Here’s a breakdown of my set up for playing at Unsound recently.
I have six modular voices: Tides unfiltered (clean bass) uni out, Tides thru L-1 2180 VCF uni + bi mix, VCF modulated by SSF PTG plucky env (main bass), Warps through spring reverb & modulation delay (feedbacky noise swash / lead), Sputnik DWG x-modulated oscillator pair (rhythmic noise / bleeps / bass), tELHARMONIC H OUT (melody / sfx), tELHARMONIC P OUT (same).
Everything is controlled by two tracks of KORG SQ-1. Modulation is handled by 4ms Pingable Envelope Generator, controlling e.g: clock divide ratio of rhythmic pattern played by Sputnik; resonance on filter using OR output; mix on Spring Reverb & centroid frequency on tELHARMONIC. The divisor channel also is patched to V/O of one of Sputniks as a pitch envelope. Processing & fm inputs on the module are used for cross-modulation, and as one of the oscillators goes low enough, this gives me both slow frequency LFO modulation & audio-rate FM.
Warps is used as a tiny self-patched complex VCO, with its internal oscillator track going back to audio input, this gives me a huge variety of timbres. I also use L/R inputs on my mixer for crossfading between different sounds, this really makes for a very flexible mixing environment: you may be able to notice some moments in the show when I fade out the bass & tinny sounding melodic line comes in, this is what is causing it.
Additionally, I use a plenty of tricks like using my panorama knobs as effect send (dry/wet type x-fader): I use two channels on my zoom R8 for sub-mixing of kind, where one of them acts as bypass more or less (EQ/compression aside), and another has quite some delay & reverb. Then also I have compressor / limiter / EQ set differently for these two. One example would be mid cut by some dB on FX track, so that to be able to work with higher feedback.
The tracks that have shared channels (Tides / tELHARMONIC) don’t have this flexible control over effect amount, instead I allocated L to bass parts & R to melodic, where reverb is almost mandatory. One of the drawbacks of my routing would be mixing in mono, but… what is this stereo thing? I don’t really need to pan hats, or anything, plus DSP delays in R8 are stereo, so there you have that. What’s best, however, is that I can look on a mixer, and in a fraction of a second know the amount of reverb on all my instruments, as it’s very visual.
I don’t use any cueing, patterns, samples, presets, or backing tracks, I just come to the venue, set up & rock out