A big, spacious, drone, with slow chords that swell, flutter and disappear into the chilly mountain air (where by "mountain air", I mostly mean heaps of reverb with a touch of ground hum and mixer noise).
This just uses three modules (Braids, Erbe Verb and Maths) and very little manual tweaking. Braids in WTx4 mode provides the organ-like chords, which go into EV, set to maximum Size, 50% Mix, low Predelay, Absorb at 12 o'clock and Decay at about 3.
The EV's CV out goes into the input of Maths Ch1, which acts as a slew to tame the wilder CV fluctuations, and then into:
- Decay (strong negative attenuversion)
- Tilt (starting high, with moderate negative attenuversion)
- Modulation Speed (starting high, and with moderate negative attenuversion provided by Maths Ch2)
Thus, when the reverb starts to build up, the decay is reined in, but it also gets less bright and the modulation gets slower. The bass boost starts the reverb building again, creating quasi-chaotic fluctuations. For further variety, Maths Ch1 EOR triggers Maths Ch4, which is set to zero rise and a moderate fall, and this sends a shortish envelope to the modulation Depth input. Since Depth starts slightly CCW it's normally in cyclic mode, but the envelope sends it into shimmer mode for a while. When the reverb peaks, the sound then shifts from quick vibrato (sounding vaguely like a Leslie speaker on the Braids organ wavetable) into shimmering tails, then drifts back again. At certain levels, the envelope retriggers cause a stuttery granular effect, that to me sounds a bit like Tim Hecker at times.
There's one last trick. The Maths Ch1 out is also multed to Braids' Timbre input. This usually just creates variations in the organ sound, bringing in higher registers. But when it's strong enough, it shifts into a grittier wavetable, creating further subtle glitches and extra textures.
Apart from some tweaking at the beginning and end, all I have to do is bring the EV input in from nothing to about 10 o'clock to bring in the chord swells, then back again at times to let the chaotic, self-modulating reverb tails take over, while occasionally switching Braids up and down octaves. It would thus be easy to make this completely self-running with an LFO and a random source set to octave intervals.