What a beautiful track. 
Sometimes it’s not so much a whole track as a beat. Like it would be a good place to start on something a bit more polished, but at the same time it has its own raw completeness.
This sounds to me like a strange version of a dancehall riddim.
There’s something about the rhythms generated by the Quad Algorithmic Rhythm module from Frozen Wasteland. It makes some pretty stumbly patterns, but if you tune it you can find the groove points.
2020-06-19.vcv (170.5 KB)
This one is, rather odd. I was messing with scales I’ve made and really liked this one, the 23-11 prime ratio scale. It permutes the first 23 prime numbers into rational pairs, then it selects a subset using Bjorklund’s method, which implements Euclidean equal spacing.
So there are 4 voices driven by slow clocks each a different division from the Patterns clock divider. From an input of a steady 128BPM 16th note clock, it uses the 9th,10th,11th, and 12th divisions of clocK. The primary effect chain is a delay with a Surge Chorus in the feedback loop. The chorus frequency and depth get continuously modulated, which is where those pitch flutters come from.
The unconventional scale means that strange almost-dissonant frequency relationships between notes produce a ghost voice, based on the interference of the voices with each other.
The finished track. http://cornwarning.com/chaircrusher/Chaircrusher-Parchment-2.mp3
NOTE Uses this scala file for the quantizer: 2311.scl - Google Drive 2020-06-24.vcv (172.7 KB)
1 Like
This is wonderful CC 
I was trying to get a Risset harmonic arpeggio today with sine waves but failed to get anything evolving or interesting like your piece.
Not sure if this is the right place for this, but I wanted to tell you I enjoyed your guide to creating polyrhythms using the QUAD ALGORITHMIC RHYTHM module on CDM today (https://cdm.link/2020/06/step-by-step-rhythms-and-polyrhythms-even-advanced-ones-for-free-in-vcv-rack/). Nicely done!
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An idea I return to frequently: slow, smoothly varying tones, with enough variations in timbre and volume to give the piece texture.
There are a two sequencers with 8Face-stored patterns, but the clocking for each voice comes from the end of cycle trigger in the Frozen Wasteland Drunken Rampage envelopes.
My one discovery for this is that when evelopes trigger before the end of the previous cycle there’s a discontinuity that’s jarring. I ‘fixed’ this by putting the envelope output through a slew limiter so that retriggers don’t force a volume jump. After I finished this I relalized that one of the Rampage uses is as a slew limiter. I could feed the envelope output of the left AR generator into the input of the right AR generator and tune the attack and decay times to smooth out note transitions on retrigger.
2020-06-30.vcv (122.2 KB)
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Just a quick SoundStage Demo. It may take a minute before the video is available.
2 Likes
And another one. Using a @stoermelder 8Face I took snapshots of different rooms, source & listener positions. Then I sequenced the 8Face slot, so it’s spastically trying to morph between absurdly different rooms. There’s some crazy stuff that happens if you use absurd room dimensions.
4 Likes
Another VCV Sound Stage thing, this one demonstrating modulating positions so that sound sources ‘orbit’ their initial positions. I used the Sonus Dept Oktagon LFO to modulate the X & Y positions of sources.
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I come not to praise Supercell but to bury it. It turns out that when you randomize nearly everything, things get a little crazy.
I noticed right before I’d recorded that the two SuperCells are cross-linked. The input of one is fed by the output of the other and vice versa. I don’t remember doing that & I’m actually not sure how that affects the sound.
But I do think that this is kind of a cursed patch. There are trolls and demons grumbling.
And the weirdest thing is that the core pitch/gate sources are synced to tempo and yet it stumbles like a herd of drunk zebras.
2020-08-06.vcv (93.2 KB)
2 Likes
I got a new system: 8Core I7. Taking it for a spin.
First one was about taking Sound Stage, and adding a second Sound Stage so that SS1 (out 3, out 4) -> SS2(in 1, in 2) and SS2(out 1, out 2) -> SS1 (in 3, in 4). In other words a second SoundState in a feedback loop with the first.
The second was built around a Stoermelder CV-Map and a ZZC random source to modulate EVERY parameter of a Vult Knock for a kick sound. It permutes all 8 knobs on every trigger.
http://cornwarning.com/chaircrusher/Chaircrusher-Catalog.mp3
http://cornwarning.com/chaircrusher/Chaircrusher-SoftIceCream.mp3
3 Likes
Very nice groove on the second one!
OH and it looks like it just Does The Right Thing with a link to a MP3 file dropped in - the player is there and it plays. Another take on Soft Ice Cream. http://cornwarning.com/chaircrusher/Chaircrusher-SoftIceCream2.mp3
http://cornwarning.com/chaircrusher/Chaircrusher-ChocolateRadio.mp3
EDIT: Here’s take 2
http://cornwarning.com/chaircrusher/Chaircrusher-ChocolateRadio2.mp3
I never know if anyone downloads my patches in this thread and tries them. I’ll post this one but be warned it uses a lot of paid modules (and CPU) AND it depends on a pre-release version of Rack Windows.
2020-08-20.vcv (244.5 KB)
At any rate, it’s a composition mediated by the Math Nerd Quantizer, which uses my favorite scale I’ve discovered - if you only allow the first power of the first 3 primes (2,3,5) it generates a scale with 12 tones, and it’s close enough to 12ET to sound ‘almost normal’ but it has some clangy dissonances, in addition to better-than-equal-tempered sonorities of some intervals.
It also employs 2 instances of Sound Stage and modulation thereof.
MathNerdPrime12.vcvm (6.4 KB)
2020-08-22.vcv (212.3 KB)
Not sure what I can do with this as ‘music’ but I love what happens if you plug a SuperCell into a SuperCell. This sounds like Fennesz got really drunk and lurched around his studio.
http://cornwarning.com/chaircrusher/Chaircrusher-LeAngeNoir.mp3
LOL this one. Supercell rules. http://cornwarning.com/chaircrusher/chaircrusher-secondHand.mp3
3 Likes
I don’t know how useful the patches are to people but here it is anyway. Once again, Supercell shines as a wonky reverb, and Sound Stage can be a beast. Having a delay in a feedback loop in Sound Stage can make an insane thing from a regular reverb.
2020-09-04.vcv (227.5 KB) http://cornwarning.com/chaircrusher/Chaircrusher-Schnitzel.mp3 http://cornwarning.com/chaircrusher/Chaircrusher-Schnitzel.mp3
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My 32768th remake of Black Dog “Chesh” One thing that I’m amazed by is what you can ring out of AS Delay Plus if you put things in the feedback loop - in this case a RackWindows Reverb with the wet/dry mix modulated. Then I did Mid/Side processing on the delay output, distorting the Mid and running the sides through another delay.
2020-09-09-Bridge.vcv (258.3 KB) http://cornwarning.com/chaircrusher/Chaircrusher-Spang.mp3
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This is pretty simple - one synth sound, run through long delays. Also uses the audio from an facebook live video that Richard Devine accidentally made with his phone in his pocket.
2020-09-15.vcv (353.0 KB)
http://cornwarning.com/chaircrusher/Chaircrusher-RichardsPocket.mp3
1 Like
This is an exploration of using Bogaudo FM-OP modules with subtle FM. There are 4 pairs of FM-Ops, each tuned to a different octave. Chords generates the CV, which are offset with a @synthi Nysthi Constan-Add-Mult. Each of the oscillator pairs are connected as L/R of a stereo mixer channel. Each of the FM-OPs are also slightly detuned against each other.
The FM Depth of each oscillator is driven by VCV LFO-1s. I use inverters so each pair of oscillators’ FM depth is 180 degrees out of phase. The LFOs all FM each other as well. So it’s FM upon FM upon FM.
2020-09-18.vcv (53.9 KB)
4 Likes