Latest tracks + videos

Promise, I’m not normally this productive in a week.

My SO purchased (much to my surprise) a StarLab for my birthday and I had to do something with it.

Sequencing is all Pams
All voices are from Assimil8or, ambience is all from the StarLab
Primary Assimil8or voice is being wavefolded by Triple Wavefolder
Just Friends is in sustain mode and all of it’s channels are modulating different aspects of the StarLab

My work is always recorded as a single take but I performed more than usual on this piece, using the Joranalogue Switch 4 to control when certain parts would be turned on or off, and modulating the time knob of the Just Friends. I usually do small touch ups in Ableton but very little of this track needed it.

3 Likes

New EP! Experimental bass music and hip hop, titled “autoreact”. Fusing melodic elements, neuro bass, and experimental drums.

The first two were created and live mixed in the last 2 nights. They focus on the Plumbutter as a drum machine and odd clock generator for Ableton, modulating the project BPM on the fly. I’m surprised how well this worked, and the workflow came following a number of experiments to tie hardware/software together using only the audio signal from the hardware.

In the computer I added sequenced instruments, a number of VST/M4L fx, and thoroughly modulated them with large networks of LFOs (once again, thank you Suzuki Kentaro).

The third track is a dark dubstep track I made a while ago. Message me if you want a google drive link to the tracks for download!

5 Likes

A couple of weeks ago I performed live for the very first time under my solo moniker. I have been making music as Pie Are Squared since 2010 and playing live was something that I never really thought about doing, even turning down at points. A couple of months ago however, the opportunity came up and it felt like the right time, and I am very glad I went for it. Learned a lot and had a ton of fun working on it.

Just to document it, I recorded it and released it today. It could be better, but I think overall it’s not too bad (10/10 marketing skills)

Here are a bunch of codes, redeemable here

4crj-wxba
chxr-wps7
e4c5-crc5
bshb-xdlr
ahcl-ed5d
reh4-uc2c
drch-ehwx
j4jx-5wcp
7cfs-uss2
vsdc-e4cc
fq4e-3asw
lbsf-cnws
cv4l-weld
cfph-hb5c
cdfh-5wnw
sh5s-3sp4
sc7e-c4ba
sswb-was7
74v4-c2ew
xcbq-wcns

5 Likes

A jam with a good friend

8 Likes

Our latest ritual features Zvi and was prepared during the summer… more will be released from these sessions throughout next year as a series.

We hope you enjoy

4 Likes

This is pretty much a concept tester using the Wav3s plugin from BlueLabs run through some visual effects. The base track is a little thing knocked together on an Analog 4 controlled by Colorwheel script (also as a test) on a Norns Shield, with some audio FX applied in KDEnlive:

2 Likes

This is really great! Thank you for sharing. Composing tracks within a modular system is an exciting exercise.

1 Like

You should do it, @BonJoey! Filming can sometimes be a bit of a pain (or feel like it’s slowing down the next idea) but I’m really grateful to have some solid documentation and recordings to listen to/share. I just try to make it as quick as possible: video with a phone and audio with a Zoom before syncing them in post.

And thanks for listening @gigala! Composing with modular feels a bit like a puzzle game, but the constraints help me move on more quickly. I used to spend ages making music in Ableton so the live performance aspects are really freeing!

Speaking of which…here’s a new track I just released:

A rainy modular morning, slowed down to simulate 45 to 33 RPM :umbrella:

I’ve been experimenting with slowing down (and speeding up) modular recordings to achieve different effects. This is a kind of downtempo, vaporware version of one of my tracks slowed down about 25% to simulate the speed difference between 45 and 33 RPM on a record player. I like how this can boost the bass and roll off the highs!

The basic patch is Pamela’s New Workout as clock and modulation, Marbles to Rings in Disastrous Peace to Beads for the chords, Marbles to both Plaits and Disting mk4 to FX Aid for drums, KeyStep sequencing Tides and Stages for the main voice, Blades doing drum filtering and sweeps, and then Guitar into Ears into Veils with Stages LFOs producing tremolo.

Full Patch Notes

Clocks
Pam’s Out 5 (x1 gate) to Marbles and KeyStep Clocks 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

Drums
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 ES-9 (emulating Nearness) In 2 and In 6 for panning

Samples
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 ES-9 (emulating Nearness) 3 and 5 for panning

Sweeps
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 ES-9 (emulating Nearness) In 2 and In 6 for panning

Chords
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 ES-9 (emulating Nearness) In 1 and In 7 for panning

Lead
KeyStep in Sequence Mode, Tides in Audiorate (Red) Divide Multiply Mode (Red)
KeyStep Pitch Out to Tides V/Oct In for sequenced 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
KeyStep Gate Out to Stages In 5 to for sequenced 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 ES-9 (emulating Nearness) In 2 and In 6 for panning

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

Outs
ES-9 to Ableton for Recording

Out of Box
Auto Filter to fade in highs and subs for intro and outro
Vocal samples, chopped up for chorus and bridge
Abbey Road Vinyl for snap, crackle, pops and flutter/wow
Valhalla Delay, Vintage, and Shimmer for ambience
Operator white noise auto filtered and auto panned for transitions

5 Likes

Your execution of composing live impresses me really.
I pursue the same approach and went for sequencing drums and voices from Pam‘s N. Workout over Euclidean circles to Eloquencer - in the hope to realize all compositional work within my modular setup - but until now this doesn‘t feel right to me. Making transitions is the crux. You have to play them, or how I do it until now within Ableton.

„Single file“ is another great share!

1 Like

Hey thanks @gigala—I think transitions are one of the hardest things to do in modular.

My three main tools for instant (vs evolving) transitions are turning things on and off with a mixer, mutes, or cable plugging/unplugging; playing a variation with a conventional instrument feeding into the modular system; or programming changes in a meta-module (like Mutable Instruments Frames or Pams’ Save/Load function.)

I imagine a lot of folks use a more robust sequencer but I’d love to more solutions for transitions—how do people accomplish big changes in a live performance context?

1 Like

This piece just hit the spot for me. Thanks for sharing it. Lovely combo of grooves on synth and soulful guitar. :+1:t3:

2 Likes

What @zoundsabar said. That was so much fun.

2 Likes

Experimental/Ambient - called “Volvo Fear”

Thanks very much for giving it a listen.

5 Likes

Thanks for your kindness!

3 Likes

All euro/modular except for effects. Arranged as little as possible and kept it quite long.

1 Like

my new album “words” is now available everywhere!

this has become one of my favorite releases to work on, i’m super excited to share this with everyone!

much love,

  • i’m waiting
4 Likes

Hi there!

I am very excited to share the ambient live performance “Marine Weather Forecast” with you.

– – – – – – – – – – – – – – – – –

Unstable low pressure area, drifting oscillators, resonating grains and high tides.

700 kilometres from the coast, my friend sits in his car and listens to the marine weather forecast. The precision of the forecast and the firm voice of the announcer make the difference between life and death at sea. And i envision grains flowing, oscillators drifting in the wind, and two free-running LFOs taking part in a regatta, while the sonography keeps me warm.

NORNS OP-1 ROLAND SH-09 MICROBRUTE SUPER BASS STATION

– – – – – – – – – – – – – – – – –

I am curious about your thoughts on it.

All the Best
N03l

1 Like

New spontaneous CL jam, complete with click-baity title:

4 Likes

Hey folks,

Here’s another one featuring a video from the prelinger archives.

The sole synth here is the S1. It’s sequenced by the amazing Patchwork norns script. There is some processing via ct5 => Panharmonium.

This piece was an experiment in taking something that I really love about one instrument—in this case, the semi-chaotic amplitude modulation of the Cocoquantus—and applying it elsewhere. The S1 has mixers in front of its filters, and level of the oscillators into the filters via these mixers is CV-controllable. Here I’m controlling two of three oscillators output from the ADDAC 215 S&H. In the end I like the effect better than I thought I would.

6 Likes

Flute Glitch


1 Like