Maths Bouncing Ball Patch with a twist. Standard Bouncing Ball patch using Plaits in Wavetable algorithm + filtered noise from Mother 32. Bouncing ball is then duplicated into the delay time of Eventide Euro DDL, and EOC into Clock input. The sound source into the DDL is the raw Pulse wave from Mother 32 with some Linear FM applied to it.

EuroDDL Delay Attenuation (INVERT+DELAY KNOB) to 400ms


Overview
An open VCA from Mother 32 (with a pitch sequence defined by Metropolis) is sent into Quad VCA where a Pulse LFO from Peaks determines when sound is allowed through (closed VCA with CV from Pulse LFO). Output from Quad VCA is then multiplied, one of the copies is sent directly out for reference, and the others go to Euro DDL and Maths to be inverted and sent to the Kill Gate Input.

A series of interacting functions from Function and Maths play off of eachother to effect things like:
- pitch sequence root note into Aux A of Metropolis
- Euro DDL Delay time
- Mother 32 VCF Cutoff

Varying the width of the Pulse LFO effects the length of each sound event coming out of the Quad VCA that goes into Euro DDL. Also, using the Multiply Parameter on Euro DDL and selecting sample rate values other than the default (Hold Multiple + Encoder turn) can provide interesting timbral and rhythmic variations.


Thread: Patch #3

https://1drv.ms/u/s!AsdkBRIREHjWi7cEukits6yOz2scDA?e=ZDAvXP for further patch visualization ("Large Patch Trigger and Mixer Routing Diagram")


Overview

The purpose of this patch is to apply an alternate mode for the CLK OUT jack when using an External Clock source. Where as by default CLK OUT would simply divide the incoming clock source by even numbers, using the dSTA value in the DIV TYPE sub-menu (in CONFIG), the CLK OUT emits a Gate HIGH at each new Stage of the sequence. Musical interest is created here when stage(s) are given a Pulse Count >1, because in dSTA a Gate HIGH will NOT be sent for those additional pulses on the same Stage. In this way, the CLK OUT can advance a second sequence (in this case a second pitch sequence) but in such a way that the user can manipulate the interaction between the pitches sent by Metropolis and those from another sequencer (in this case the PM Micro Sequence). The initial clock is fed from Circadian Rhythms.

Additional Enveloping, Filtering, different Quantized Scales, Wave Folding, and Mixing are added for sonic interest.

Metropolis Settings:
1. PEnT- (Minor Pentatonic)
2. Frd-F (Forward-fixed Mode)
3. Stages (8 then more/less, to taste)
4. Config->dSTA (default: dEvE)
5. External Clock

Micro Sequence Settings:
1. Phrygian Mode
2. Forward Direction

Play this first by setting all Pulse Counts to 1 then gradually adding Pulses to different Stages and listening to the different intervals created between Metropolis and Micro Sequence. with High Resonance, additional intervals/chords are created coming from the VCF-74's dual peaks.

What could have improved it?
- In performance, hitting the Reset button on Micro Sequence at the same time as Metropolis is reset to 1 Pulse per Stage (bringing it back to the initial pitch relationships)


Colour Scheme

NOTE: Cables out of Maths CH. 4 Attenuated and Unity Outputs are for Moog Spectravox.
NOTE: Auto-Calibrate DATA then Tune M32/Disting B8 to D3, and tune Dixie II/Plaits to D2
M32 - Green
Disting mkIV - Blue
DixieII - Red
Plaits - Yellow

Maths - Orange
Peaks - Grey
A MIX/Cinnamon - Purple

Polyend Poly/ADDAC200B - Black
Poly CH. 5 Pitch Output/Anything related to Moog Spectravox - Purple Stackcable

Blofeld
A080 - Organella (no changes necessary)
A072 - Meridian (start "Speak" with no Delay then gradually increase to 24, using 1/16 length)

Overview

The modular system covers the Lead (Solo) and Bass lines for the arrangement.
The Lead Line is played by the Mother 32 and ES Disting mkIV set to algo B8 (VCO with Waveshaping)
The Bass Line is played by the DixieII and MI Plaits set to algo 1-1 (Pair of Classic Waveforms)

Gates and Pitches are sent from the Polyend SEQ both directly into the Mother 32 (for Lead voices) and into to Polyend Poly to be routed and multiplied later on.

The pitch tracking for the Lead Line is handled via MIDI directly into the M32's MIDI DIN Input, where as pitch tracking for the Bass Line is converted from MIDI to CV and sent to the second ES Disting mkIV H3 algo (Dual Quantizer) for added stability.

Both of the oscillators used in the Lead Line are filtered using the Ladder filter on the Mother 32 in Lowpass mode.
Both of the oscillators used in the Bass Line are mixed (1 source from Dixie and 2 sources from Plaits) and filtered using the Cinnamon filter in Lowpass mode.

There are envelopes for the Filter Cutoff and VCA CV for both the Lead Line and the Bass Line. The Filter & VCA Envelopes for the Lead Line are handled by MI Peaks set to Expert Mode so that there are 2 unique ADSR envelopes (Output A is for the Filter ENV; Output B is for the Amp ENV). The Filter Cutoff on the Mother 32 is manipulated by BOTH the Peaks Filter Envelope and the MIDI Velocities from the ASSIGN Out. These are sent to the internal VC MIX and the VC MIX CTRL is adjusted via the Keyboard Output on M32 and attenuated by Maths Channel 2. The Filter Envelope for the Bass Line is sent from the Unity Output of Maths Channel 1, where as the Amp Envelope for the Bass Line is sent from the Synthrotek ADSR.

MIDI Velocities were meticulously specified in the Polyend Poly for the Lead Line (as of March 31st, but might add velocities for the comping and Bass Line later on), and they are captured inside the M32 via the ASSIGN Output (set to Option#9: MIDI Velocity).

Mordax DATA is used extensively to monitor Oscillator tunings and Octave distributions.


Thread: Vibe.5


Thread: Vibe.5

Rings Parameters

Polyphonic
Sympathetic Strings

  • Movement of Position from the Tri-Saw out of Dixie II affects the pitches output by Rings in interesting ways

Thread: Vibe.5

Maze Parameters

  • SLCT Input sequences in a forward-backward movement between routings 0-15 (16-steps)
  • SLCT Input is fed by a fairly pure sine wave coming from Peaks OUT2
  • SLCT Input is in Fade Mode, and Morphing Multiplier is set to Slow Morphing (Magenta)
  • Routings 4-15 are all blank, which leaves "space" between note and parameter changes

Thread: Vibe.5

Overview
- First patch involving Livestock Electronics Maze
- First patch where Dixie II uses multiple waveform outputs + 1st time it is self-patched (Saw into Linear FM Input)
- Very fast sequencer speeds + Run/Stop behaviour coming from Output 3 of Maze sends rapid clusters of notes to the 1v/oct of Rings, while it receives audio input from the Bandpass output of Cinnamon
- Since most of the routings favour the relationship between Input 1 and Output 1 in Maze, the behaviour and oscillation speed of the Dixie II affects many different parameters at once, and also has its own audible results in Quad VCA Output 1


Thread: Giant Steps

Polyend SEQ Velocity Backup

https://1drv.ms/x/s!AsdkBRIREHjWish_EcmI2bzBPkfmvA


Thread: Giant Steps

Video: https://1drv.ms/v/s!AsdkBRIREHjWisldiJCsGL60ua-0dw


Thread: Giant Steps

Colour Scheme

M32 - Green
Disting mkIV - Blue
DixieII - Red
Plaits - Yellow

Maths - Orange
Peaks - Grey
A MIX/Cinnamon - Purple

Polyend Poly/ADDAC200B - Black
Poly CH. 5 Pitch Output/Anything related to Moog Spectravox - Purple Stackcable


Thread: Giant Steps

MIDI Routing

This patch represents my most complex MIDI Routing setup to date, involving the Quadra THRU and Quadra MERGE devices from MIDI Solutions.

Follow link for MIDI Routing Diagram

https://1drv.ms/u/s!AsdkBRIREHjWisl3dGNzTRA4pM9_Dg


Thread: Giant Steps

Overview

The modular system covers the Lead (Solo) and Bass lines for the arrangement.
The Lead Line is played by the Mother 32 and ES Disting mkIV set to algo B8 (VCO with Waveshaping)
The Bass Line is played by the DixieII and MI Plaits set to algo 1-1 (Pair of Classic Waveforms)

Gates and Pitches are sent from the Polyend SEQ both directly into the Mother 32 (for Lead voices) and into to Polyend Poly to be routed and multiplied later on.

The pitch tracking for the Lead Line is handled via MIDI directly into the M32's MIDI DIN Input, where as pitch tracking for the Bass Line is converted from MIDI to CV and sent to the second ES Disting mkIV H3 algo (Dual Quantizer) for added stability.

Both of the oscillators used in the Lead Line are filtered using the Ladder filter on the Mother 32 in Lowpass mode.
Both of the oscillators used in the Bass Line are mixed (1 source from Dixie and 2 sources from Plaits) and filtered using the Cinnamon filter in Lowpass mode.

There are envelopes for the Filter Cutoff and VCA CV for both the Lead Line and the Bass Line. The Filter & VCA Envelopes for the Lead Line are handled by MI Peaks set to Expert Mode so that there are 2 unique ADSR envelopes (Output A is for the Filter ENV; Output B is for the Amp ENV). The Filter Cutoff on the Mother 32 is manipulated by BOTH the Peaks Filter Envelope and the MIDI Velocities from the ASSIGN Out. These are sent to the internal VC MIX and the VC MIX CTRL is adjusted via the Keyboard Output on M32 and attenuated by Maths Channel 2. The Filter Envelope for the Bass Line is sent from the Unity Output of Maths Channel 1, where as the Amp Envelope for the Bass Line is sent from the Synthrotek ADSR.

MIDI Velocities were meticulously specified in the Polyend Poly for the Lead Line (as of March 31st, but might add velocities for the comping and Bass Line later on), and they are captured inside the M32 via the ASSIGN Output (set to Option#9: MIDI Velocity).

Mordax DATA is used extensively to monitor Oscillator tunings and Octave distributions.


Thread: Patch #1

From Feb 9th

Ableton: Many Firsts

Haven't multitracked this many inputs before (6)
Used Ableton to clock the KeyStep via MIDI Out from 18i8
Used Transient Shaping for most tracks to either add or subtract "front end" from each
Grouped Dry and Delayed Rings signals and applied compression and/or EQ to the Group tracks (sometimes in addition to the individual tracks)
Panned everything between 35 and 5 away from C


Thread: Patch #1

Colour Scheme

Rings
Yellow

Disting
Red

BIA
Blue

Tempi
Green

Ears/Blofeld
Black


Thread: Patch #1

Overview

Disting - Used C4 (Clockable Ping Pong (Z Input Pan)) algo instead of B4 and sent only delayed signal out of A and B
Routing - Sent Dry of both ODD and EVEN Outputs as well as both Delayed signals on Rings, for a total of 6 tracks recorded at once (Blofeld Dry, BIA, Rings ODD Dry, Rings EVEN Dry, Rings Delayed 1, and Rings Delayed 2)
- all audio cables used mono ground loop isolators for ground noise reduction
- NOTE: The height of the displayed audio cables indicates the corresponding mixer channels, where Top: CH. 1 and Bottom: CH. 7
Rings - Used Modal Resonator instead of Sympathetic Strings, which didn't turn out terribly interestingly
Ears - Sent GATE Into Mod Input instead of State Select Input, sent ENV into Rings Position & Damping as well as BIA Fold, sent audio OUT into M32 Buff Mult to free up space on ADDAC200B for Rings copies
Tempi - Modded Channels 1, 2, and 3 of State #1 and kept it on State #1 as opposed to last Home Improvement patch
Blofeld - Used B043 Marimboid with a bit of Sustain on the Amp ENV so it was a cross between a percussion and a bowed sound


From Feb 9th

Ableton: Many Firsts

Haven't multitracked this many inputs before (6)
Used Ableton to clock the KeyStep via MIDI Out from 18i8
Used Transient Shaping for most tracks to either add or subtract "front end" from each
Grouped Dry and Delayed Rings signals and applied compression and/or EQ to the Group tracks (sometimes in addition to the individual tracks)
Panned everything between 35 and 5 away from C


Colour Scheme

Rings
Yellow

Disting
Red

BIA
Blue

Tempi
Green

Ears/Blofeld/KeyStep
Black


Overview

Disting - Used B4 (Clockable Delay/Echo) algo and sent only delayed signal out of A and B
Routing - Sent Dry and Delayed signals of both ODD and EVEN Outputs on Rings, for a total of 6 tracks recorded at once (Blofeld Dry, Rings ODD Dry, Rings EVEN Dry, Rings ODD Delayed, Rings EVEN Delayed, and BIA)
Rings - Used Modal Resonator instead of Sympathetic Strings, which didn't turn out terribly interestingly
Ears - Sent GATE Into Mod Input instead of State Select Input, sent ENV into Rings Position & Damping as well as BIA Fold, sent audio OUT into M32 Buff Mult to free up space on ADDAC200B for Rings copies
Tempi - Modded Channels 1, 2, and 3 of State #1 and kept it on State #1 as opposed to last Home Improvement patch
Blofeld - Used B043 Marimboid with a bit of Sustain on the Amp ENV so it was a cross between a percussion and a bowed sound



Blofeld Parameters

A modified version of the "Ode to Joy" B047 Keys preset includes an LFO, which is sent to the cutoff of the first filter
- pitch of OSC1 is up P5 from the other two OSC's but all in the 4' octave (or "length")
- LFO with Triangle shape has the most noticeable and interesting effect, sync'd to the SEQ/DAW clock and resetting every 1/2 note


Polyend SEQ Parameters

16 total inputted patterns, 12-13 of which that were used
- begins with a simple kick and hat, then adding a snare in 3/4 time (polymetre as the rest of the tracks have 16 steps therefore 4/4)
- Track 4 is a velocity sequence that is sent to the cutoff frequency of the cinnamon in amounts that vary depending on the MATHS Channel 1 attenuverter knob position
- Blofeld provides simple, brief accents beginning with Pattern 5


Disting Parameters

G6: MIDI-to-CV w/ MIDI Breakout
- Output A Divisor = 6 (Default, quarter notes)


Colour Scheme

M32
- Red

Peaks
- Orange

Plaits
- Blue

Quad VCA to Cinnamon
- Grey

Disting
- Purple

Poly
- Purple Stackcables

Maths
- Black


Overview

  • simple CV routing with complex MIDI routing (the most complex for me so far anyway) and use of H9's TimeFactor in a custom preset
  • Mother32 is simply providing a "drone" frequency via resonant filter and cinnamon signal running through it

MIDI ROUTING
Clock from DAW
- DAW MIDI Out to Polyend SEQ MIDI In
- SEQ MIDI Thru to Disting MIDI Din In
- SEQ MIDI Out1 to Polyend Poly MIDI Din In
- SEQ MIDI Out2 to Blofeld MIDI Din In

In spite of various attempts from different sources and trying different settings, could not get H9's MIDI In to receive clock properly, so I used tempo's similar to DAW Clock (approx. 120bpm)



Disting F6 parameters

  • not much to report, other than Z knob is manipulated throughout the recording to either open or freeze the shift register pattern, which is set to 8 steps long

M32 parameters

  • sequence is a saved set of pitches, mostly C's and G's in different octaves
  • sequence length alternates throughout the recording between 1, 3, 5, and 8 steps

Overview

  • Ears receives audio from M32, which is being driven by its' own internal sequencer
  • M32 is also given a direct out which is summed at the Mix3 to a single mono output
  • Rings receives audio input from M32 via buff mult, but has its own pitch information coming in the form of random quantized cv's produced by the Disting F6 algorithm, which advances every time it receives a gate from Ears (aka every time M32 input audio goes above the 4V threshold, highly Gain knob dependent)
  • 2 AD envelopes from Peaks in Split mode handle various modulation tasks in Rings and in Maths
  • ADM10 Kompressor, first use of the ADM10 as an ACTUAL compressor without Makeup Gain, works great

Ableton: Many Firsts

  • Haven't multitracked this many inputs before (6)
  • Used Ableton to clock the KeyStep via MIDI Out from 18i8
  • Used Transient Shaping for most tracks to either add or subtract "front end" from each
  • Grouped Dry and Delayed Rings signals and applied compression and/or EQ to the Group tracks (sometimes in addition to the individual tracks)
  • Panned everything between 35 and 5 away from C

Colour Scheme

Rings
Yellow

Disting
Red

BIA
Blue

Tempi
Green

Ears/Blofeld
Black


Overview

Disting - Used C4 (Clockable Ping Pong (Z Input Pan)) algo instead of B4 and sent only delayed signal out of A and B
Routing - Sent Dry and Delayed signals of both ODD and EVEN Outputs on Rings, for a total of 6 tracks recorded at once (Blofeld Dry, Rings ODD Dry, Rings EVEN Dry, Rings ODD Delayed, Rings EVEN Delayed, and BIA)
Rings - Used Modal Resonator instead of Sympathetic Strings, which didn't turn out terribly interestingly
Ears - Sent GATE Into Mod Input instead of State Select Input, sent ENV into Rings Position & Damping as well as BIA Fold, sent audio OUT into M32 Buff Mult to free up space on ADDAC200B for Rings copies
Tempi - Modded Channels 1, 2, and 3 of State #1 and kept it on State #1 as opposed to last Home Improvement patch
Blofeld - Used B043 Marimboid with a bit of Sustain on the Amp ENV so it was a cross between a percussion and a bowed sound


Tempi Parameters

Uses the default 16 States, except State 1 uses Channel 1 @ 2x multiplication (other 5 channels are 1x as default)


BIA Parameter Changes

  • musical effects achieved by varying
    Attack (from 12 o'clock to added noise and back),
    Decay (from CCW to a bit, rhythmically),
    Fold

Blofeld Parameters

Saved into B037 as "Home Improvement" it is an edited version of "House HS", maintains the interval relationships (for now) and basic waveshapes, but the user varies the Filter Env and Amp Env. There is also 50% keytracking on the filter cutoff
- can experiment with applying the LFO at varying speeds to Pitch and/or FM


Overview

The name comes from both an edited version of the "House HS" preset on the Waldorf Blofeld, but also a feeling that with this patch i've achieved a new layer of complexity and sonic interest.

Some key components here (some of which having not been used before):
1. KeyStep Sequencer Overdub Recording: where changing tempos of notes inputted changes the tempo on the Tempi (takes KS Gate Out as Leading Tempo)
2. KeyStep varying gate lengths, with interplay between KS gate lengths and Rings Damping length
3. Ears Contact Mic with Blofeld audio in
4. Ears Gate Out (dependent on both key press velocity (because Blofeld interprets it from Keystep), and Blofeld Amp/Filter Envelope values)
5. Disting B4 Clockable Delay/Echo including changing the Z Knob Feedback for different experiences of the delay
6. Tempi, Channels 1 and 2 dictating Disting's Delay Speed (CH. 1) and BIA's Trigger In (CH. 2)
7. Rings in Sympathetic Strings Mode


Thread: Immutable

Overview

  • A simple patch to get to know Ears by Mutable Music Things, based on the first patch in DivKid's overview video:
  • Ears' Microphone/Audio Out is sent to the Audio Input of Rings, while its' Gate is set to the Trigger Input on Disting F6: Shift Register Random Quantized CV's
  • Disting F6 takes each gate and advances a random sequence, which is usually free running but sometimes the sequence is locked in place (length: 16) by turning Z knob hard CW
  • Disting A Output goes to Rings 1v/oct
  • Rings' Brightness is modulated by a Sine LFO from DixieII, whose Linear FM input is itself modulated by the CH. 1 Unity Output on Maths (Maths is cycling with the AD envelope rate being modulated by Pittsburgh Micro Sequence)
  • Pittsburgh Micro Sequence is in Direction Mode #6: Transpose mode, where instead of the normal 8-steps you have 4 transposed 4-step sequences (16 steps total)
  • Operating Ears is done with quick finger attacks and/or scraping with a spare patch cable



Peaks Parameters

Alternative LFO Function a.k.a. Expert Algorithm #2: Trigger Delay & Repeater
- Receives a buff'd mult of M32's Gate, but delays (via knob 3) and repeats (via knob 4) the gates received
- Also widens or narrows the width of incoming gates with knob 2 (gate duration)
NOTE: Gate Duration is also effected after Peaks by Maths CH. 4 by Slew Limiting and cycling


Maths Parameters

  • Displayed above, but worth noting this is the first time i've used a stackcable at an input to mult the signal it is carrying to go into another input

Rings Parameters

Modal Resonator Mode - Monophonic
- Fed a Gate from M32 into STRUM
- INV Out from Maths serves as 1v/oct, creates intense FM sounds given the right amplitude mix between the 4 attenuators in Maths, as well as the correct enveloping at CH. 1 (cycling) and CH. 4 (sometimes cycling)


Plaits Parameters

Algorithm #4: Granular Format Oscillator
- modulations into Morph and Timbre create true vowel sounds given the correct depths
- Main OUT and AUX are given the same CV at VCA but are attenuated separately, balance is mixed throughout the recording
- Receives 1v/oct pitch information from M32 KB Out (just KB notes so LFO -> frequency has no effect or utility in this patch)


Mother 32 Parameters

Sequence Length: Between 3 and 8 steps
Sequence Pitches: a bunch of C's and G's in different octaves
Buff Mult acts as an Audio multiple for Plaits
Gate Out is the driving Clock and Start/Stop for the whole patch


This patch demonstrates approximately 0.06% of Shaggy's Power, in an audible format. Any greater than 0.065% of his power in an audible format is lethal for children and the elderly, so 0.06% keeps a safe distance. Shaggy, the reincarnation of every God rolled into a burrito, approves this patch.


Peaks Parameters

LFO in Split mode
- 2 LFO's, whose shapes and frequencies are displayed simultaneously on the front panel


Tempi Parameters
- All channels take global tempo from Tempo knob
- CH. 1 1x (sometimes 2x)
- CH. 2 3x


Micro Sequence Parameters

  • Direction Mode: Skip
  • Gate In Mode: Ratchet
  • Length: 8 steps
  • Scale: Minor
  • Clock: External

Overview

  • 2 Sound Sources: Maths CH. 4 (cycling @ audio rate), Basimilus Iteritas Alter (via Maths Channel 1 Unity Output)
  • BIA goes direct out (with Amp CV modulation from Maths OR Output, chose OR because 2hp VCA is not bipolar), while Maths CH. 4 is filtered at Cinnamon then sent to Quad VCA and out
  • Maths modulates BIA Trigger In as well as CH. 4 amplitude cv
  • LFO's from DixieII and Peaks, as well as a Pitch Sequence from Micro Sequence (which is both advanced and receives a separate Gate from Tempi) bring rhythmic and textural variety to Maths CH. 4's amplitude and filter cutoff, as well as to BIA's various timbral parameters

IMPORTANT, In DAW
- Used Klevgrand Brusfri to cut down on noise from the modular
- Duplicated the BIA Input, where the duplicate is centre panned and only plays frequencies below 300Hz
- Maths CH. 4 is panned left 20L
- BIA unfiltered is panned right 15R


Thread: Patch #1