This is my test of two new-to-me plugins: The Syntheis Technology modules and the PathSet x Omri Cohen modules. Really just scratching the surface but the results are kind of on the very edge of being musically useful.
I like to pile a lot of processing on sound until it’s interesting and organically textured. But it’s maybe not the best example of the Truffle module’s possibility. It can be a pretty overwhelming sound if you get it cranked, which is why I thin it out with Vult Slap VCA/Envelope combination.
I also think Rack is corroding my sense of what makes sense in terms of tonality. The pitch of slices in Truffle is constantly modulated.
In other words a bit of the random and off key sounds is more texture.
The latest iteration of me making goofy beat music with deconstructed samples of shortwave. I am always tempted to go hog-wild with the Audio Damage Replicant, which is one of the best ways to completely rearrange and rearrange live audio.
Usually I resist adding lots of parts to a mix, but this one just grew. I’m impressed by the combination of MindMeld Mixmaster, MindMeld EQMasterSquinky Labs Comp2, and RackWindows Console. Having mixed music in a lot of environments, I have to say I can handle a busy mix in Rack with these tools almost easier than with Ableton Live or another DAW.
This one gets its flavor from samples: A recording of the Civil Defense Siren during a Thunderstorm Warning, a contact microphone on a Stanley steel water bottle filled with icewater, and the drone of some kind of equipment I captured in a parking ramp. Somehow these stand out from each other and also mush into a synthetic ambience that serves the harmonic and rhythmic parts.
There’s some rhythmic effect wonkiness from AudioDamage Replicant 3. 2 instances, one is an effect send, and the other is applied directly to one of the sounds.
I used to have effects just on mixer sends, but I like the flexibility of mixing a sound and wet effects on that sound in the mixer. This opens up interesting possiblities:
muting the dry signal, leaving the wet signal in the mix
adding more FX and using another mixer channel for the double-effected signal.
sending the wet FX signals to mixer aux sends.
individual EQ on the dry and wet signal, something you really miss if you just use the effect on a channel and tune the dry/wet ratio.
I think I discovered something that’s all over Autechre’s recent live sets: Wavetable Oscillator with chaotic modulation of the table position. To my ears this is some pretty good Faux-techre.
There’s something I just noticed about @synthi Sussudio sampler. The different play heads have independent start and end, so you can set 6 sample players to slightly different lengths, so they drift and phase against each other, a la Steve Reich.
I love simple sounds, and I love insane sounds. Synplant 2 is a shortcut to insane. And since I have it Eventide H3000 Band Delay on one voice.
The other important VST plugin was the Audiothing/Hainbach Lines which is an absolute hoot of an effect that’s based on an old analog telephone line simulator.
I toned it down for my second mix but you can hear it making PacMan ghost sounds at the start of the earlier version.
Sorry, I have no expertise in VCV ring modulators. Mine was analog and I made it myself in 1977. My “booty shifter” is one of the very small number of frequency shifters in VCV (I know Surge used to make one).
tx! Booty shifter was the first VCV module I ever made. I always wanted to make an analog one, but they have too many precise components, which is probably why the Moog one cost over $1000 back in the 60s!
Not replying to @Squinky in particular but isn’t ring mod simply multiplying 2 signals?
You can use @synthi 's ConstAddMult, as I do in this patch. It sounds Ring-Moddy to me, though it has a louder output than either of the inputs. If you made a ring mod device, you’d probably want to add some rescaling if you’re trying to match the input level.
There’s also a MSM Ring, which I have in this patch as well.
