trytyke, I perused through this entire thread listening to all of your Pulsar clips. Phenomenal ideas. I picked up a Pulsar a month or so back and have been absolutely blown away. One of my favorite things to do currently is send the 3-bit output of the clocked shift register (set to 16 steps) to the cv control of the gate that’s gating a clock pattern, and use that as a hi hat, or bass pattern, etc. It creates amazing rhythms and with a flip of the shaos switch you can get a completely new pattern.
I’m curious if you have any particular tricks that you’ve discovered.
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trytyke
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Thank you for your kind words.
For me it usually starts with the focus on one basic idea using only one module as a sound source and the others as a tool/modulator…etc. And then I just plug in and see how the machine is reacting. But generally there is a certain amount of cross modulation and some feedback loops (with or without the Ornament)… Then at some point, it’s not possible to understand what’s happening. You should just listen and react to it just like the machine. Do not think too much. Just play with it. Sometimes I arrive at a moment accidentally, have to go back and try to understand why this is happening. Like self-reverse engineering 
Actually I find the whole process quite meditative, even though I’m not an esoteric person.
Sorry, unfortunately I don’t really have a specific technical trick other than saying that you should focus on the interaction with this machine. Embrace the happy accidents.
PS. I’ve also uploaded some recordings made with Pulsar, Ornament, Lyra, DK2 (only as a pattern generator for Ornament), Syntrx. But the main instrument is Pulsar:
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A friend and I made an album from some improvisations some weeks ago. I played the Pulsar and he played a sp 404, sp 808, and a circuit-bent compressor. I love the Pulsar and think it is a great instrument.
https://isrdigital.bandcamp.com/album/skinsend
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trytyke
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Very good, thanks for sharing! It makes me so happy to see someone use Pulsar for experimental timbres.
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thanks! yes, it can really be used for many things.
Has anyone noticed some really amazing almost distortion + picking up of static and faint radio signals when connecting the bass drums “out” and “ext” with your hands? Similarly, connecting “out” or “ext” with “omg”? It’s an amazing effect but I haven’t been able to figure out how to create it with actual connections on the pulsar. I tried using attenuated noise, attenuated noise + attenuated audio rate LFO, and directly connecting those pins but the effect isn’t the same. I wonder if connecting an actual radio antenna would be closer? The noisiness of the Pulsar is just phenomenal. It feels alive.
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That would suggest that you are acting like a big antenna. You can’t get more organic than that!
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Definitely was picking up AM radio when tinkering with the kick drum once. OUT to EXT in feeds the output through the kick wavefolder iirc, if you use longer cables (and lower quality cables for less shielding I guess) the cable should act like an antenna. I’m guessing that’s what happens when you poke it, you just act like an antenna for pulsar lol
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Did a bit of research on Pulsar picking up radiowaves and found this video on youtube of someone running the audio output from an fm radio to the ext input on the bass drum. This is pretty much exactly what it sounds like when my finger was connecting the out to ext, although not as strong. Gonna have to pick up a cheap radio to have some fun with this. I wonder if I can try to figure out what station my body is picking up to see what frequency my body resonates at.
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trytyke
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Just built a patch using Pulsar, Ornament, Lyra and recorded some variations of it.
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How does everyone mix down the sounds from pulsar?
Mono mix out is really convenient, but panning and eq’ing are obvious benefits depending on your goals.
My initial impression is that it would be good to use the individual outputs to build a stereo image, then mix in the summed output (with liberal use of the internal distortion) in the center to add some glue, sort of a New York compression style mixdown.
Any thoughts?
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This is my typical workflow. It’s a bit of a pain, but I’m always glad when mixing! Even if you only do the stereo delay outputs individually, it adds a ton of depth.
(This is another place where using a multi-output euro ADAT module makes life so much easier)
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arman
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We’d love to hear about how it went! 
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I usually go from the main out to an eurorack matrix mixer, then from there a copy goes directly to a mixer (SSF Vortices or WORNG Soundstage) and to different effect modules to build up a stereo image.
If I use individual outs it’s usually to route a channel to a specific effect or to further process (filtering/ducking) the bass channel or an effect out.
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mzero
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I’m exactly the same as @oliodnb: Mix out to a nice general reverb for some space. Individual outs occasionally for “special processing”, and this is almost always only the BASS voice.
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I’m enjoying sequencing my Pulsar from Ornament-8 a lot, I think I can see where the “organismic” thing comes from.
Here’s what happens if you listen to too much Emptyset during the weekend:
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It does sound beautiful !
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that sounds epic! I know what you mean about the Emptyset reference too!
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Nooooo I didn’t listen to your examples because I didn’t had anything else than my phone speaker and now that I’m at the computer they are gone : (
Here’s my last patch involving Pulsar-23 and Ornament-8 with some euro stuff as well, everything is clocked by Pulsar’s LFO because it seemed cool at the beginning of the patch but made everything a bit unstable.
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Sorry 
Normally people tend to overcrowd their sound when the Pulsar and Eurorack are used together but I find your example pretty good! Please keep it coming!
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