what the heck thats so weird and cool, I thought it was like squiggly animation at first. neato. Music is delightful and stays fresh. Amazing as always plym, leave some cool for the rest of us pls!
Here’s a recent live set…
so sick! what a fun project - what was making music for a skate video like?
Eurorack Liveset @ MOTS Greensboro, NC.
Really nice. Plym,
I like it best in the middle and low ranges. The higher notes seem to have less unique characters.
Haha, thanks! I’m really just trying to catch up on all the coolness floating around the forum. And yeah, the tape looks freakingly cool and weird. I would love to work with some video/animation stuff though. Thanks for the feedback, always much appreciated
Thanks @lumena! The highs can be a little hard to tame in contrast to the lows. But yeah, I think the MLR script sounds really good when pitching things down.
low volume, panning, and filtering is how I’m starting to work them in. octave up is a powerful tool with just the right moderation, difficult to get it right in my experience. 1-2 octaves down though, always so good.
That’s great advice! When working on a more composed piece I use a lot more time on the shaping/sculpting of the frequencies and tones, especially with filtrering, EQ and compression. For these I like to keep them more «as is». Since the different tracks in MLR are being pitched both up and down. Getting comfortable with multiband comp step by step!
having separate tracks for loops is useful in this case as well. one of the reasons why I’m less keen on norns I guess
Most def. One of the great advantages of the re:mix patch in M4L. Maybe one day Crow will have the ability to extend the Numbers of outputs. That would be amazing.
so good! i love the pacing of this one. i’ve gotta figure out how to get this kind of s p a c e in the stuff i’m making. that hiwatt is a beautiful machine.
mlr-a will record four stereo tracks, and have a similar-ish feature set to norns mlr. ~ stay tuned ~
Thanks Kyle! Really appreciate it Space wise, some things I’ve been playing with is placing different reverbs with long decay time on return tracks, so that the source can be played or punched in and out without being to attacky (if that makes any sense). Also using some noise source (the Erosion plugin in Ableton is really nice actually) to create the feeling of breath and air. I love the sound of woodwinds, and often find myself to want to avhieve some of the same textures with other sound sources.
I really like it! The part around minute 5 reminds me of Brothomstate’s Qtio EP
Not really a track — a web-based interactive ambient machine I guess? I’ve been working on it for a few days.
The fun part is flicking the circles around, so don’t full-screen it.
What's going on?
There are 6 panned two operator FM voices, and an end-of chain flanger built from a modulated delay. Each voice is represented by a blurry circle, and it’s modulation index is dictated by the circle’s height (lower = more modulation), it’s panning by the circle’s left/right position. When a circle wraps around one side of the screen to the other, it has a small chance of changing the voice’s note.
Notes are generated by taking a tonic frequency and multiplying or dividing it twice by a number picked at random from a list containing small primes. The modulation oscillators’ pitches are chosen the same way.
One of the major goals for me when I started building a modular system this January was to have a way to compose without any grids or sequencers, creating musical sense by carving potential away from flowing electrical signals. Sort of subtractive composition, as opposed to additive where you’re starting with a blank timeline and placing notes or events into it. This is the first track where I feel like I’ve actually achieved that!
The core of the patch is a Sin Phi Miasma with each side looping freely but more or less synced. Its various outputs are driving pretty much everything else. Sound source is Batumi in divide mode with each sine going into a respective channel of Frames, and Frames is set to introduce the sine waves in a cascading manner similar to a harmonic oscillator. Stuff gets dizzy from there but I can provide fuller patch notes if anybody’s interested.
The bass is from a Mopho X4 mixed into the center channel of Sisters (other sounds from the patch are running through the All and High channels), playing the keys with one hand and the patch with the other. I had hoped to re-record it this morning with a different bassline but I couldn’t get the two halves of Miasma to interact in the same way and the patch lost all its magic.
An EP created over the last 3 months. Noisey Electro & Plodding Crunches.
4 voice Modular
finally got around to cleaning up the code for ‘cranes’, my first addition to dust.
excited + humbled to have it be a part of the norns ecosystem with the next release
deep love and the warmest vibes for everyone who contributed scripts, engines + updates.
a tutorial/demo of ‘cranes’, a two-voice varispeed looper/delay for norns:
Did the soundtrack for this short after movie of Dutch Modular Fest 2018
This has already improved my day. Subtle, evocative, grounding - so good.