Had some fun creating some 3 voice chords with the Intellijel Dixie oscillators and their master controller. Also used the RYO sequencer modules to then create some drums and here we go … Jam #16. Full patch details below.
PATCH NOTES –
The clap is the noise output from the Erica Synths Polivoks Modulator passing through a Mutable Instruments Branches then going into an RYO Optodist. The triggers come from one of the RYO Voltage Controlled Sequencers in standard clock mode with the Trig Xpander providing clock outs for steps 3 and 7. Both these triggers are mixed into a passive multiple as the outputs on the Trigger Xpander as reverse signal protected (check out the RYO VC Sequencer and Trig Xpander video on my channel :). The triggers are hitting a Doepfer Quad ADSR with a short envelope going into the Optodist gain CV. As the Optodist is vactrol based distortion we can get a great vactrol ring. The Branches modules is a Bernoulli gate which acts like a virtual coin toss so as the voltage fluctuate in the noise source the modules moved between outputting the noise on output A or B (see more of this in my Branches overview video). These creates digital clocked noise and down sampling/bit crushing style effects with broken crackly noise as opposed to standard white noise. The Branches probability (affecting which output is used) is modulated by the Polivoks modulator’s LFO output making use of the inverted output (for it’s gain control) in triangle mode. Finally the output of the Optodist goes into a Doepfer A-199 spring reverb module before going into channel 2 on the RYO Ampmix used as a final output mixer in this patch. Manual wiggling on the clap was of the Polivoks modulator LFO rate, Branches probability and the Doepfer Spring Reverb mix amount.
The kick sound source is the Neutron Sound Orgone Accumulator. The trigger sequence comes from the same RYO VC Sequencer as the claps using the Trigger Xpander on steps 1, 2, and 5. The Trig Xpander sends triggers to the Doepfer Quad ADSR and the same envelope is then used to move the wavetable crossfading, VCO1&2 sync mix and pitch (attenuated through one channel on a Bubblesound VCA4p). The Orgone Accumulator’s main output then goes into another VCA4p channel and using the same envelope the VCA is opened and closed on each beat.
Dub Style Chords
This is how the patch actually started. Using 3 Intellijel Dixie oscillators tuned to the same note I set a sequence on the XAOC Moskwa which was then sent to the ADDAC 207 Quantizer. Each or the 3 Dixie’s uses a separate quantizer channel with intervals set on each channel to create the chords. A sine wave from each oscillator is then mixed into an STG .mix before going into a Malekko Borg 2 in low pass gate mode. The Borg 2 passes the signal up to Make Noise Echophon, clocked to the same clock sources as the sequence using feedback loop 1 with no pitch shift simple clocked delays. Modulation on the Dixie oscillators came from a sine wave on a Livewire AFG taking the same 1v/oct sequence as the lowest Dixie voice, tuned much higher and going into the Dixie Controller’s exponential FM input with attenuation. The AFG sine wave first passes through a Malekko VCA with modulation of the level from a Bubblesound uLFO shaped sine, which is modulated at the FM input by a Frequency Central System X Sample & Hold with a lot of on board lag to smooth the output. This FM modulation changes throughout with the VCA/uLFO modulation and provides the slightly bell like overtones in the FM that creep in and out into the delay trails. There is also the triangle output from the uLFO going straight into the linear FM on the Dixie Controller with lots of attenuation just to provide some pitch warble to create some detune and pitch drift throughout.
Clocks & Sequences
The main clock source is the Frequency Central Ultra Wave used as a tempo source for the 4ms Shuffling Clock Multiplier. The SCM sends the x2 clock to the Moskwa to move the pitch sequence which also goes the to the Echophon (where it’s multiplied on board). The x8 output goes to the RYO VC Seq providing the beats through the Trig Xpander and the x8 output which is affected by the 4ms SCM Breakout providing beat skipping. The original x1 clock from the Frequency Central Ultra Wave is also multed to a Make Noise Brains and dual Pressure Points which moves through a one row sequence sent to the SCM breakout’s beat skipping input. This then sequences the rhythm and beat skipping changes. These go to trigger a WMD MME which is trigger the Borg 2 low pass gate with the chord tone mixed in.