been a little while since I've posted any new tracks - largely due to technical issues prompting a major modular meltdown! ...But all is well again now, and I'm back with a track that is in no way whatsoever going to trouble the charts.
It was partly inspired by Vortex Ranger's Cyclebox patch thread, as there was one where he mentioned using the echophon's clock in and out in an interesting fashion - so i thought i'd try clocking it from some random gates (a149-2) and then using the echophon's clock out (which will be pretty demented due to the odd clock going into it, along with the fact that I'm modulating the Echo time as well) to trigger the ADDAC207 quantizer on the main sequence. The sequence itself was coming from the Turing Machine, which spits out lovely pseudo-random sequences. Can't see me EVER getting tired of this thing if I'm honest!
the main bassline/ plucked sound is (obviously) the DPO, with a ton of modulation going on - its two outputs are going into the optomix, which is also modulated to heck.
The PEG is involved in all this bedlam, as is Maths
All the other sounds are coming from the lovely Cwejman S1, which is sounding "cold" and "clinical" as ever (NOT). its envelopes are being triggered by its own LFO, which is having its rate modulated by the a149-1 random module. it is also being switched on and off by the a149-2's random gates, so you only get LFO action when the gate is high. There is all sorts of cross-modulation and SYNC going on, and the Lowpass Filter's output is going through the AMAZING Vermona Retroverb lancet, although to be fair, you probably can't hear a LOT of the spring reverb as i've added plug-in effects during the mixdown - you can certainly hear the filter in action though, and it NEVER disappoints. Everyone should have one of these units - it's a one-stop-shop for saturation, filtering, tonal adjustments, FM, AM and spring reverb. basically it's "sweet as".
the S1's Highpass Filter output is actually going through the WMD Geiger COunter, which I was actually considering selling ....but now i'm having reservations. "Soysos" on Muffs mentioned that he often just uses it as a waveshaper, without messing around with the sample rate/ bit depth - I'd have to agree that it does actually do some much more palatable stuff when used in this way, although it would be REALLY good if the wavetables were interpolated. it's not the end of the world though, as you can simply use a stepped modulation source to move through them (Turing Machine again) - some are just hissy and noisy, but others completely change the wave to something pretty cool. obviously the signal going into it is pretty fucked up already, as it's coming from the heavily modulated S1, but it does actually manage to produce some pretty crazy sounds (ie: the totally demented "bowed string" type sound that comes in at 00:19 - i mean, seriously....WTF??)
ANYWAY....this was pretty unlistenable when i started mixing it this morning, but i reckon i've retrieved it to some extent by careful editing of the jammed takes. that's the only problem with using a lot of random stuff.....it's hard to layer it up one take after another, as you end up with all sorts of dissonant clashing chords. The best way is to set up a ridiculously complex patch that all runs at once, but i tend to find that my jam doesn't come out so well once I go beyond a certain amount of patch cables! so the only way round it is to patiently go through the track and edit out any particularly aggravating note clashes.
not to say it's a beautiful piece of harmonically-rich music. it isn't. it's a faintly unsettling doom-laden trudge through a sewer. enjoy
- Experimental Electronic