Did the soundtrack for this short after movie of Dutch Modular Fest 2018
This has already improved my day. Subtle, evocative, grounding - so good.
congrats on the release and love the video tutorial of the interface! I have explored a few of the great sound generating apps on norns at this point, but haven’t done as much with the processing from audio-in stuff. definitely want to explore that more once this next release drops.
I am on this here compilation (the track named ‘Pakt’), along with a bunch of people who actually know what they are doing:
Kind words, thank you
Very nice. I also liked the opening track quite a bit. Great label, congratulations.
love the edits, very impressive.
so wait how exactly are the splooshy/delay sounds happening on the speed change? is the speed in the feedback loop? in all my buffer-ing I haven’t gotten a thing like that.
thank you, Andrew! it means a lot.
SoftCut, the sampling engine @zebra built for norns, has a
engine.rate_lag(i,f) command that lets you set a channel
i's lag time (
f) between speed changes. by making the journey between rates more perceptible, if you engage a momentary shift while feeding in new material, it becomes part of the overdub (which is engaged throughout most of the video).
the engine’s pretty magical, I’m really excited about it
linear or exponential?
This modular synthesizer patch is a fun attempt to make an environment that sounds real, and yet, very synthetic. It features the cwejman RES-4 quad VC resonator as well as both the XAOC Batumi Quad LFO and Zadar quad envelopes and the wonderful new Byome plugin (using the GRNLR - Shimmering Octaves in Stereo preset) by Unfiltered Audio.
For each track of the audio, the RES-4 is being fed by noise generated from the Ultra Random Analog random source.
For the insect noises, the individual band pass frequencies are being modulated by various looping envelopes on the zadar quad envlope generator, and the main frequency input of the RES-4 is being modulated up and down by a brownian motion sequence on the stillson hammer MKII
The birdsong tracks are being generated by modulating another band of the RES-4 with a sine LFO from the batumi - that sine is having its rate modulated by another sine LFO. While this is going on, the RES- 4 is in notch mode, left and right panned, with all 4 bands being modulated at different rates by the zadar looping envelopes.
Finally, all of the tracks are going through the wonderful Unfiltered Audio Byome plugin
I’d love to hear any further details you want to offer. Love how this evolved.
Ah, I love it when a tutorial make me forget it’s a tutorial… this sounds lovely! I can’t wait to try this one out. Congrats on the completion!
Of course! I love when people share patch notes.
The basic voice is: Batumi > Frames as described above > Tallin set to asymmetric drive > Sisters All input.
Miasma (which is essentially Befaco’s Rampage module with some extra features) has both sides looping at different rates. The various outs are opening the VCA on the voice, creating the melody, sweeping two channels of Batumi through division rates, sweeping through Frames to fade in and out channels of Batumi, and clocking a couple sequential switches.
The melody is another output of Miasma running through a sample and hold, then a quantizer (set to C, D#, F, G# but I don’t know the root pitch of what’s running into it so those might not be the actual notes you’re hearing). The S&H is actually clocked from the lowest pitched channel of Batumi. Its square out gets divided by 7 and then again by 64, so the melody does actually end up looping, but over a very long time, with shorter phrase loops developing in between.
The delay is a Reflex Liveloop with a Steiner-Parker filter in the feedback loop. Then I’m also sending one of the channels of Batumi that is having its divisions modulated into an FM Aid and into the bandpass of the S-P filter, so it gets introduced into the soundstream after one delay cycle. The other modulated channel of Batumi is sent to a comparator to create a really thin pulse wave and is going into the highpass of the S-P. Since those two channels bypass the VCA and are getting shifted around, they create nice variations on the main melody.
The output of the S-P is multed, and the big jump in volume that happens towards the end where the feedback goes wild is when I plugged that into the highpass of Sisters.
The All output of Sisters is going to the center channel of a Nearness mixer, while high output is running through a switch and getting sent around to Nearness’ other inputs so it jumps around the stereo field. The stereo outs run into the delay.
The other sequential switch is just sending one of Batumi’s channels to various spots around the patch to add subtle modulation.
On the performance side of things, I was mostly just attenuating the modulation on frames to make the sound brighter or darker, raising the gain on the BP and HP inputs of the S-P filter, changing the frequency and span of Sisters, and the frequency of the other filter.
had a little tinker today……
Really like this one. It reminds me of Francis Preve… he is doing stuff like this in Ableton. When I first read this one I thought, ok makes me crave that equipment - although I realized that I would probably not be able to figure out how to use it - this track really sounded like something I would like to be reacting to with the guitar. Then I calmed down a bit and realized I could probably figure out how to do this in Ableton, and did a search to find examples.
Francis Preve Scapes
came up and now by looking at which devices he used in Ableton made me understand how you working. Really love what you are doing. Set my mind to thinking.
Hey this is my youtube channel: https://www.youtube.com/channel/UC27utlQKViYJOhdkHryg3xA?view_as=subscriber
Started out by creating songs with garageband on my iPhone, then moved on to Ableton Live
My songs spans different genres, from rock, rap, electronic and ambient.
I make all my videos myself
Just before I went back to school I recorded a piano improvisation with a few loopers at my parents place. I only recently edited it, getting rid of all but two tracks, going from what felt overcrowded to something simple and calm.
This was also my first time properly recording piano with a pair of condenser microphones — I’m really pleased with the sound. (the one bar loop is time/formant stretched though)
Released new material through Vienna Press a few weeks ago. Track below was made with found sounds on tape, a Crank Sturgeon shake & bark, and the DRC app (I know, I know) which I peaked and transferred to tape prior to performance. Spoiler: this one is pretty harsh.
The tape is sold out from the label but feel free to DM me if you’d like to hear more
This track is part of the compilation ‘The Wrong Side of Mystery’. A collection of tunes by various artists made with Nathan Moody’s electro-acoustic sample pack ‘Sigil’.
You can download the compilation for free: https://nathanmoody.bandcamp.com/album/the-wrong-side-of-mystery