Today my small discovery was

Thanks for posting, definitely enjoyed

1 Like

All way over my head but being able to access SDR radio on norns would be absolutely amazing! clever people should look into this.


zm4 (line module) for teenage engineering opz can accept modular level sans attentuation?!

am i wrong?

line in: 2.2 dBu (2.8 V peak-to-peak)
max: 13.2 dBu (10 V peak-to-peak)

if true, TE is doing a horrendous job advertising the feature
(and i’m a lazy reader)


Not strictly today, but discovered and accepted that ipad and mpe controllers is more fun than eurorack for me. I just get incomparably bigger variety of sounds and I arrive to so much more good musical ideas, faster. So euro would have to go, and that’s okay, the experiment is over)


Similarly, after a year of trying out everything from Eurorack to MPE with software to old-school analog synthesizers, it turns out that what I wanted the most was… a plain ol’ polysynth with a keyboard.

It’s all about using what feels right, for sure.


i am getting fatter too easily the older i get (i’m sorry, given the title of the thread and it falls under ‘process’ …seemed the perfect thing to add here)


Started hacking this disposable sleep study device I got and am getting some useful multimeter readings! It’s got a finger blood pressure reader and an EKG sensor. Hoping to make a eurorack patch that accelerates tempo and timbral complexity as I read my Facebook feed, or something lol.


Sounds like the inverse of the doom scrolling reminders bot.

1 Like

20 characters of Unfit Bit


Any polysynth or something specific?

Recently I discovered the “16 fader bank” project:
It seems to be a fun way to find sweet spots, especially when learning a new module or a new patch.

And you can play with this idea without actually owing a 16 faderbank device if you have a MIDI controller with knobs or faders.

E.g. I mapped 8 faders of Novation LaunchControlXL to 8 CV outputs of Intellijel Midi 1u expander to control my BIA and Marbles for the latest Disquiet Junto project. That’s how I came up with all the sounds and loops I used in the composition, by finding sweet spots with faders.

For mapping controller to CC values I used this Max4Live device: CC map8 version 1.1 by veedjee on


I’ve been using a Super 6 run through some weird computer dsp patches (and Puremagnetik Lore) and it’s heaven for exploring thick harmonies. Pure drone bliss!


Would love to hear it. I spent an hour running my S6 through drives and amp on my HX stomp today. Lots of harmonics to chew on.


Out of the country at the moment, but I’ll definitely share something once I have something worth sharing. Would also love to hear what you’re up to!

I’ve always liked French Disko, i was playing the Bassline over my new TR-06 this evening, tried to sing the words and realised i didn’t know what they actually were, i googled them i now i like it even more, quite a unique phrasing.


A quick Ableton trick to help me analyze recorded jams:

  • adding a MIDI track dedicated for “notes”. As I listen back to recorded material from the last jam, I’d add these MIDI clips and rename them according to what’s happening there - cool sounds, transitions, start/end of “compositions”, etc

Advantage over markers is that I can use colors, control the size of the blocks, and when I cut/extend the timeline, they’ll stay in sync with the recorded material.

Hopefully it’ll help me save time when I revisit the project later.



Reminds me of a trick a friend told me about for working with an improvisation partner.

They would record long jams and then listen back to them each with a midi continuous controller set to record an automation track. As the jam was playing back, they would each manipulate their controller, moving the automation data up when they liked what was happening and down when they didn’t like it.

Then they could quickly visually compare the two automation lanes to see which parts they both liked, which parts only one of them liked and which parts neither of them liked.

It still sounds like a pretty useful idea…


I found a pretty cool use for an envelope follower, which is to create envelopes based on delay responses. For this I used the Lyra-8FX delay, which I love but has a particularly gnarly sound. By sending a short burst of noise into the delay, and then sending the delay out to an envelope follower, I was able to use the resulting envelope to open a VCA for a different sound source which created a clean pseudo-delay based on the delay response of the Lyra-8FX. The envelope follows the degradation of the PT2399 delay without actually degrading the sound.


Found a cool trick to help me analyze “Board of Canada - Sunshine Recorder”:

  • render the original song to a separate track with a low-pass filter to keep only kicks and basses, then eyeball the waveform to easily see their pattern

I guess you can use the same technique for isolating other sounds, at least snares and hihats should be doable.

More about analyzing others work for your inspiration: Catalog of Attributes | Making Music book by Ableton


Today my small discovery was to triple and quadruple check those damn sennheiser wireless mics so I see that they are muted before recording two hours worth of interviews on a set.