#29

Super interesting!

Where are the pitches/sequences coming from? From the module with the segment displays in the bottom left? And does the MARF then partially control them somehow?
And what about the third sequence around 13:45? Is that a (random?) selection of pitches from one of the two sequences that are running?

#30

Hey! first post here.

Cool topic.

I have a 0-Coast and an 104 HP x 6U Eurorack. I use the synths to experiment and try to find the hidden things that the circuits can provide. It was build under the concept of functional promiscuity. So for me it’s a playground for ideas and patching techniques.
From this experiments I start developing musical ideas.
Last year I started experimenting under the concept of making a patch versatile enough to be able to perform 20-25 minutes with it. I started with an idea and over the course of days or weeks I developed it, making it more complex, practicing the performance, mixing it on the modular, etc. then I recorded using my stereo output module into ableton live as a tape recorded. This ended up as my debut album.

I try make full use of the resources, for example using two hex VCAs as a stereo mixer, processing telHarmonic H an P outputs as well as Ring Even and Odd outputs separately and planing them, etc.

Depending on how I feel I use Marbles, Game System or the KB-1 for pitch, and gates.

Just recently I started to experiment sending MIDI to the 0-Coast, which is interesting but not my cup of tea.

So, to end up, I like to have limitations but also flexibility to compose, experiment, play and have fun overall.

3 Likes
#31

Interesting discussion going on… I basically split the process of modular composition into three phases:

1.) Building the Instrument - most often I start a project by patching a playable instrument, defined by up to 208hp of modules, couple of tactile inputs (grid or keys or sensors…) and a selection of effect pedals. I then patch all main connections and don‘t change this until I finish the project.

2.) Playing the Instrument - once patched, I try to keep the structure of the main patch and create variations by changing values and playing notes. The range of diversity one can achieve without repatching a single cord is amazing and restricting the level of access to the patch helps me in being consistent throughout a project.

3.) Recording - I have a Zoom running whenever I play on the modular, and I maintain a single ‚instrument’ patch for weeks. I then go further by processing the recordings on tape or building tracks in Ableton

8 Likes
#32

I do this too! It’s a great mental challenge because it prompts some planning and helps breed creativity through restrictions.

1 Like
#33

This is posted in the hope that it is somewhat interesting to someone🤔

In a modular context my music is rather conventional in that I work with harmony, melody, song-like structures and most of the time has (something resembling) kick, snare, hihat and bass.

I normally start out with a general feeling I want to achieve or a rhythmic or harmonic idea.

First I patch the most important elements from the initial idea, both sound and on the teletype. When I have something that I feel captures what I intended, I work out a form, with contrasting or supporting parts. Then I work out melody, either played by hand into hermod or a generative idea on the teletype, or both.

Then I play the thing through a couple of times, looking for places to take the patch. Often I add more hands on control, more generative and dependencies on teletype and kill a few darlings here.

Finally I multi track the patch in one pass with cameras rolling, sometimes it needs a few takes before it works, sometimes the first take is enough. Then mix (no or minimal fixes), edit the video and put it in queue to go public on youtube.

5 Likes
#34

Then I play the thing through a couple of times, looking for places to take the patch.

This is something I know I’m timid about, for fear of losing the sweet spot I originally had in my patch. Any strategies for finding your way back to home base, or to a few different waypoints?

I’ve approached it more by multitracking smaller and more “recallable” variations, and once I know I’m happy with what I’ve captured I’ll do a pass where I’ll explore a lot more wildly but this usually brings the patch to a place I can’t come back from.

Also cool to know that your performances are one-takes. Love what you create!

2 Likes
#35

I definitely feel this quite a bit. Both Cold Mac and ADDAC306 (transition controller) can help achieve changes without losing sweet spots. If you have neither and aren’t looking to add a module, you could also use an unpatched attenuator as a ‘prosthetic knob’ without fear of losing your patch.

5 Likes
#36

When I realized how much more alive everything became when I wasn’t afraid to touch it, it was a bit easier.

Also, the 301 is doing ‘signature sounds’, which means it’s easier to apply a more casual approach to the rest of the system.

That said, I too have a lot to learn here, I fall in the same trap as well…

Thanks so much, highly appreciated! Thanks for listening!

And congrats on the wonderful news😀

2 Likes
#37

This is a huge issue with modular indeed! The solution that I found that works for me is recording the basic sound of a patch into a sampler and use that as a basis where i can always land back on.

#38

These past 3 years composing on modular has been a baptism of fire, that’s for sure. As I am partial to ambient / generative music, I was happily impressed with the improvisation my system allowed me, but as I am a sucker for melody and song structure too I felt duly constrained by its limitations - or rather anxious with the necessity to purchase a ton of additional modules to achieve what would be otherwise quite basic tasks (this isn’t a complaint, I fully enjoy acquiring the building blocks). I must say though, this has all changed when I bought the ACL Sinfonion. I can’t express how much it has opened up my system in terms of harmony, scales, modes and composition. I was almost there with Harmonaig, but the Sinfonion on another level entirely and has my 100% endorsement for anyone on the fence about getting one (provided you have 7 or 8 voices to make it sing)

#39

Have you ever made a video or considered making a video documenting this process? Would be very interesting to watch and learn.

#40

This depends on your system but if you have parameters that use switches or stepped controls then it could be a good place to start to explore possibilities without too much risk of loosing it.

#41

There are multiple ways I work. In the beginning I just started a new patch every day. Started with unpatching everything and then just build my patchwhile listening. That learned me a lot about possibilities and things that I needed.
When I really compose I start a patch that is close to what I have in my head and then work from there. Most times I have my DAW record the whole thing. I use an ADAT link to my DAW. Most times when I get somewhere I do multiple takes. Make slight variations.Then a sort of progress builds in my head, like I want to go from this sound via that sound towards that sound.
Recently I have been studying my Hordijk again because I want to perform with it. Have a patch that has been growing and changing. The whole idea is to have 4 signal paths to the dual fader which I can use as mixer ánd a vca. I build up, make notes (like signal path schematics) and then tear it down and build up again.

4 Likes
#42

I generally use my modular for sound design, multi-tracking the voices and then later I edit the good bits down to usable pieces. Often I will further load them into samplers, or process them with offline DSP in Metasynth or CSound or similar tools. I rarely successfully compose, or perform an entire song on the modular. That said I do rely on a programmer module, as well as some joysticks that I use to be able to have a baseline starting point, with the ability to radically depart from there but am able to work my way back into that zone. I also have a vector mixer with it’s own joystick that I use to dynamically fade between dueling voices.

3 Likes
#43

i have explored the following concept in various sessions (both studio and live stuff):

-start from a simple sequence that you can create\modify live (i use René mk1 for that)
-use an analog shift register to generate 3 additional, related voices.
-use a combination of flip flop and sample & hold units to derive sparser melodic lines from the original one
-send those to different voices
-mix live at will

how i use the flip flop\s&h combo:
lets say original melody goes to voice 1 (that means cv to oscillators, gate triggering envelopes)
then i have the second out of the analog shift register: cv goes to sample and hold, the original gate goes into a flip flop, out of the flip flop both clocks above mentioned sample and hold AND triggers envelopes for voice 2.
voice 3 uses the out 3 of analog shift register, sends it into another s&h, the second voice’s derived gate (output of the first flip flop) goes into another flip flop that both clocks the second s&h and fires envelopes for voice 3…
and so on and so on…
all flip flops are T (toggle) type.
if this isn’t clear i’ll explain it better.

p.s.: to avoid unpleasant intervals between voices i usually use simple scales like pentatonics or custom scales with few notes enabled. (in my case i use the ornament & crime Copier Maschine as quantized analog shift register)

p.p.s.: if you have Frap Tools Falistri you can use the 2 outputs of its cascaded frequency divider\flip flop (in unipolar mode) to derive gates for channels 2 & 3 from the original gate sequence.

p.p.p.s.: if you don’t have T type flip flops you can do something a bit more crude using clock dividers instead of flip\flops

14 Likes
#46

By “flip/flop” do you mean a switch?

What modules do you like for this functionality?

Thanks.

#47

well, a T (toggle) type flip flop is not exactly a switch, it works like this:
starting from an initial condition in which it is resting (0 volts) when it receives a gate it goes hi on the rising edge of the incoming gate, ignores the falling edge of said gate and stays high. when it receives a second gate it goes low on the rising edge of this gate, ignores the falling edge and stays low until a new gate arrives, and so on and so on.

there aren’t many many options for flip flops in euroland. i use Falistri’s dedicated flipflop\frequency divider because its exactly what i need for this (two outs, cascaded).
intellijel plog has a couple of flip flop functions. maths can do it. i’m pretty sure there are others but cant recall which ones.

the sample and hold i use is doepfer a-148 dual s&h\t&h

2 Likes
#48

That makes sense, thanks! I hadn’t heard the term before.

1 Like
#49

Old Intellijel FlipFlop is super and worth tracking down if you don’t have too shallow of a case.

1 Like
#50

The Acid Rain Switchblade does this with three channels, and I think the Klavis Mixswitch does as well (haven’t used the Klavis).

2 Likes