#1951

Thus begins @mrsoundboyking’s journey into the land of drone…
My only recommendation is to get comfortable exploring feedback; maybe grab a simple matrix mixer and a limiter for managing feedback patching. Doepfer A-138m, Instruo tanh, and WMD MSCL all serve well towards these purposes.

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#1952

Disting is good for audio playback (field recordings, vaguely tonal/textural audio, incidental sounds, etc.) - it doesn’t necessarily have to be ‘one-shot’ / percussion samples, you could play an hour-long clip (or several clips, of varying length), depending on how much space you have on yr micro SD card. Disting is useful for many things

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#1953

Disting’s playback scrub program is one of my favorite sample players ever. You can get so much fun stuff out of that.

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#1954

Perhaps not quite.

I’ll leave the drones to the masters. When I was starting out, like 20 years ago, I thought anyone could make ambient music with a Casio and a delay pedal. That’s false. It takes a special kind of person to make ambient music with a Casio and a delay pedal. That person is not myself.

I released myself from work several hours early and began my textural experimentation.

This still shreds with the burst-generated kicks n’ hats but has a sweet little thing happening, too. I’ll keep practicing because this is close to what I’d like to hear but not there yet.

Thank you all for your thoughts.

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#1955

Not that you asked, but Plonk makes very interesting texture/drone if you set it to ASR and trigger it with an offset or very long gate. To me, it wasn’t an obvious use case until it was pointed out, now I do it with some regularity.

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#1956

This was super not obvious to me and I will investigate. Thanks for speaking up!

I’ve gotten some really nice alien string and cymbals from the thing but extending those tones could be clutch.

#1957

I know you said “smear it with Morphagene” with a kind of self-knowing irony, but that was still good advice for yourself. On top of what everyone else has said, some kind of looper/delay/granularizer can take whatever discoveries you make and let you build on them. I do like Morphagene myself, but there are obviously lots of options.

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#1958

I mean, you can do so much with morphagene. It doesn’t have to “sound like morphagene”. Particularly if you avoid taking the morph knob all the way up, which is also really nice. I find I can get all kinds of string/orchestral sounds with morph around 1, gene around 10-11, and then using slide to find the sweet spots in a sample. You can even plan ahead and use something that has a lot of reverb tail in the recording, if that makes sense. The reverb tails then become really great for getting very nice drones.

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#1959

I have a CP3 and it has a nice lovely saturation that isn’t particularly aggressive to my ears. I have no experience with the Moog mixer it is modeled on so I have no point of comparison.

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#1960

:yum: I’ve done a lot of research re: Morphagene and its ability to smear. Radio Music is a recent addition and I’ve been loving it but want it to do more things – Morphagene seems like Radio Music on five LSD.

Oh, definitely. I visited the Make Noise facility once and got a v. nice demo of a Britney Spears (or some pop) song getting munched by Morphagene. I felt impressed by the immediacy of hurling sounds into its digital maw and receiving instantaneous novelty sounds right back.

Your thought about feeding it reverb tails to chew is really good.

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#1961

Aside from morphagene there is also Nebulae. Having both, I can say they kinda do similar things, but really differently. If sample mangling is what you want i’d suggest Nebulae, and morphagene for live mangling. At least that’s how it is for me right now:)

#1962

FWIW, Radio Music and Morphagene are super BFF’s from my experience. Having a dynamic bank of stuff to chuck at Morphagene is enjoyable by itself.

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#1963

Hi all,

I’ve decided to limit myself to 7u (current setup), for now, and am trying to focus on making the most of the 3-4 voices I have in that space. It seems to me that I could possibly do with trying out some spatializing/filtering of voices and am consdering trying out the Nearness, Soundstage and Massive Passive as options to facilitate giving these 3-4 voices their own place in the final mix. It seems like the Massive passive + Nearness would the best hp/value for this given the number of stereo modules are in this case (Chronoblob2, Clouds, Cold Mac, Qpas)…

I’m curious to hear what others have used/are using in their cases for Equalization, Filtering, Compression & Panning… How much space do you dedicate to this in-case? How are much are you utilizing the stereo field? Multiple filters in a small space? Some other modules I’m missing?

The Propust was mentioned in the Worng thread as another option.

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#1964

im considering a propust + nearness approach as sort of a minimalist soundstage (my set up is 3u 62hp atm but planning to add another 60ish hp in the long run, but itll be no more than 2-3 voices max). if I was to give myself more room soundstage seems like great way to work and the CV control of filtering seems very useful and performative. If you go with something more minimal you could also consider EQ modules like music thing modular’s and zlob’s - a couple im keeping in mind - instead of a passive filter.

hope theres something helpful in my own thinking about these things, wish i had more experience to offer! I’m really here to ask: how do you like the hyperchaos deluxe?? and how do you most often find urself using it if you dont mind me asking? :stuck_out_tongue:

#1965

Not sure if it’s useful for your purposes, but I’m considering the shakmat HiPass for high pass filtering everything except bass and kick.
I can’t find the video, but the module was mentioned by mylarmelodies for this purpose.

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#1966

I’m really close to pulling the qpas out and trying this in it’s place, I rarely use the qpas for anything more than coloration in my patches, the Soundstage seems to really bring a lot to the table.

The hyperchaos is relatively new to me, the triple sloths is my favorite module, so much flavor. The hyperchaos i’ve been using for chaotic gates (drums, triggering clouds in resonestor mode) and attenuated cv as pitch through the arpitecht, honestly I think it will take me a couple more weeks to fully wrangle… (if you can wrangle chaos) :metal: :metal:

Couple really great videos using the hyperchaos by this guy Aragorn Eloff on youtube:

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#1968

Hi everyone.

So far I have a little system with these modules:
Intellijel: Dixie 2+, Quadra, Quad VCA, Triatt, Scales.
Doepfer Wasp Filter
MI Kinks

I have a case of 6u104hp and will eventually, little by little, complete the space. I strongly plan not to go bigger than that.

I am sequencing with a Korg Sq-1 and my next step is to change that.

I was originally planning to buy a Tempi and Rene2. But now I have the option to buy a second hand 128 VB Grid (2012) at a good price. Given that I am in South America, this is perhaps the only oportunity I will have to get one. I would add an Ansible and eventually I might add a TT to this combo.
My question is if you believe the Monome way would be overkill for the size of my system, I guess I will very rarely be using all four channels of Kria.
I want some sequencer that will allow me to explore and arrive at unexpected places.
There are no eurorack shops here and all I have for reference are manuals and YouTube.
And Lines. So hear I am. Any opinions are welcome.

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#1969

Ansible has many options beyond Kira. It depends what you want to do though. I don’t think there is a system that is too small for Ansible because it can be many things.

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#1970

I just recently got Morphagene and love it so far. Amazing source of sound, I have just been feeding it straight from my oscillators, DAW, phone and contact mics and would imagine having something dedicated in the rack to feed all kinds of samples to it could be very cool.

I like the “sound like morphagene”, but I’ve also intentionally tried to differentiate from that both as a learning thing and also not to be stuck too much with that pretty distinctive sound. I fed Morphagene snippets of Remover of Darkness by Surgeon and let it ran pretty long genes with slight modulations on the parameters, and it flipped the source to great glitchy beat-drone kind of thing, that still kept the rhytmicality but warped the bits of the source in a way that made it wholly new thing. Also, I made beatiful eery generative patch that also had some DFAM and BIA as percussions, and while I’m not much of a fan of the whole generative-ambient-houseplant-scene it was great, I just stared at the machines and listened the patch go for half an hour. Few days full of playing with Morphagene have probably been the most fun I’ve had making and playing music since I originally got into hardware modular. I actually already put out track that very heavily features Morphagene: https://www.youtube.com/watch?v=DeogrBy4t6g

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#1971

I plan on sequencing a couple of melodic voices and even a third voice. In no way I believe that Ansible is going to be too much, but I see Rene as very interactive sequencer and I don’t know to what extent Ansible is as modularly interactive. I still have to really understand the amount possibilities that Meadowphysics and Kria provide, but I guess this is something I’ll grasp by using them. What brings me even closer to Grid are all the other software applications to use with it that make it super versatile.

In the case of going the Ansible way, I want to get some module for clock. I’m between Tempi and PNW. So far I’m only guessing what would be more convenient for me to use with Ansible. With Rene it was going to be Tempi. I have not dived yet into what the possibilities are with Teletype, but it is yet another possibility.
I know these are not questions as much as me going in circles, but the impossibility to try the modules or to sell them in an inexistent second hand market make me at least try to aim for the most convenient. So any experiences of you using Ansible with Grid are appreciated.

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