Thank you again to everyone for your beautiful, enjoyable patches!
Here I am summarizing some of my learnings and thoughts, although I am sure the analysis could be expanded much further. I studied every patch, followed cables backwards from the mixer to the clock, and muted/soloed individual voices to understand their contributions to the overall sound.
@Chinenual:
Very smooth, levitated feeling; exquisite sound design; partly sample-based (ambient noise?; not included); good sense of progression through volume fades and timbre changes; smooth transitions; good timing; mixing accomplished externally from stems (Logic); two Slips (alef’s bits) as well as NoteSeqFu (JW) as central drivers/sequencers for arps and melodies; variations supported by 8Face and Transit (both stoermelder); Tintinnabulator (Chinenual) for Arvo Pärt-like harmonization is a revelation; PolyVoltageMeter (NYSTHI) to neatly display LFO motion on a small footprint; a low-frequency saw wave fed through Sapphire’s Elastika for growls, and the same saw wave through a LP filter for bass drone; smooth organ pad using Organ Three (Squinky Labs).
@stewart:
Good sense of progress; feeling of increased tension as time goes on; two voices: arp and an ambient bass, each created with XFX Wave (Blamsoft); time is the main element of change: arp speeds up over time while its structure changes; speed guided by VC Pulse Divider (Count Modula), driven with Seriously Slow LFO (Frozen Wasteland) as a phasor; chords created with three quantizers (VCV), arp with differently set signal delays (AS); 8Seq (JW) as sequencer; patch culminates in a noise swell (noise dialed up in XFX Wave), which is triggered when the phasor value is within a set range (two formulas in Submarine’s AO-106).
@Luca-Feelgood:
Very smooth sounds; fluent blending of voices; serene feeling; based on soundtrack of Blade Runner; sounds are ebbing and flowing nicely; lots of modulations through LLFO and Walk (both by Bogaudio); choir sample in Complex Simpler (NYSTHI), run through Texture Synthesizer (Audible Instruments); Cruïnn (Instruō) for sawy bass pad; Resonator (Audible Instruments) for guitar-like plucks; Red noise through Elastika as SFX; Countdown 3 (Count Modula) provides timers for arrangement.
@henk.lasschuit:
Feels very contemplative; random variety, always waiting for some unexpected change to happen; melody (plucky sine wave, VCO by VCV), chords (triangle wave, VCO by VCV; triads created from root, major 3rd and perfect 5th using Harmony by Sonus Dept.) and bass (square wave with PWM, VCO by VCV); good balance of basic waveform timbres; transitions are occasionally a bit jumpy; modulated by Walk 2 (Bogaudio); patch needs time to develop: I left it running unattended for about 15 minutes and upon returning found it in full bloom; Form + ExTwo as mixer; two parallel basses, alternating based on a Comparator (Count Modula), which is fed with pitch information from Quantum (ML); notes in Quantum are constantly changing, randomly triggered and with stepped CV.
@Matthew_Paine_Music:
Feels very pleasant, like flowing water; many changes through use of multiple clock divisions in parallel; chords plus interspersed arps at varying speeds + bass (Saws by Squinky Labs); voices driven by Chord-Key (Impromptu) and/or ADDR-SEQ (Bogaudio); arrangement by LLFO (Bogaudio) controlling the cutoff of a LP filter (LVCF by Bogaudio); timings from different clocks randomly selected via a sequential switch (Sequential Switch 8>1 by ML); hard panning of voices widens the stereo field; sequential switch (ML) is also used to guide varying voices into a delay send.
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Thanks for the challenge @Alphagem-O.
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