Frantic beats with a dark ambient droning backdrop! 🙂
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Intellijel Dixie sine with the Erica Synths Polivoks Envelope Generator sending a sharp envelope to the Intellijel Dixie Controller exponential FM input (attenuated) to sweep the sine’s pitch to create the kick. No VCA was used to cut off the sound as the pitch goes so low into the mixer is pretty inaudible in this patch.
Erica Synths Polivoks Modulator white noise into the Intellijel uVCA with modulation of the VCA from the WMD Multi-mode Envelope. This then goes into the Livewire Frequensteiner filter in band pass mode to shape the noise before going into my mixers.
16th note cymbal
Mutable Instruments Braids with the new 1.7 firmware in the new cymbal CYMB mode. The filtering/timbre and noise/oscillator blend along with tuning was moved manually in the video. Braids internal envelopes control the level before going to my mixer.
Offbeat hi hat
A mult. of the Polivoks Modulator noise going into the Erica Synths Polivoks Filter in band pass mode then into the Erica Synths Polivoks VCA with the trigger from ALM’s Pamela’s Workout going to modulate the VCA. The trigger worked out at a nice length with an envelope for the sound.
Mutable Instruments Elements gate rhythm triggered and generated from Pamela’s Workout. I have the Polivoks Modulator LFO output modulating the Strike’s Mallet type, one channel of Mutable Instruments Peaks modulating the damping of the resonator, LFO 2 from Synthesis Tech’s E355 dual wavetable LFO modulating the resonator’s geometry and a Frequency Central Ultra Wave modulating the resonator’s position. I manually adjusted Elements coarse tuning, Blow (volume, and air flow) and space parameters. If all that sounds confusing check out the Elements page on MutableInstruments.net there’s a great manual and material on their and … more importantly cough cough … go watch my overview video on my channel.
Drums were mixed in the Erica Synths Polivoks Mixer and also the Manhattan Analog CP3 Mixer before going into a single channel of a Bubblesound VCA4- which I’m using as an output mixer.
Neutron Sound – Orgone Accumulator as a bass drone with modulation of the FM index from Peaks in LFO mode. This then goes into a VCA4p channel.
This is how the patch started, someone asked me about Synthesis Tech’s E350 and more specifically FM on the E350. So the sound source is the E350 with FM modulation from a TipTop Audio Z3000’s sine wave. The Z3000’s 1V/oct is modulated by the Frequency Central System X Sample & Hold (with a lot of onboard lag/slew). The E350 shines with subtle modulation of it’s wavetables so the E355 LFO2 is modulating the X wavetable position. The E350’s output then goes into a Mutable Instruments Ripples (which is modulating from a different LFO from Peaks) before going into Mutable Instruments Clouds (realtime granular processing). Clouds sample/playback position and grain size are modulated from both of the Peaks LFO channels, grain density is modulated from the System X Sample & Hold and Texture is modulated from LFO1 on the E355. The output then goes into one channel of the Manhattan Analog MA35 filter and is also split into the Flame FX6. The Flame FX6 is in Reverb mode and that output then goes into channel 2 on the MA35. The filtering (low pass) and input volume of the MA35 is modulated live as well as the Bubblesound uLFO sending it’s shaped sine output to modulate the MA35’s cut off. As with the use of Elements in this patch … If all that sounds confusing check out the Clouds page on MutableInstruments.net there’s a great manual and material on their and … more importantly cough cough … go watch my overview video on my channel.
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