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Hello all, I help organize an open studio every two weeks in Queens, New York. ridgewoodsoundlab is a community run synthesis space. We host meetups and build events, and eventually evening shows, though we are still working that. Anyways, I thought I'd drop a supercut I made of one of our events.
We did not capture any video of the recording session, but I am pretty proud of this duet between me and electroacoustic double bassist and modular sythnesist ASDB. The visuals were magically made by artist Thoughtful. It's called Woodlands. It is a set-and-setting video to be sure.
All sounds are produced by the double bass then captured and manipulated by effect pedals and an A-100 rack full of modules, or they are Rings triggered by the envelopes generated by the bass' sound wave.
The main modules are:
Instruō Arbhar
Instruō Lúbadh
Make Noise Mimeophon
Mutable Instruments Rings
I think my hangup is still in how the gate functions with Scales. Probably because I dont have Scales, lol.
I think you have it mostly right, except maybe something about the relationship between the quantizer input and the trigger. The wide-open gate (EOR) is not the signal being quantized by Scales, the S&H of the Wogglebug is. Here is a visual:
[Wogglebug S&H]---[Maths ch.2]--->[Scales Pitch Input]----- [quantizes S&H]--->[Pitch Out to v/oct of Rings & Plaits]
[Maths EOR gate]-------->[Scales Trigger Input]---[selects duration of S&H]-------- ^
The Wogglebug S&H is the signal being quantized to the key of G. The trigger input slects the moments that Scales will draw from the now quantized S&H. This is helpful if you want to control the pitch quantization with an LFO or any non-clocked source and then ensure that the pitch changes are in sync with the beat of the track. For our purposes, it also allows us to take something like a gate to determine the timing and duration of the rapid S&H changes modulated by the Wogglebug. If you put any S&H into your quantizer it should quantize the signal at the speed of the input, be it an LFO or a S&H, or whatever. But the tempo of the pitch input is over-ridden by the trigger input, allowing you to be more selective of what pitches are selected and when they are output.
As to your final point, yes, I do attenuate the range of Wogglebug's S&H pitch by running it through channel 2 of Maths and then from the channel 2 out, into Scales' 'Pitch' in.
I have tried this with other basic quantizers that have independent quantization inputs and trigger inputs. In the case of Quantermain, I would say take a S&H, attenuate the range via Maths, input it into the Sample CV #1 input on the Quantermain. Then take the EOR gate from the Maths and run it into the Sample Clock #1 input. This should achieve the effect we are looking for.
Hi, thank you, yes, I think it is quite cool too. I'll do my best to answer your questions.
"There seems to be a distinct delay between your input and 1. the quantization, and 2. hearing plaits."
The delay is a function of the 'End of Rise' gate out (EOR) produced by the guitar audio through channel 1 of Maths. The unity out is used as the envelope for the Plaits VCO that changes pitch in-key with every strum. The quantizer, Scales, does not simply continuously output pitch values. You'll note that there is a 'Trigger' cv in, which is where the 'End of Rise' gate is patched. So only after the peak of the guitar audio does the gate allow new pitches to be drawn from Scales. So, it will hold the pitch until the audio begins to close on the envelope and then it toggles the new pitch for the next strum and toggles the voice coming out of Rings.
"You're getting continuous quantization from a single gate as quantizers normally only send out a new pitch on each rising edge."
I'm not sure I understand, but hopefully this adds clearity. The Wogglebug goes into Scales and continuously toggles the pitch quantized to the key of G. When you put a cable into the 'Toggle' cv in, it overrides the continuous toggling of the good old sample and hold blasting out of the Wogglebug. Now, you can input a gate that determines the duration in which the Wogglebug, still continuously toggling the pitch, is allowed to modulate. Maths channel 1's side function is 'End of Rise,' which is the gate used to trigger Scales. This also accounts for the delay effect discussed above.
"How there is a delay between your input and actually hearing Plaits when the envelope controlling Plaits should also be near instantaneous, and starting at its highest level."
Plaits actually is sounding instantaneously, it is just a single droning pitch that accompanies the guitar strum. Listen again, you'll hear it. When I strum a chord, let's say C, Plaits will play a G or D, or whatever in-key pitch was toggled by the last strum, remembering from above that the sample and hold from the Wogglebug continuously toggles the pitch in the short duration between the peak of the guitar audio (fairly instantaneous), and the closing of the envelope. This interaction between the envelope and gate on different VCOs, Rings and Plaits, give this patch its awesome quality.
One truly feels like they are playing with their modular not mearly processing audio.
Hope this helps.
Also, I use principals from this patch in a lot of patches. Here is a short I made of a bouncing ball patch:
This is a great conclusion for the trilogy. A soft landing with a beautiful melody.
Excellent idea also to have imagined this triple publication. A series maintains attention and suspense. You invented ModularFlix!
Bankable :))
-- Sweelinck
Ha, thanks. I was unsure about triple posting and tried to space it out. I am def gratful for the note.
Two of my most used modules are made in Barcelona, Endorphin.es' Milky Way and Cockpit 2. I moved to Long Island from Brooklyn some time ago and it has been real tough to find places to play out here compared to the city. I am trying to organize some local shows and find cool spots along the way. I do like the idea of playing at a record store. People see you through the window and come in and shop a little. We got a pretty good standing crowd.
Here is the final part of the set. I actually had some ambient connective tissue between these sets and there was another 10 minutes or so after this track that my DAW unfortunatly did not record. C'est la vie. It is a fitting conclusion. A little whimsy.
I broke the video and audio I managed to capture from the set into three parts. This is the second track, which I think of as a sequel to Orbit Shift. Actually, Satellite Fall was thought of while thinking of names for what would become Orbit Shift, and I really wanted this one to have a related quality but with its own distinctive feel.
Thanks to you both for the kind feedback, it means a lot.
Regarding my teeshirt, ha! Yes, it is an original Soundgarden teeshirt from their Superunknown tour in 1994. Saying that shirt is nearly 30 years old blows my mind. I think it is officially past the point where I can machine wash it. That show may have been the last time it gets worn casually haha.
part. 1/3 I recorded the set and decided to share it. As usual, I can't help but dance :# I split the set into a few sections. I think it works better for watchability. Here's the first one. It's actually a weird version of Orbit Shift, a collaboration I did with a drum and bass artist. I posted the official audio of that track here a few weeks ago. I didn't have my co-producer's bass or breakbeats, so I kind of winged a few drum sequences and a different take on the bass. Anyways hope you watch it and I'd love any feedback. Also, my hat.
Thank you! I love remote collaboration, and our collective experience during the pandemic has opened our imaginations for what is possible out of neccesity. Now that we're playing live again, I think the online compenent is here to stay.
So, I connected with a drum and bass artist from Germany named ?BREAK ERROR and we swapped files back and forth for a few months. This is what came out of it. We really love it and would appreciate any thoughts:
Thanks you two! I actually got into modular as a way to accompany my guitar, but I ended up playing more synths. But it was good to bring them together again.
I've been workshopping a track on stream lately, and here it is. The interesting gear component is that I synced my modular synths with my Pigtronix Infinity Looper and Hologram Microcosm via MIDI. It is psychedelic and fun. Runs about 11 minutes:
Patch Notes
Arturia BeatStep Pro BPM 114 Project 09 Key G
Clock [out] ► Mother 32 [TEMPO]
Midi [out] ► DR-670
This is the full track I made with the Tesla coil and Mother 32 bass line with a DFAM backing. The one I posted earlier was the "making of" video. This is just the finished result. I would love a like if you think its cool.
Welcome! You have a great personality, and your camera work and lighting are already far ahead of the curve. You have a subscriber in me all the way. Can't wait to see what you do. I have no advice for you because I think you are already in a place where it'll be up to you to bob and weave, to tweak your channel until your audience arrives; but your willingness to post this and receive feedback tells me you are going to be just fine. In fact, that would be my only advice and you are already a pro at it: be open to changing your approach.
I noticed you have Intellijel (love them) Quad VCA, which has great additional features of boosts, individual attenuator pots, etc, WMD makes a real interesting Triple Bi-polar VCA. I don't think you need more VCAs like that. Maybe not as simple as the A-130-8v from Doepfer, but just some extra VCAs that allow you to take advantage of all the power you already have. Oh and along with those VCAs some LFOs, maybe throw an øchd in there :)
imho this is actually a nice little rack. If you are just beginning you have all you need VCOs, VCFs, VCA, a sequencer, and some FX. You will of course grow into your own way of using them together and you'll get more stuff soon enough. I suggest as you do to get more simple VCAs and proper ADSRs. Maths is great in a pinch, but good ADSRs open up many new paths for modulation. Can't wait to hear more!
Thank you for the kind words, and I totally agree Sweelinck, the modular system is an alchemist's laboratory.
And I totally went and watched the scene for reference, and I certain see what you mean, lol. I often wonder what context this kind of patch could be used for. A slower guitar track, or a special section of a song. I think it would be great for cinema :)
I made an addendum to the video Emily Hopkins and I last worked on, where we ran her harp into our modular synths. This video looks step by step and how to achieve similar results using a guitar. It would mean a lot if you give it a look sometime and tell me what you think.
Check out this video Emily Hopkins and I made where we run her harp through our modular synths. I really love the patches, particularly the last one. I'd love some thoughts on the patches:
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