Latest tracks + videos

what an awesome compliment: i so love Lynch’s aesthetics and love me some Dan Deacon, too :smiley:
Thanks so much! I truly appreciate that :pray:


After relistening to some recorded improvs, decided to add this one to an old compilation. It’s an electroacoustic piece on live processing through a piezo mic of a collaborator cellist using GRM tools and then audio mangling in Rodrigo Constanzo’s TPV.


yes, like dan deacon’s bagpipe opus :metal:

here’s a lil bleepbloopin i did this morning :slight_smile:


@Helen great remix! I love the original and love how your version emphasizes the pulse of the music.

@renegog great stuff :slight_smile: the rhythm syncopation is so groovy.

while I’m here, here’s a short latest track of my favorite thing to do with oooooo: take four chords and then sample without replacement one note from each chord and play it into loops (3 loops for 3-note chords). the pan/amp lfos will then modulate each chord so its ever changing. (last year I made an entire album using this method).


Thank you for the kind words!

I’m curious to know a little more about this:

“my favorite thing to do with oooooo: take four chords and then sample without replacement one note from each chord and play it into loops (3 loops for 3-note chords). the pan/amp lfos will then modulate each chord so its ever changing.”

I’m not sure what you mean by ‘sample without replacement one note from each chord’, and how you do that.

For example, let’s say I play a simple 4-note chord in A - A-C-E-A. Would I record that complete chord, all notes played simultaneously, then extract a single note from that chord to make a new sample? I’m not sure how to do that extraction and would be interested to know how you go about it - I really only have Audacity for audio editing and, although I have a reasonably ok ear, I’m not pitch-perfect by any stretch of the imagination!

Or do you mean, choose a single note from the chord - let’s say the C - and play/record just that note separately to make the sample I’d feed to oooooo? Then repeat the process for the other 3 chords?


yeah I can explain it better. In some form I think it is akin to voice leading. I think its easier to explain with an example - I’ll use the chords in that video above.

first I chose four chords: Am, F, C, G.

then I wrote than the notes for each chord in a separate column:

Am  F   C   G  
A   F   C   G
C   A   E   B
E   C   G   D

then I rearrange the notes of each chord in each column.

Am  F   C   G  
A   A   C   B
E   C   G   D
C   F   E   G

now I look at those notes, and consider each row as its own melody. each little melody is four notes and if each of the three melodies are played simultaneously they will simply form the chords.

so now in oooooo I make loops of 16 beats and I record each row onto three loops, four beats for each note. so in the above example the first loop is the first row (A, A, C, B) - A is held out for half of the loop, then C and B are held for 1/4 of the loop. the next loop is (E, C, G, D). the last loop is (C, F, E, G).

after the last loop you will have a chord, but the memory of listening to the first and second loop will sorta imprint a melody based on how you’ve rearranged the columns.

every song on “at the place” (except the first) is an example of this practice. for instance, this track has the chords Em C G D. after re-arranging the chords like above I ended up with this table of chords and notes:

Em  C   G   D  
B   G   B   A
E   C   G   F#
G   E   D   A

each column is each chord, and I consider each row as a “meldoy”. so the first row of notes are “B, G, B, A” which sorta permeates as the main melody. the row of notes “E, C, G, F#” sorta are a counter melody. and the third row of notes “G, E, D, A” fills out the chord. in that song I add another few layers of notes too but its the same principle.

hopefully that is a better explanation! I’m sure there is a more technical theoretical explanation but for me this approach is more of a fun exercise with looping than anything else.


Thank you for the clarification - That makes much more sense than the explanation I was thinking of - Will give it a try and see what happens!

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Laptop Serenade.

Farewell to the 2012 Macbook. Now begins the era of the Thinkpad.


First time using the ES-9 with VCV Rack. I feel I am cheating. Bits to volts, volts to bits



Nice new composition:


Released this a while ago now but never really told anyone… I always had lofty notions of keeping my vaporwave sideproject totally anonymous but of course that makes it hard to promote without creating sockpuppet accounts on every platform which I couldn’t be bothered to do. :smiley:

anyway this one is somewhat seasonally spoopy so here you go


i tried to make dungeon synth after reading something about it here in another thread and before listening to any dungeon synth


@rajaTheResidentAlien Fascinating patch! I’m always here for a Daisy/Max Matthews reference!

@infinitedigits Love the minimal setup and it sounds great—thanks for the chord breakdown! Such a good album description too: “i use the cheapest synthesizer (korg monotron delay) with one of the cheapest drum machines (te po-32) to make the most epic music i’ve ever made.”

@SMesquida Beautiful! Listening to this in the early morning…and excited to see where you go with VCV!

Here are some snippets from my final day of playing live in the desert earlier this month. Using Disastrous Peace to differentiate from the previous day and trying to get a good series of variations out of one core patch. An owl joins me for track 2!

I’ve been putting patch/performance notes in the video descriptions but realized I could use the [details] tag to post them here without taking up too much space. Thanks for listening!

Patch Notes

Pam’s Out 5 (x1 gate) to Marbles Clock for Clock
Pam’s Out 6 (/16 sine) to Blinds Frequency for Sweep
Pam’s Out 7 (x1.5 gate) for rhythmic modulation
Pam’s Out 8 (/8 ramp, 100% width, 1/4 euclidean) to Links and Kinks for Mult
Pam’s Out 1 (x1 gate), 2 (x2 gate), 3 (x2 gate, 5/8 euclidean), 4 (/4 sine) with stack cables for Modulation

Marbles switching between modes (Green, Orange, Red), divisions (/4, x1, x4), and scales (Major/Minor) in transitions
Marbles t1 and t3 to Blinds In 1 and 2 for attenuation and mixing
Blinds Out 2 to Plaits Model to change drum sounds
Marbles t2 to Plaits Trig to trigger drums to the beat
Plaits switching index between transitions for different drum sounds
Plaits Out to Blades In 1 for filtering and mixing with sweeps
Marbles t1 multed from Blinds In 1 to Blades Freq 1 to shape snare sound
Marbles t3 multed from Blinds In 2 to Blades Res 1 to shape kick sound
Blades 1 Out for dry drums, Main out for mixed drums, and 2 Out for no drums
Blades Out to Veils In 1 for attenuation and mixing
Veils Out 2 to FX Aid In L for Reverb and Delay
FX Aid Out L and R to Nearness In 2 and In 6 for panning

Marbles t1 and t3 to Disting mk4 In Y and X to trigger samples
Pam’s Out 4 to Blinds In 3 for attenuation
Pam’s Out 4 or Blinds Out 3 to Disting mk4 Z to change samples
Disting mk4 Out A and B to Plancks In 3 and 4 for attenuation
Plancks Out 3 and 4 to Nearness 3 and 5 for panning

Kinks Noise to Veils In 3 In for attenuation
Pam’s Out 2 to Veils CV 3 for modulation
Veils Out 3 to Blades In 2 for filtering
Pam’s Out 6 (/4, /8, or /16 Sine) to Blades Frequency 2 to make a sweep
Blades shift button for applying the drums’ freq/res changes to the sweep
Blades 1 Out for no sweep, Main out for mixed sweep, and 2 Out for just sweep
Veils Out 2 to FX Aid In L for Reverb and Delay
FX Aid Out L and R to Nearness In 2 and In 6 for panning

uO_C in Sequins mode, Tides in Audiorate (Red) Divide Multiply Mode (Red)
Ears Gate to uO_C trig to change step
uO_C Out A/Marbles X1 to Tides V/Oct In for sequenced/generative melody
Tides 1 and 4 out to Kinks Logic In 1 and 2 for dirty mixing
Kinks Logic Max out to Veils In 2 for mixing with Drums
Stages 5-6 configured as a two-segment AD envelope
uO_C Out C/Marbles t1 to Stages In 5 to for sequenced/generative rhythm
Stages Out 5 to Veils CV 2 for attenuation in rhythm
Stages Out 5 also to Tides Slope and Smoothness when needed
Veils Out 2 to FX Aid In L for Reverb and Delay
FX Aid Out L and R to Nearness In 2 and In 6 for panning

Marbles X2 and/or X3 to Rings V/Oct for melody
Rings Odd and Even Out to Beads In L and R for processing
Beads Out L and R to Plancks In 1 and 2 for non-CVable attenuation
Plancks Out 1 and 2 to Nearness In 1 and In 7 for panning

Pam’s Out 8 to Links 1:3 and Kinks Sign for multing and group modulation

Nearness Out 1 and 2 to HP0 In L and R to Zoom for Recording

Performance Notes

For notes on my general live patching strategies check the YouTube description of Day 1 and for some mistakes and changes see Day 2. For Day 3 I wanted to focus on some takeaways:

Takeaway 1: Playing live is really fun, but it requires a different kind of practice than I’ve been doing with single patch performances:

  1. Instead of working on one patch, I need to be regularly playing for about an hour with an audience in mind
  2. During that time, I should focus less on the individual patch details and try to make a large change every 5 minutes as well as smooth transitions between moods
  3. The goal of this kind of practice is to get comfortable playing for an extended period of time and shake out lots of ideas

Takeaway 2: Making a dozen different tracks in one sitting really reveals the character of my rack and patching methods:

  1. The default sounds and patterns of my rack/patch become much more obvious after making a series of quick sketches live
  2. As I learn what those patterns are, I can avoid them when I want to try to find more novel sounds
  3. I can also retreat to comfortable combinations and things I know work well if I need to when playing live

Takeaway 3: I should be doing this much more often to practice performing live but also to generate a good starting point for a more complex patch

  1. Playing live dramatically speeds up the learning and discovery process for modular
  2. It devalues the individual patch/mood/track allowing me to make more in a shorter amount of time
  3. This might be a good way to sketch out songs and find good starting points to develop more complex patches
  4. The best way to simulated live play as a part of weekly practice is probably live streaming

i wanted to share this patch thats been incredible healing for me this week. my first exploration with the spectral multiband resonator… something really nice for a meditation or sleep or sunrises w some tea

unfortunately ive been out of work which has led me to explore vcv more since ive had to sell much of my physical system… im actually really enjoying using it! i especially am finding “generative” patching to be a much better experience inside of vcv since im not limited by modules/space. still miss the tactility of physical patching but what r u gonna do :woman_shrugging:t3:

first off, absolutely lovely!!! thnk u sm for sharing (:
how did u find the experience setting up & using the es-9?? ive been strongly considering one myself to incorporate more “analogue” style chaos (triple sloth & shift registers & similar) into vcv patches. did it add much to the cpu load when using the es-9 w vcv?? were u running voltages in or out of it (or both directions)??

also just want to take a moment to say a HUGE thnks to @Dewb for the monome library for vcv!! meadowphysics is being used v simply here, but being able to use the grid at all makes using vcv feel much more satisfying. also being able to learn teletype in an environment where i can constantly change modules has really helped me w that learning process.


Hey, thanks! I barely know what I’m doing :smile: So I would say that setting up and using the ES-9 is easy because I could!

And yes, I used communication (audio and clocks) in both directions.

Sorry but I didn’t watch CPU load…

Lovely videos @idkreina and @alt254!


I tainted another fine recording.

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some uneasy listening? Downloads are enabled for sampling or reworks

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THe best way to make any genre of music :slight_smile:
This is great!

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A short release based on exploring a feedback loops on the Wing Pinger. I did share the tracks on on the WP thread through soundcloud a while back but found myself quite proud of it, gave it a tidy up and decided to make it my first “release”. Hope you enjoy!