This track evolved from my recent Doepfer renaissance - which basically involves spending lots of money on modules again...obviously. I wanted to make the a154/a155 sequencing combo do some chaotic, haphazard moves - as opposed to the traditional repeating 8-step bleepy sequence vibe that it's oh-so-easy to get sucked into. The a155 - with the addition of the a154 Sequencer Controller - just begs to be abused in such ways, as you can modulate pretty much everything you can think of. I didn't keep any notes on this one, but I think it's plain to see that the clock was being heavily modulated, along with the mode and probably a ton of other things. The glide can be sequenced on and off, which seems to be happening here at points, and all manner of chaos can ensue pretty quickly. The sound source for the sequenced parts was the Intellijel Rubicon, with all 4 of the recorded tracks ending up in the lovely Craig Lee (CLEE) Quad VC Resonant Gate (Lowpass Gate). Various other processing is used in addition to the CLEE: One track goes into the CLEE, then into the Modcan Dual Delay; another goes into the demented a196 Phase-Locked Loop, then into the CLEE and finally into the Vermona Retroverb Lancet for filtering and Spring Reverb; a third goes into the a196, then into the a115 Audio Divider, on to the CLEE, and then ends up in the Makenoise Echophon; and the final one is simply a fat triangle wave from the RUbicon straight into the CLEE for low bass notes. Clearly a fair amount of modulation - of many parameters - is taking place, but I'm not being commissioned to produce this track so I'm gonna be lazy and leave it at that!
Basically, there's a load of lowpass gates being "pinged" all over the shop, and then being mangled further in a variety of ways..
Today I decided to put some time into mastering the a198 RIbbon Controller, and it was a lot of fun. I set up a patch where Mutable Instruments Braids was set to "CSaw", and fed into the Pittsburgh Filter, then into a VCA, and finally into the Modcan Dual Delay's first input. A second feed was taken from the Lowpass output of the FIlter into the a115 Audio Divider (i know.....a strange idea.....), then into the CLEE Lowpass Gate, and finally into the second input of the Modcan Dual Delay. Various modulation was set up from the Ribbon Controller so that - when the Pressure was applied - the sound of the two signals would filter sweep in opposing directions (one starting off all bright and buzzy, but then becoming muted when pressure was applied, while the other started off all dull and lowpass filtered, with a nice rounded filter swell - bothe cutoff and resonance increasing with the pressure applied). It worked really well, and allowed a great deal of control over the mood of the sound. The pressure Gate output of the s198 triggered two z4000 ADSRs - one of which controlled the level of one signal path, and the other controlling the second. The Pressure CV output was fed through a lot of Slew Limiting (Makenoise Function) in order to smooth out the rather wiggly voltage that you get from this output. It really is LOT of fun once you master where the notes are on the ribbon - something that confused me a lot at first, as - being an ex-Cellist - I kept expecting higher notes to be closer together than low ones, but they obviously aren't!
One single jam was undertaken, and used without edits. Various automation of the different tracks was applied in Logic, and some additional EQ automation/ filtering was employed to further separate the tracks. I tried to get a nice, wide "3-D" soundstage, using some pretty extravagant Mid/Side techniques, along with perhaps the strangest Impulse-Response Reverb on the Bass notes - it's actually taken from the inside of a Toy Drum, and makes things sound really displaced from the rest of the mix...almost as if they are in the next room. Cool beans!
- Experimental Electronic