#101

I made a quick demo of a simple drone, dry, then at :15, out of the up/down (right/left) of the frequency shifter. The effect is subtle when the shift rate is low, and gets less subtle as the rate approaches audio. In this, I just kind of explored mid-ranges to show what that can sound like.

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#102

Thanks so much the demo, kind from you to take the time to do that! Seems something I really could use on my system. Is it the 5u dual freq shift module or something else you’re using here?

#103

We had a little fun recently on an atypical rungler outing. Al, the other half of The Chalk Group, had been listening to The Necks the day before, and come up with an interesting tuning on his guitar. We then transposed this to 4 Benjolins and a Blippoo box, and tried to take our time…

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#104

Mine’s a combination wave shaper and frequency shifter, the two functions being completely separate in terms of audio path and CV.

#105

This is really fantastic, thanks for sharing!

#106

I’d love to hear a bit more about your process here. This is so rich sounding for being just two generators

#107

I second this I would love to hear more about it as well. It’s had me scouring ebay for weeks looking at test equipment, haven’t jumped down that rabbit hole though.

#108

i know i’m very behind (i really need to log in more here) but the start of the thread was about drone gear and lately my favorite drone setup has been using the electro harmonix superego+ and the bam OTO reverb and some distortion (proco rat or the sunn life pedal)
the superego is really versitile and can be super subtle but i dont think i have it dialed in for a pure solo set. i makes some great drones though that are fun to layer something cleaner over top of

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#109

One of my favorite things on lines is reading through interesting long old threads. Thanks for your gear tip on the superego. Feel free to post some sounds!

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#110

actually i just working on some demo’s with it last night https://soundcloud.com/cinchel/20191124a

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#112

I’ll type something up when I have more time. Thank you for listening.

#113

Alright. The process is really very simple. I used the two function generators that I posted a photo of earlier in this thread. The top one modulating the frequency of the lower one. The main part of the piece consists of about 10 takes of drones. Each take features different levels of of fm modulation, various overtones being accentuated, slight variations in frequency with each take to make the takes beat against one another. An explorative process, adjusting as I record. I think my record channel features the use of Michael Norris’ binshift plugin as well, highest fft size, only binshifted very slightly. At this setting, where it hardly manipulates the sound, it just seems to push the phase around to give it a very slight sense of movement, otherwise each take becomes a tad too static. At least for what I was going for with this piece.
The fm-capable function generator has a seperate dc amplifier built in as well, which can be overdriven, though it’s a mostly unappealing overdrive. I would find a setting very close to it being overdriven to just slightly bring out some more overtones, which, when layered 10 times, is probably what resulted in the rich top-end texture, which I accentuated even more when mixing. That’s about as insightful as I can be right now. All the best.

7 Likes
#114

Lovely. Thanks for sharing!

As for me, I had some fun doing this in Max last year (and working on something else similar at the moment). 32 sine oscs with random frequencies and envelopes, getting triggered at random times.

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Here’s the result: https://ryanlaliberty.bandcamp.com/album/32-lines

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#115

That’s a very cool album!

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#116

This is a lovely simple concept and I like the results very much. Thanks for sharing that.

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#117

Lovely! Tim Whitwell also has a nice album based on a similar concept: http://tomwhitwell.bandcamp.com/album/drift

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#118

Thanks for sharing. nice + deep

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#119

Thanks in 20 characters!

#120

A few days ago I uncovered some old work of a droney nature I had done a decade ago when I was still recording on a 4-track rather than the computer. A large part of it was generated by feeding stereo effects pedals back on themselves, playing the knobs and looping the results, such as on this one:

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#121

drones 4u, my collaborative drone project with raxil4:

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