Really happy with how this came out. Might add some patch notes here later that I’m typing up for my videos.
Bandcamp is probably the quickest way to hear it https://andrewhuang.bandcamp.com/album/the-lyres-in-trees but all the platforms it’s on are linked from here http://fanlink.to/lyres
Hope you enjoy it!
Edit to add patch notes! There’s definitely a bunch of Rings into Clouds happening, but I did switch it up and also do Rings into Rainmaker. 
1. Rain I
Generative sequence coming from Eloquencer - about half the notes are set to skip or slightly vary in pitch about half the time. The sequence plucks nRings (4-note polyphony, modulated/inharmonic string mode) which runs through Rainmaker for delay, Jellysquasher for compression, and Morgasmatron for a bit of low pass filtering in the outro. Towards the end I also fade Rainmaker gradually to full wet.
CV coming from Noise Tools’ slew output (attenuated by Quad VCA), Pamela’s New Workout, and Dual S&H, to modulate the delay time and nRings’ “brite” and “damp”. In hindsight I should have attenuated further because the delay signal’s pitch gets a little too warbly at times.
Final output brought into Ableton to pass through a FabFilter Pro-R reverb and to add a recording of rain outside my studio captured with a Zoom H6.
2. Fireworks
I was invited to compose this piece for an installation my friend Derin Emre was putting on at Arta Gallery in Toronto. The concept was to have a few artists score different videos of the lights around their city. Of all the clips Derin had I felt the most compelled by this one of fireworks going off by the lake.
My friend Jan Willem put together an application called Mideo (link below) which allows you to select colors to track in a video and converts their position on screen into MIDI note data. Loading the fireworks video into this, I sent the MIDI from my computer to two channels of Hermod, creating two streams of notes out of the one (splitting MIDI between multiple Hermod channels makes it cycle through them for each new note it receives).
The first note stream is quantized by Ornament & Crime to a scale of B C# D# F# G# A# and sent to nRings. nRings’ Brightness is modulated by the original sound from the fireworks video, which is sent to the modular and converted to more usable CV via a Pittsburgh Detect envelope follower.
The second note stream is quantized to a different scale of B C# E F# A# to sequence the bass voice, a sound I created with Plonk. With the two-scale set up we thus have a bass that anchors our harmony on the 1st, 2nd, 4th, 5th, and 6th degrees of a major scale, while the melodic flourishes from the other voice play pretty stuff that works on top of that (ie. a major scale with no 4th, which is the note I find the clash-iest).
Plonk goes through Z-DSP with the Valhalla card and nRings is given a bit of delay and reverb via uBurst.
Mideo: https://github.com/jwktje/mideo?fbclid=IwAR21vNYv-MyWaXTY3Yri6KTxi1Q0-BMuf7DFLHJMhq_GW-WwRaokSNq4ZK4
3. Triad Flux
There are two voices in this patch: nRings plucking through a Pittsburgh Analog Delay, and a self-oscillating Tràigh whistling above it.
This was my first time experimenting with the Harrington 1200 mode in Ornament & Crime. It’s a special kind of multi-channel quantizer that operates by transforming chords into other closely related chords without regard for an overall key. Essentially they tend to be chords that share one or two notes in common - but of course, a few transformations away and you can land on a chord that doesn’t share any notes from the one you started on.
Stages is triggering O&C via three unsynced LFOs of different speeds. I stumbled upon a timing pattern that triggered the right succession of transformations, and modes of transformation, to cause my note sequence to gradually work its way up and down through a huge range of chords in different registers.
All three notes of each chord are sent to nRings, while only one is sent to Tràigh to act as a lead. I used some additional self-patched LFOs from Stages to FM Tràigh and give it some vibrato (with some attenuation by hand) and to modulate the delay time on the Pittsburgh (effectively giving the nRings voice some vibrato as well).
4. Heliotropes
This is a simple piece based around a loop I played into a Brandnewnoise Zoots kalimba, radio static from the Field Kit, and some plinky noises I play into the OP-1’s tombola sequencer. Everything is processed by uBurst, modulated by Chance. The radio static is also envelope followed to provide additional modulation.
5. Rain II
A variation on the patch from “Rain I”. I randomized Eloquencer’s sequence, randomized Rainmaker’s settings, changed nRings’ to sympathetic strings mode and fine tuned some of its other parameters, and this whole other piece arrived in a matter of minutes.
