. I might have to revisit some of the jacks to help them sit better. I made two minor changes to Tom's design, one out of necessity, the other for aesthetic reasons: I ordered the wrong size polyboxes, so substituted ceramic caps for C10 & C11, and I went for a green LED, rather than red. I still need to paint the legends, but don't mind the look of the sticker residue for the moment.
You can find extensive information on the Music Thing Random Sequencer project here, here and here.
Thanks for a great instrument, Tom!
Wednesday, 11 January 2012
Patch of the Day - Highly Strung
Kicking off the new year with the rediscovery of the Doepfer A-137-2 Wave Multiplier and a frenzied take on a duet for two acoustic guitars:
I bought this module when it first came out, then sold it two years ago because I'd run out of space. I've been working on a track that needs a big fuzzy, 'super-saw' bass but wasn't getting the right sound with multiple VCOs and wondered if the A-137-2 might fit the bill. As you can hear from today's PotD, that's not what I ended up using it for: the A-137-2 will do phasing saw sounds, bar the subtle detuning, but I found it's also great for EML-sytle abrasive tones that can then be tamed with a filter.
The patch involves CV-ing the WM II at audio rate, LP filtering the result with the Cwejman MMF-1 and then accentuating various frequencies with a low-bandwidth setting RES-4. Gordon Reid goes into much detail about how to achieve this in his synth secrets, but I just used my ears. A Wiard/ Make Noise Wogglebug generated the timing and note information. It was kicked about by one channel of Maths, which received a mult of the stepped output, thus varying the pace and intensity of the ratchets and completing a timing feedback loop. I recorded two passes of the result, varying the patch by hand.
I bought this module when it first came out, then sold it two years ago because I'd run out of space. I've been working on a track that needs a big fuzzy, 'super-saw' bass but wasn't getting the right sound with multiple VCOs and wondered if the A-137-2 might fit the bill. As you can hear from today's PotD, that's not what I ended up using it for: the A-137-2 will do phasing saw sounds, bar the subtle detuning, but I found it's also great for EML-sytle abrasive tones that can then be tamed with a filter.
The patch involves CV-ing the WM II at audio rate, LP filtering the result with the Cwejman MMF-1 and then accentuating various frequencies with a low-bandwidth setting RES-4. Gordon Reid goes into much detail about how to achieve this in his synth secrets, but I just used my ears. A Wiard/ Make Noise Wogglebug generated the timing and note information. It was kicked about by one channel of Maths, which received a mult of the stepped output, thus varying the pace and intensity of the ratchets and completing a timing feedback loop. I recorded two passes of the result, varying the patch by hand.
Friday, 14 October 2011
Bitsy - Stepped CV Generator/ Recorder
A DIY Ring Counter based on Ken Stone's Gated Comparator circuit.
My inspiration for this module was Grant Richter's Wiard Noise Ring - a random CV generator with a form of memory. While I liked its ability to capture an eight note sequence, I found it hard to control and wanted some method to reliably input my own data.
I first thought an analogue shift register - a chain of sample + holds - might provide the solution. Thanks to a prod in the right direction from Matthias of Fonitronik, I discovered Scott Stites' Klee sequencer and later Rob Hordijk's Rungler and Ken Stone's digital shift register circuits.
Using a CMOS chip like the 4015 or 4021 won't allow you to sample your own CV stream, but the end result is the same. A series of zeros and ones is converted into a stepped CV via a DAC, in this case an R/2R network. Feeding the last stage of the shift register back to the input allows you to hold a sequence. Here's how it sounds:
I built Bitsy as a companion to the Wogglebug, which provides the clock and data, via its burst output. Like the Klee, it can also be programmed via a sequencer or manual gates. To simplify the design, I left out the input comparators of Ken Stone's circuit. A switch is used to manually hold a sequence. The last stage is also available, allowing VC over new/ old data selection via a sequential switch like the Doepfer A-151. An LED reflects the voltage level.
I used the DIY Layout Creator to plan my perfboard and a 6HP Makenoise blank as faceplate. This was the first time I'd made a parallel board, which meant using wire connections for the jacks etc. However, the benefit of this was I didn't have to be totally accurate when drilling holes.
Thanks to Matthias for the hint and to the designers of the original circuits which inspired this project!
My inspiration for this module was Grant Richter's Wiard Noise Ring - a random CV generator with a form of memory. While I liked its ability to capture an eight note sequence, I found it hard to control and wanted some method to reliably input my own data.
I first thought an analogue shift register - a chain of sample + holds - might provide the solution. Thanks to a prod in the right direction from Matthias of Fonitronik, I discovered Scott Stites' Klee sequencer and later Rob Hordijk's Rungler and Ken Stone's digital shift register circuits.
Using a CMOS chip like the 4015 or 4021 won't allow you to sample your own CV stream, but the end result is the same. A series of zeros and ones is converted into a stepped CV via a DAC, in this case an R/2R network. Feeding the last stage of the shift register back to the input allows you to hold a sequence. Here's how it sounds:
I built Bitsy as a companion to the Wogglebug, which provides the clock and data, via its burst output. Like the Klee, it can also be programmed via a sequencer or manual gates. To simplify the design, I left out the input comparators of Ken Stone's circuit. A switch is used to manually hold a sequence. The last stage is also available, allowing VC over new/ old data selection via a sequential switch like the Doepfer A-151. An LED reflects the voltage level.
I used the DIY Layout Creator to plan my perfboard and a 6HP Makenoise blank as faceplate. This was the first time I'd made a parallel board, which meant using wire connections for the jacks etc. However, the benefit of this was I didn't have to be totally accurate when drilling holes.
Thanks to Matthias for the hint and to the designers of the original circuits which inspired this project!
Sunday, 9 October 2011
Patch Tips#18 - ADSR 'Free-Run'
Using a gate delay and comparator to trigger 'full length' ADSR runs, achieve looping ADSRs and delayed looping of AD envelopes. As suggested in this thread.
Unlike AD envelopes, ADSRs generally need a gate signal to fully complete their cycle. The gate determines the duration of the sustain phase of the envelope's run. So, what to do if your sequencer only generates triggers?
With a gate delay like the A-162, set the delay to zero and the length to taste. If using Maths' channel 1, the rise sets the delay time and the fall the length of the gate, available at the EOR. This provides the gate that the sustain requires. This mimics the response of AD envelopes like the VCS, which complete regardless of gate duration.
If you then mult that gate to a comparator with a suitable threshold, you'll get a second gate when the first expires. I used the Sport Modulator with the multed gate fed to the bottom input and 5V as a threshold reference sent to the top input. The middle output provides the comparator function. Mix the two gates and feed them to the input of the gate delay and you've got a looping ADSR.
The A-162 is great for these sorts of tricks and can also be used with AD envelopes which have an End Out (VCS, Maths, A-143-1) to achieve the Envelator's delayed looping.
Unlike AD envelopes, ADSRs generally need a gate signal to fully complete their cycle. The gate determines the duration of the sustain phase of the envelope's run. So, what to do if your sequencer only generates triggers?
With a gate delay like the A-162, set the delay to zero and the length to taste. If using Maths' channel 1, the rise sets the delay time and the fall the length of the gate, available at the EOR. This provides the gate that the sustain requires. This mimics the response of AD envelopes like the VCS, which complete regardless of gate duration.
If you then mult that gate to a comparator with a suitable threshold, you'll get a second gate when the first expires. I used the Sport Modulator with the multed gate fed to the bottom input and 5V as a threshold reference sent to the top input. The middle output provides the comparator function. Mix the two gates and feed them to the input of the gate delay and you've got a looping ADSR.
The A-162 is great for these sorts of tricks and can also be used with AD envelopes which have an End Out (VCS, Maths, A-143-1) to achieve the Envelator's delayed looping.
Tuesday, 9 August 2011
Patch Tips #17 - Sport Detector
Using the Toppobrillo Sport Modulator as a slope detector.
One of the most interesting aspects of Mono-Poly's performance at the recent Basic Electricity night in Berlin was his use of slope detectors to generate rhythms. Feeding a pair of Ken Stone/ Elby Designs CGS762s with the outputs of his Wiard/ Malekko Noise Rings yielded unpredictable, yet in sync, patterns.
I'd previously tried the patch example in the Sport Modulator manual without much success. Inspired by the results Mono-Poly got from this configuration, I gave it another shot:
Sport Detector by navs
I used an LFO, reset by a clock divider to feed a Wogglebug which sampled the incoming CV at a rate set by a master clock. This CV was sent to the top section of the SM and an inverted version to the bottom. Lag for both sections was @ 2 o'clock. This setting is important as it determines the SM's reaction time and hence the accuracy or otherwise of the resulting gates. When the CV is rising, a gate is output from the top END (left channel), when it's falling from the bottom END (right).
In the examples, I toyed with the clock divider's reset, the LFO speed and also injected some chaos via the Wogglebug. As you can hear, this is a great way to generate pulse patterns on the fly.
One of the most interesting aspects of Mono-Poly's performance at the recent Basic Electricity night in Berlin was his use of slope detectors to generate rhythms. Feeding a pair of Ken Stone/ Elby Designs CGS762s with the outputs of his Wiard/ Malekko Noise Rings yielded unpredictable, yet in sync, patterns.
I'd previously tried the patch example in the Sport Modulator manual without much success. Inspired by the results Mono-Poly got from this configuration, I gave it another shot:
Sport Detector by navs
I used an LFO, reset by a clock divider to feed a Wogglebug which sampled the incoming CV at a rate set by a master clock. This CV was sent to the top section of the SM and an inverted version to the bottom. Lag for both sections was @ 2 o'clock. This setting is important as it determines the SM's reaction time and hence the accuracy or otherwise of the resulting gates. When the CV is rising, a gate is output from the top END (left channel), when it's falling from the bottom END (right).
In the examples, I toyed with the clock divider's reset, the LFO speed and also injected some chaos via the Wogglebug. As you can hear, this is a great way to generate pulse patterns on the fly.
Wednesday, 13 July 2011
Doepfer A-112 Sampler/ Wavetable Osc.
Rediscovery of another Doepfer classic - the A-112.
This module was in my first order five years ago. It survived in my system for a while and was sold without much remorse. Since then, we've been treated to several dedicated delay modules, The Harvestman's Tyme Sefari & Piston Honda and, more recently, Make Noise's Phonogene. These modules share much in common with the A-112 and got me wondering why I'd ditched it - was it because of its lo-fi character or because I wasn't ready for it?
Doepfer A-112 Demo by navs
As you can hear, the A-112's 8-Bit nature means it's dirty, noisy & crunchy, but not to the extent that it's musically unusable. Far from it: it can make a huge difference in, or form the basis of, a patch, adds character and, despite its limited 128 kilobyte memory, is bags of fun.
That said, the interface isn't perfect - it's too easy to accidentally wipe a stored wavetable due to a false flick of a switch - but it is immediate. Also, Doepfer's Sample Dumper application is in need of an update & port to OSX as this is key to getting the most out of the wavetable mode (I borrowed an old laptop running Win98!). Another criticism is that sampling at the highest resolution (Tune @ '10') also caps the highest pitch CV it will respond to. Conversely, I'd also like it to go slower because of its ability to record CVs. A simple mod (remove passive filter jumper and bypass cap C11) makes this possible. Details are outlined in this message at the Doepfer Yahoo group. A simple dual gang switch would be a quick mod If you want both options.
The Harvestman & Make Noise instruments might be a refinement of the original concept, offering better fidelity and more functions but they also come with a higher price tag and take up more rack space. If you're ok with its gritty sound, for the €150, 10HP entry fee, you really can't go wrong with the A-112.
Today's Patch of the Day features the A-112, RES-4 and a Wogglebug:
Doepfer's Sample Dumper can be downloaded here. Wiard's Wave256 & Move256 can be found here, more wavetables are available at the Wiard Yahoo Group.
This module was in my first order five years ago. It survived in my system for a while and was sold without much remorse. Since then, we've been treated to several dedicated delay modules, The Harvestman's Tyme Sefari & Piston Honda and, more recently, Make Noise's Phonogene. These modules share much in common with the A-112 and got me wondering why I'd ditched it - was it because of its lo-fi character or because I wasn't ready for it?
Doepfer A-112 Demo by navs
As you can hear, the A-112's 8-Bit nature means it's dirty, noisy & crunchy, but not to the extent that it's musically unusable. Far from it: it can make a huge difference in, or form the basis of, a patch, adds character and, despite its limited 128 kilobyte memory, is bags of fun.
That said, the interface isn't perfect - it's too easy to accidentally wipe a stored wavetable due to a false flick of a switch - but it is immediate. Also, Doepfer's Sample Dumper application is in need of an update & port to OSX as this is key to getting the most out of the wavetable mode (I borrowed an old laptop running Win98!). Another criticism is that sampling at the highest resolution (Tune @ '10') also caps the highest pitch CV it will respond to. Conversely, I'd also like it to go slower because of its ability to record CVs. A simple mod (remove passive filter jumper and bypass cap C11) makes this possible. Details are outlined in this message at the Doepfer Yahoo group. A simple dual gang switch would be a quick mod If you want both options.
The Harvestman & Make Noise instruments might be a refinement of the original concept, offering better fidelity and more functions but they also come with a higher price tag and take up more rack space. If you're ok with its gritty sound, for the €150, 10HP entry fee, you really can't go wrong with the A-112.
Today's Patch of the Day features the A-112, RES-4 and a Wogglebug:
Doepfer's Sample Dumper can be downloaded here. Wiard's Wave256 & Move256 can be found here, more wavetables are available at the Wiard Yahoo Group.
Saturday, 8 May 2010
Clash of the Borgs
A quick comparison of the Malekko Wiard Borg 1 & 2, also featuring Plan B Models 12 & 13.
The Borg 1 (white knobs) employs slower vactrols, allegedly giving it a mellower sound and longer decay than the more aggressive, black knobbed Borg 2. I'm a big fan of the Plan B Model 12, but sometimes find it's response to CVs either too linear or lazy, so I was keen to hear the Borg 1 for myself.
Here's a fairly representative recording of the difference between these filters:
(Borg 2, Borg 1, Model 12)
I really liked the Borg 1's soft edges and muted tones. Its response is slower than the Borg 2 and this makes it a more natural sounding LPG. It might even have the edge on the M13, which tends to lose the initial transients. I don't find either Borg particularly useful for BP or HP duties and this is where the M12 shines. I tried patching both Borgs in a BP series, but didn't find the results as interesting as the dual-peak BP mode of the Cwejman MMF-1. That said, both Borgs are fantastic LPFs with attitude and character. Sonically, the B1 sits squarely between its more aggressive sibling and the rubber-funk of the M12.
You can download the full set of recordings, including the obligatory LPG 'thwap' test, here (3.2MB), but be careful with your speakers on the 'rumble' MP3!
Thanks to Schneidersbuero for the loan of the module.
The Borg 1 (white knobs) employs slower vactrols, allegedly giving it a mellower sound and longer decay than the more aggressive, black knobbed Borg 2. I'm a big fan of the Plan B Model 12, but sometimes find it's response to CVs either too linear or lazy, so I was keen to hear the Borg 1 for myself.
Here's a fairly representative recording of the difference between these filters:
(Borg 2, Borg 1, Model 12)
I really liked the Borg 1's soft edges and muted tones. Its response is slower than the Borg 2 and this makes it a more natural sounding LPG. It might even have the edge on the M13, which tends to lose the initial transients. I don't find either Borg particularly useful for BP or HP duties and this is where the M12 shines. I tried patching both Borgs in a BP series, but didn't find the results as interesting as the dual-peak BP mode of the Cwejman MMF-1. That said, both Borgs are fantastic LPFs with attitude and character. Sonically, the B1 sits squarely between its more aggressive sibling and the rubber-funk of the M12.
You can download the full set of recordings, including the obligatory LPG 'thwap' test, here (3.2MB), but be careful with your speakers on the 'rumble' MP3!
Thanks to Schneidersbuero for the loan of the module.
Saturday, 27 March 2010
Patch Tip #6 - Wogglebug Smooth Out
The 'smooth out' was the least used output on my much-used Wogglebug until I stumbled across this incredibly simple patch:
Plug the 'smooth out' into the 'clock/ chaos control' in. You can hear the result here: smoothcontrol
This is a simplified version of the 'tail-chasing' random patch described by Allen Strange and adapted by Doepfer in the manual to their A-149-1 Buchla Source of Uncertainty tribute. What surprised me is how well-suited the smooth out is to driving the clock/ chaos control: it doesn't need further attenuation - it's just plug and play.
Sunday, 13 September 2009
Patch of the Day - Long Way Down
Something gentle for a Sunday afternoon:
PotD_longwaydown by navs
Live, four-voice patch with manual tweaks.
Self-oscillating Cwejman MMF-1 dual-peak sine modulated by WB smooth out. A-Sol SH-NZ noise to Plan B Model 12 HPF, VCA VC'd by Doepfer A-147 VCLFO sine, itself VC'd by the output of a A-156 Quantizer. Ring Mod output of a VCO-2RM filtered by a Malekko/ Wiard Borg, envelope from Bananalogue/ Serge VCS VC'd by Woggle out. M15 VCO (linFM) gets WB stepped, gated by M10 envelope which is triggered by WB burst and VC'd by stepped out. M10 EOC to A-142 envelope which provides the voltage which is then quantized by the A-156.
Patches. They always start out simple, don't they ...
Tuesday, 16 June 2009
Borg, Boogie & the Thwap Test
I only went to Schneiders yesterday to pick up a second Doepfer mixer...
Enjoy the recordings.
Borg Low Pass. Starts in LPG mode, then manual tweaks.
Borg Modes. EG + Manual tweaks
Boogie Modes. EG + sequenced/ random CV of mix relationships (Cwejman VCA-4MX).
I also borrowed a Makenoise QMMG to run a quick 'Thwap' test.
For some, the gold standard in Euro is still the Plan B Model 13. Decide for yourself.
LPG Thwap Test. M13, Borg, QMMG.
VCO and envelope were multed to the three LPGs. The Borg, QMMG & M13 all use different vactrols with different response times, so I adjusted the modulation depth until I got a similar timbre. The M13 was used as the 'control' i.e. offset at zero, MD at full.
Thanks to Schneidersbuero for the loan of the modules.
Monday, 18 May 2009
New Series - Navs' Music Minute
First track in a new series of 60 second compositions. These are tracks featuring multiple takes, a little editing and some effects. In short, anything I can't file under 'Patch of the Day'.
Cat's Cradle by navs
Edit: the SC Player didn't seem to be working at time of posting. If it's still not showing the waveform, just click on the 'Cat's Cradle' link above.
The main parts (random melody & resonant sweep) were generated by a Jomox SunSyn, the occasional bloops, klonks & spurts were generated by a live patch featuring a Livewire AFG, modulated by a Plan B Model 15 VCO. A Wogglebug generated pitch CVs, triggered a Model 10 EG and controlled its Time Base.
For the main part, I cross-modulated the SunSyn's VCOs and set LFO1 to generate a random pitch for one oscillator and played the 'melody' by hand. Proof, maybe, that the best source of randomness is the human touch.
Monday, 11 May 2009
Patch of the Day - Take Six
Modular Bebop. It's going to be huge, trust me.
Various random patches generated by the Wogglebug, sampled and played back in Kontakt.
Tuesday, 21 April 2009
Patch of the Day - The Wogglebug
Well, I didn't have to wait much longer - the Wogglebugs have landed in Berlin!
I'll spare you the details but, suffice to say, it's well built, a pleasure to look at and bucketloads of fun. There's plenty of information and demos on the web. If you're curious, check out the Make Noise site and Grant Richter's synth DIY pages.
In today's patch I've used the Wogglebug as a VC bit crusher. The left-hand channel is the source material (various VCOs being FM'd). I nudged the right-hand channel back by two divisions in Logic, so the bit crushed recording is heard as a delayed response.
The Wogglebug is being clocked by a Plan B Model 10, which itself is having it's time-base modulated by the WB's smooth out. The random FM sequences were generated by a Sequentix P3. Looks like I might need a second bug ...
I'll spare you the details but, suffice to say, it's well built, a pleasure to look at and bucketloads of fun. There's plenty of information and demos on the web. If you're curious, check out the Make Noise site and Grant Richter's synth DIY pages.
In today's patch I've used the Wogglebug as a VC bit crusher. The left-hand channel is the source material (various VCOs being FM'd). I nudged the right-hand channel back by two divisions in Logic, so the bit crushed recording is heard as a delayed response.
The Wogglebug is being clocked by a Plan B Model 10, which itself is having it's time-base modulated by the WB's smooth out. The random FM sequences were generated by a Sequentix P3. Looks like I might need a second bug ...
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