It’s been quite some time since I’ve done a modular only drumbeat, so that is up this month. I wanted to add a sloppy percussion track from a synced PH8 used for pings. Here are Wowa’s Woodblocks :)
I’m using triggers from my TR808 to program the kick and snare. For the kick, we have a self-resonating Cwejman QMMF4 band in osc sat mode. Noise from an audiorate RG6 is put to a second QMMF4 band with a BP filter setting, those two sources are then mixed together with a VCA4MX and go to a VCA2P for final VCA. A CTG-VC gates the amplitude of everything on the VCA2P and slightly modulates the frequency of the self-resonating band. I’m tracking the kick through a Warm Audio WA76 to get it a bit more coherent between the individual hits. For that aim, the CTG is also set to “restart from zero” mode.
For the snare, a similar QMMF4 patch is used: Also one QMMF4 band self-resonating in osc sat mode, and another with a higher volume RG6 noise. They’re also mixed with the VCA4MX and go to the second VCA2P channel. For the envelope, we have an ADSR-VC2. One of the two envelopes modulates the amplitude on the VCA2P and the “noise” band frequency, the other the frequency of the self-oscillating QMMF4 band. Additionally, audio of the “noise” band modulates the frequency of the self-osc band (using the post VCA output to dial in the modulation on the second unattenuated CV input of the other QMMF4 band) to slightly destabilize the pitch of the snare.
For the hihats, I wanted to use a bunch of square waves. Two VCO6 and two Addac 701 are mixed with an Addac 802 going to a MMF6 (BP filter), then back to the remaining fifth 802 channel for the final VCA. The oscs are crossmodulating each other and detuned carefully for a fun timbre - adjusting the pulse widths of the oscs is crucial here. I use an Audio Damage Sequencer 1 for the gates and another CTG-VC which is used for amplitude modulation of the final 802 VCA and for the filter frequency of the MMF6. Additionally, a Doepfer A143-3 LFO sweeps the MMF6 frequency slowly. The gate length on the Seq 1 is used to do the shorter and longer hits.
So far, all pretty simple. Finally, we have the sloppy pinging percussion track. I’m using a further trigger from a TR909 (I don’t have all three 808 trigger outputs on my patchbay) which is programmed straight on each beat to sync the PH8. The 0° and 180° outputs of the saw are mixed using a further VCA4MX and then used to ping a RES4 and SPH2 in series, which is a nice combo for those wood sounds (RES4 for the tuning and SPH2 for the woodyness). The second (180°) out first goes through a FSH1 (set to standard audiorate shifting with a tiny little bit of feedback from the down output via the first audio input) to provide a bit of variation between the two hits. A sequence from a Doepfer Dark Time modulates the frequency of one RES4 band. A D-LFO (synced to the kick trigger, set to slewed random) is used to vary the frequency of the PH8 just a tiny bit to throw it slightly in and out of the already rather wonky rhythm. Finally, the other side of the PH8 (set to triangle) is used for four things: The 0° and 270° outputs modulate two further RES4 frequencies, the 90° out modulates the SPH2 frequency, and the 180° output the frequency of the QMMF4 with the snare noise part.
Then I jam with some different patterns on the 808, the offset and amplitude of the PH8 quadrature triangle outputs, the AD Seq 1 ratchets a few times and the amount of D-LFO slewed modulation to the PH8. The PH8 offset (taking the RES4, SPH2 and snare noise frequencies up and down) is good fun, sounds almost a bit like a timbale on the snare sometimes on the lower settings. Recorded in one take with a few edits mainly cutting out the hats, and couldn’t resist afterwards to record a subtle but very effective RE201 effect track. As always, some EQ, compression, delay and reverb in the box to bring everything together.
Hope you enjoy it, Cheers!