An ambient tune based on shifting wavetables and Euclidean rhythms.
The main sound is Braids in WTBL mode. The Timbre input is modulated by a uLFO shaped sine, whose frequency and sine shape are also slowly modulated, so that sometimes the timbre very slowly morphs and sometimes it rapidly slips through the waves in the wavetable. The wavetable (Color input) is randomly selected by a S&H that triggers every bar: this is attenuated so that it starts with no variation, and eventually scans the entire selection.
This goes straight into the mixer unfiltered (though with some eq, and lots of delay & reverb). It's also multed into a VCA that is opened by an envelope every couple of bars, passing through a resonant uVCF's high pass filter into Wow & Flutter. This is the part that starts the piece, and it's joined by the unprocessed Braids after a few bars.
The sequence is based on a simple, repetitive 8 notes from Moskwa, but it's varied in several ways, masterminded by A152. A ViLFO's tri and var outputs go into the 4th and 8th switch inputs, and the switch output goes via an attenuator to the quantiser's shift input, so that every few bars the sequence gets a subtly shifting out-of-phase tweak. A couple of gate outputs get ANDed via A166 with one of the A161 gate outs, then go to Moskwa's direction and reset inputs, adding further variations. At the end, I unplug the A152 clock when it's on the 8th bar, tweaking the ViLFO's speed and attenuation to bring in different melodic patterns.
The percussion is complex and interrelated, based largely on logic and Euclidean rhythms. The hi hats (white noise ring modded with Dreamboat's fast X out, through a Pitts filter in high pass mode, into an Optomix Channels opened by a Maths envelope) are largely a simple Klasmata pattern, with one of the 152's gate outs driving the fill input to make one bar different. Various A160/161/166 combinations drive the Maths fall time and the filter cutoff and Q, creating a much more complex hi-hat rhythm.
There's also a percussion sound (Pitts Generator into Optomix) that mostly sounds a bit like a clap or snare, but when I reduce the damping on the Optomix in parts it sounds more like a crunchy digital bass. This is triggered by the same Klasmata out, but passed through Branches. This would give a random selection of the Euclidean rhythm, but I feed a /4 divider into the p input of Branches so that half the time it follows the hats exactly, with just occasional hits the rest of the time.
Finally, there's a big. boomy bass drum (a self-oscillating Sea Devils Filter through a VCA, both driven by a Function envelope). This is triggered by an AND output from an A166 section that's being used for other rhythms, providing something that's related to but much sparser than the other parts.