This started out as an experiment with integrating my Minitaur into my Eurorack setup, but somehow among all the semi-random analogue sequencer knob tweaking, Euclidean rhythms, logic modules, quantiser settings and drifting LFOs, it ended up like a wonky ambient cover of Blue Monday. Oh well.
- Main riff: Moskwa sequence via A156 driving Braids in WTBL mode; Braids out through Minitaur into Pittsburgh VCA. Pamela's Workout drives Klasmata to trigger a Function envelope that opens the Minitaur filter and the VCA. VILFO modifies Fill on the Klasmata and the rise time of Function to get rhythmic and dynamic variation. CV a of the Verbos Voltage Multistage steps through Braids wavetables every bar, while an A143-4 LFO sweeps through its waves. Occasional manual tweaking of Minitaur cutoff and resonance for proper Moogy squelches.
- Copy of main riff: Minitaur output goes into Pittsburgh Mod, where it's ring modulated with a sine from Rubicon (driven by same CV as Braids) and occasionally overdriven by tweaking the mix knobs. This starts before the main, un-ring-modded riff comes in. The intention of these two parts was to put the Moog filter into a truly modular context by combining it with a wavetable oscillator and ring mod.
- High string-like notes: CV b from Verbos through a second A156 channel into 1v/o of Dixie II. Dixie sine into uFold into mixer along with its PWMed pulse wave and some white noise. Mixer output into a VCA, then a Sea Devils Filter with resonance just below self-oscillation, then into Wow & Flutter with high feedback and subtle warp. Verbos gate out goes through Branches with about 50% probability, so that it triggers a slow Z4000 envelope approximately every other bar. The envelope opens the VCA and slightly increase the Fold amount of the uFold, while the symmetry of the uFold is modulated by the slow Y output of a Dreamboat for extra grit. Balance of pulse, folded sine and noise varied by hand over time, ending up with mostly noise right at the end.
- Kick drum: Maths envelope driving FM of a self-oscillating uVCF. Triggered by a complex combination of Pamela, A160/161/167 and uScale through an A152 cycling through 4 inputs. The kick drum bursts started off even more Blue Mondayish, so switched that part to triplets, but it's still hard to unhear. Maths envelope amount, shape and delay get wiggled from time to time (and it starts rather too strongly, sorry!)
- High percussion: self-patched Pittsburgh Generator through Optomix, with another Maths envelope driving the Generator osc 1 Exp input and Index CV as well as the Optomix Control input. This goes through an R54 in bandpass mode for further shaping, and I let the resonance ring out at times. Various tweaks of the envelope, Generator frequencies and R54, the repetitive rhythm (an XOR out from the A166) varies tonally from struck metal to glass to chirping crickets and occasional birds.
- Occasional blippy synths: MS20 Mini driven by a Pittsburgh Sequencer through English Tear. Sequencer clocked by another A166 out, and yet another one goes into a VCA with one of the A152 digital outputs plugged into its CV in before going via English Tear to the MS20 trig in. The VCA thus acts as an AND gate, only playing the sequence notes when that A152 stage is active, unless I open the VCA manually to start it playing continuously.
Everything then goes into an outboard mixer, with lashings of crappy built-in reverb and Vox DelayLab providing echo.