What a week. What a strange, surreal week. Our neighbour described it yesterday as “the slowest week”. Things are okay here in South Australia and Adelaide. My thoughts and best wishes are with those in similar, and far graver situations. Furthermore, I’d like to convey love and solidarity to the global arts community in this time of crisis.
Ok, the track itself. I constructed a rhythm pattern using a flexible Eurorack patch I’ve been experimenting with for the past week. The sequence is driven by an Korg SQ-1 and the CV and gate are routed to a low-tuned oscillator and EG respectively. The noise is shaped by another gate output, but the same EG output is inverted. One of the cool things about the SQ-1 is the way the ‘slide’ (aka portamento) function behaves at various duty cycles and low CV range. 2-3 sequencer steps have the ‘slide’ active and this creates the long, slurred pulses, which affect both the oscillator tones and noise. Additionally, the noise has been passed through a filter which is sweeping through the frequency range and is then routed to both inputs of a Dual Looping Delay. Everything has been mixed down to the hard-left channel.
A note on the photo: this is an element of a performance/installation meta-work by Australian artist, Josh Foley. It was a project entitled, “Calculating Infinity” and was staged at the Queen Victoria Art Gallery in Launceston as part of the MONA FOMA program in January 2020.