The drone from the Moon Rendezvous was used as a base for my contribution drone day 2021.
No video, a sound cloud play list:
And yes, the stony ball in the picture is a screenshot of a material made in touch designer.
And on this maintenance day I just published a new somewhat nervous composition I started while recovering from (mild) COVID. Somewhat generative - which sequence of many is played is random - and not ambient. I guess the 140 BPM and the steady hi-hat 16ths have something to with the nervous character.
Video is a mildly audio reactive patch in TouchDesigner.
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Are you getting over the infection, letâs hope so! You not had the vaccine yet? Just concerned about you, so many questions I know. Keep on patching through your isolation period. Stay strong!
It was mild and about a month ago, isolation is already a thing 3 weeks in the past. Did suffer from a few weeks of brain fog and fatigue but itâs okay now. When I contracted it, I had already made an appointment for vaccination, but I had to cancel that. I did set up a new appointment so I am getting my shot next week. Advantage of having had it, is that you only need one shot instead of two 
.
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These are great - Cumbersome Day had me on the edge of my seat, genuinely intriguing and a wonderful collage of sounds.
Glad you got over it fairly quickly, no hospitalisation necessary. Now you got the antibodies -only last 3 months?:]. Stay safe until u get your jab though! See which vaccine u get as well?
Recording this patch for posterity.
My submission for VCP challenge #66, route 66. Route 66: the Courts of Chaos
This mostly generative quasi-ambient composition has nothing to do with the other songs by the same name. It does use a sound recording of the actual road forming a background drone and used in two other voices as a source of audio data. The other voices are more straightforward.
The composition gets its name from the audio (the route 66 part) and the video (the Courts of Chaos part). The video reminded of a novel of the same name by Roger Zelazny which I read decades ago.
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And this patch is new and not part of any challenge. It was also inspired by the route 66 piece, the idea of playing back a sound recording as backdrop and using it as a source of audio rate date to feed some of the voices.
I had a recording of a harbor with some seagulls downloaded ages ago from the BBC Sound Effects archive and made this:
Drone haven: a warped recording of a harbor with plenty of seabirds punctuated by metallic and industrial slow sweeping drones, a single up tempo voice weaves in and out of the cries of seagulls. And no percussion for a change.
New video patch in Touch Designer to accompany it.
The licensing terms of the harbor recording on BBC Sounds Effects archive are strange, making this an entirely non-commercial release. After all, it is a finger exercise.
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Just a random structured song, somewhat generative. Actually recorded it a few weeks ago but I took my time getting the video sorted.
Key: D minor
- 4 rhythm voices (sequenced with randomization)
- 2 drones (continuous, fading in and out with the mixer)
- 2 pads (sequenced)
- 4 voice accompaniment section powered by orcaâs heart
- 1 tuned âburstâ
- 1 chords section (I-iii-V-iv)
And a big segmenting section with a jooper controlled by a couple of switches.
Audio reactive video in touch designer (the thumbnail is the somewhat messy and heavy patch, not shown in the video)
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Seemed to have missed adding a few more videos I did to this thread.
This one is my response to VCP challenge #68, the challenge is to make a patch that is inspired by oldskool jungle, with its rapid breakbeats, deep basslines, and a mix of samples and synths.
Well, it isnât exactly oldskool jungle, no breakbeats for starters. Though the tempo is supposedly okay at 170 BPM and the rhythm section is essentially the âAnthemâ beat, but broken up in 1 bar segments. Some parts are generative, most of it is sequenced.
All samples from Ableton Live Lite, other voices pure synthesis.
The video is a very slightly audio reactive patch which uses a video of a dancing crowd and mangles the video stream to something quite abstract in Touch Designer. You can vaguely see a DJ and some dancers if you know where to look.
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And I missed this one as well. Just saving this one for posterity, I donât like it much.
My submission for the VCP-69 challenge: to make a VCV Rack patch that uses RPJ Grendel, a quad LFO. and because this edition is numbered 69, you have to use self-modulation.
Well, thereâs this patch. It uses 6 instances of the module in each of the four modes of operation, varying from master clock and trigger generator to sound producing oscillators, wave shaping and of course modulation, including self modulation.
Canât say I am happy with it, I found the module somewhat limited and awkward to work with. Also has nothing to do with the monster of the same name, let alone its mother, so that is also a bit of disappointment.
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And letâs add this one as well. EDM mayhem 
An âAcidâ bass loop with some filter knob twisting and a four on the floor rhythm. Well, itâs late eighties, early nineties acid inspired at least. And all done on the VCV Rack virtual modular synthesizer in one take.
Fully automated using sequencers and janneker/jooper. All free modules, except the Entrian CV Sequencer which is used to control the filter knobs for the acid loop(s). Sadly, there is no free player for that. Virtually nothing generative.
The video is the result of a patch in touch designer reacting to the audio recording.
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Before posting another piece, let me put in a repeat of a post I made almost a month ago.
It was a response to a VCP 3-minute challenge, episode 5.
Story:
In the previous episode the aliens, who were traveling to a distant planet (probably the cradle of an ancient civilization), exited the hyperspace jump on a reef among the stars facing an anomalous planet.
The unscheduled stop was due to the alienâs spaceship computer who suspected that an old electronic acquaintance was inhabiting the planet. While waking the alien passengers from their cryogenic sleep, the shipboard computer determined that it was being painted by a complex radar âsignalâ from the anomaly. Friend or foe?
The radar signal was determined to be similar to a Costas array (a Costas array can be regarded geometrically as a set of n points, each at the center of a square in an n Ăn square tiling such that each row or column contains only one point, and all of the n (n â 1)/2 displacement vectors between each pair of dots are distinct. This results in an ideal âthumbtackâ auto-ambiguity function, making the arrays useful in applications such as sonar and radar) Figuring this to be a form of an alien Turing test, the aliens looped the signal through their copy of VCV-Rack, including their own attempt to sing a long, in order to determine a response.
The actual challenge:
The challenge was to include the original sequence of the âWorldâs Ugliest Music: The Perfect Pitch by Scott Rickardâ in the VCV patch and use all free modules in the patch. In this sequence the voltages are linearly spaced, which makes them pitch wise and harmonically exponentially spaced. So, here it is and it doesnât sound like the original at all. The sequence is an 88-note sequence with all different pitches (all 88 pitches of the full piano keyboard) and all different lengths. The patch splits the notes in 5 voices, adding arpeggioâs to some notes, percussive hits in others and also lots and lots of delay reflections, so in this rendering there is quite a bit of repetition.
It kind of grows on you on repeated listening, I find it more interesting than the piano solo original 
Video is generated from the MIDI sequence and the audio rendering.
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And now for something completely different ⌠the previous patch sounded very generative and ambient, this one is more like a song.
Just a random song I wrote and designed in VCV rack. Itâs kinda slow ~ 96 BPM ~ and features bongo samples, hence the name. The bongos are the only samples, the rest is all synthesized. The patch is not generative, except for the modulation in some of the voices.
To tidy me over until Rack 2 hits the shelves and I can reorganize my workflow, as it were.
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Before I post a new âcompositionâ with video (still to be made), I will add two videoâs and patches I submitted earlier to the vcp-76 one voice challenge thread, so I kinda keep chronological order.
Both are quickies, so thereâs that.
I may have cheated a little in this one, using a vocoder and torus to âmixâ voices
And the next one is a Krell patch, which I kinda like in how the sound worked out in the end.
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Short semi-generative song entirely done in VCV Rack. Bass and melody voice pitch is randomized and other parts are also modulated but the rhythmic structure as a whole is sequenced giving repeat replays a similar but not the same feel.
The 3 effects subsection at the bottom are kind of interesting from a sound generation perspective, bass, rhythm and melody are bog standard. The title itself is random but features the word âplaitâ which may be apt because the melody voice is the Palette module which is kind of a clone of the Mutable Instruments Plaits module.
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Good stuff! And thanks fr the patch to study!
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So, I wanted to make a driving video. That is, you see a car driving through a landscape and some music while you are driving.
And here it is. I made a video of me (my character) driving a car around in GTA Online (guess which video game I have been playing lately), extracted the audio from it, mangled it and added some generative (albeit sequenced) melody and percussion to it. I recorded that for the duration of the video and a little beyond then recombined video and âsongâ audio together with some titles in Touch Designer.
The name refers to the car, it is a Peyote Gasser, a drag/muscle car which I bought in-game a few days earlier and pimped a little.
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And another one, horsing around with chords and arpeggiators.
Simple, non generative âsongâ which is basically comprised of an eight-step chord progression with 3 arpeggio voicing over it. Even the drone which you can sometimes hear is the root node of the chord. The stew is because ⌠well, it is a stew of chords. In D (minor). The chord progression is the harmonic minor axis followed by the axis progression, if I understood all of that correctly.
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Pretty funky!