Feels like ages since I uploaded a Jam video with all the module overviews.
Drums – Kick
The kick is triggered from ALM Busy Circuits ‘Pamela’s Workout’ and comes from Mutable Instruments Peaks standard drum mode.
Drums – Snare
The snare is also triggered from Pamela’s Workout and comes from Peaks too. The snare has a Doepfer A-199 Spring Reverb with a low mix then is processed through a new Mutable Instruments module. The Snare signal is then split into a WMD Geiger Counter and modulated by the same sample and hold as the hi hats and then sent into a Make Noise Echophon for some noisy echo to play with live. The delayed Geiger Counter output is then mixed into an RYO Ampmix with the dry signal.
Drums – Hi Hat
The hi hat is Mutable Instruments Braids Clocked Noise mode with sample and hold modulation from a Frequency Central System X S&H into the FM to change the pitch and timbre of the clocked noise.
Drums – Mixing / Processing
The 3 drum parts are then mixed in an Erica Synths Polivoks Mixer before going into another new Mutable Instruments module for processing. This is then sent to a Bubblesound VCA4p as a final mixer.
Bass
The bass is the Intellijel Dixie triangle waveform going through the Barton Waveform Animator before going into a Livewire Frequensteiner filter which is moved manually. This then goes into a Manhattan Analog CP3 mixer which is a “synth sub mix” mixer for the patch.
Arp / Riff
The Arp and Riff is the Livewire AFG animated pulses output going into the MA35 filter from Manhattan Analog. The AFG is synced from the Bubblesound uLFO running at audio rate. The uLFO also takes the same sequence to lock the synced sound. The filter is modulated by a WMD Multi-Mode Envelope and an SSF Ultra Random Analog module. This then goes into the same CP3 mixer as the bass.
Synth Processing
The MA35 filter’s output from the arp style riff goes into a second Doepfer A-199 Reverb with a larger spring tank. The Spring Tank then mixes into the CP3 mixer with the dry arp riff and the sub bass. The CP3 mixer then goes out into one of the new Mutable Instruments modules for processing before going back into the VCA4p acting as a final mixer.
Bass Sequencing
The bass sequence comes from the Make Noise Pressure Points, using the Brains module to clock the Pressure Points from Pamela’s Workout. This is quantised in a ADDAC Quantizer then processed slew (to create the glide) through a Manhattan Analog CVP.
Arp / Riff Sequencing
The main riff comes from the SSF Ultra Randon Analog using the second sample and hold output clocked from an external clock. This is then quantised in the ADDAC quantiser and is also split to modulate the AFG animated pulses, which also takes modulation from an Intellijel Dixie in LFO mode.
