Noodlings of Lars

Music & Patches
141

Sometimes it’s nice to just lean back and let Marbles do its thing…

(from the department of very small patches)

3 Likes
142

Harmonaig, Saich and Ts-L through Supercell, having a mellow, swellow moment …

4 Likes
143

Oooh, supernice! (and I count 8 modules I’ll have to get more familiar with)

1 Like
144

Thanks Urs, glad you like it!

145

Wow! I’ll have to check out the custom chords on harmonaig I think! Very nice.

  • mo
1 Like
146

Thanks Markus! Yeah, harmonaig is nice for chords and fits hand in glove with Saich.

147

Another simple, generative patch for effect. Two LFO’s mixed into a quantizer for pitch. Grids for tempo. Plaits into Rings, some modulation, a bit of reverb. That’s it. Enjoy!

1 Like
148

Something a bit unusual for me… A percussive jam out with Mutable modules. I keep returning to those, they’re just so impressive and versatile. Especially Marbles is captivating, with all its amazing sweetspots and functions. It’s a glorious module but it takes some time to learn how it thinks.

149

Playing with the new Prob-Key module from Impromptu in VCV Rack. It’s a wonderful module for playing probability based sequences.

I’m driving one voice with it, basically just a Bleak VCO through a Chronoblob2 delay and some modulation. The other voice is a pad by the wonderful Instruo:Saich VCO through a Surge phaser, driven by two notes from the Chord-Key module, another great one from Impromptu, and some more modulation.

A simple, dreamy patch drenched in reverb, and I’m quite happy with how it came out.

2 Likes
150

I finally got around to playing with the Probably Note module from Frozen Wasteland, which is an interesting quantizer with some unusual features. So here’s a first play - Grids (uGraph) is driving Bohingler from NYSTHI, another very interesting module, producing triggers and pitch CV, in turn driving two instances of Probably Note into two voices of Plaits, with a soft background swell from Saich.

2 Likes
151

Sounds great, very relaxing and meditative. A nice simple layback patch.

1 Like
152

Thanks very much, glad you like it!

153

I almost feel like i owe Antonio Tuzzi (mr. NYSTHI) an apology for not seriously playing with “NYSTHI::Poly Seven Seas” before now. It’s a wonderful wavetable oscillator, and although there’s a couple of features not really working for me, it’s crammed full of great wavetables and sounds delicious. What a treat, thanks Antonio!

So I set out to make a big patch with it, but the first voice I created sounds so lush and full that I thought I’d just share it with you as it is. You know how sometimes you make a voice in a patch, and you think to yourself - “god, I could just listen to this for hours”? Well, it’s one of those for me.

It’s Seven Seas, marinated in modulation, smothered in delay and drenched in reverb :slight_smile: Kind of an “ocean of sound” type patch, and definately for putting your headphones on, closing your eyes, swimming away and forgetting all those pesky little problems. Hope you’ll enjoy it.

You’ll find the patch here if you want to play:

1 Like
154

A slow, generative ambient piece, from trying out the “Octet Sequencer” + CV expander from Count Modula. It’s an interesting one, and here I’m driving two voices with gate and pitch from the sequencer, whilst modulating the patterns for variation.

4 Likes
155

Truly beautiful!!! Like the Spanish guitar type sound, or is it just my warped hearing! :stuck_out_tongue_winking_eye:

1 Like
156

Thank you very much! No, it’s not your warped hearing, it definately sounds like a plucked guitar string. It’s the result of some very subtle FM between two instances of the NYSTHI::OP module - the way too slim ones at the bottom left. I’m happy you liked it!

157

I’ve always been fascinated with “Ambient 1/Music For Airports”, and the techniques that Brian Eno used to create it, which basically amounts to tape loops and then hands off. So here’s my first stab at playing with this technique, and since I’m not using tape but pure synthesis, I’m calling it “phase loops”, for lack of knowing a more official term for it. The two key bits to the patch are the two trigger delays (Elsker) - The first one for starting each loop at a specific time, and the second one for the length/duration of each loop. It’s an interesting technique and there’s definately more to explore here.

3 Likes
158

My research rabbit hole currently has me in Jean-Michel Jarre’s work. This piece makes me want to jump back to Eno. The balance between sound and space is cool. Great choice of voices. Music For Airports has very interesting techniques. I’ve only deep-dived into track 2/1, which has seven loops running at different rates.

1 Like
159

Thank you for the nice compliment Paul, much appreciated!

Yeah, I find it really interesting that Eno made those tracks simply with tape loops. I got inspired by this deconstruction of a couple of tracks from MFA. At first I had the delusion that I would start from a recreation of track 1/2 and then take it from there :slight_smile: Then I realized that the deconstruction was only correct for the first 20 seconds and that it’s a hell of a lot of work to reverse engineer those loops from scratch. Then it dawned on me that of course the interesting thing about it is not so much the particular pieces, however beautiful they are, but more the techniques used, and so I figured I’d try and apply the techniques with my own voices and composition. My intention is to try for a few more variations, if patience permits.

I can definately understand a research into Jean-Michell. He’s certainly one of the creative, towering geniuses of the first wave of really interesting electronic music, and made some reallly unique and interesting stuff in his time. He, together with Kraftwerk, Tangerine Dream and Eno, have always been true north in my musical compas, where electronic music is concerned. I have ideas and desires in my drawer for tributes to all of these, if I’ll ever get to it, but we have so many nice distractions :slight_smile:

160

I have read that article before, especially the bit about 2/1 :wink: With these multiple tape loops, I think it’s important to not just use clock divisions or regular time intervals, but to run separate clocks with different rates, and those rates vary over time.

I’ve been re-listening to Matt Berry’s interviews with JMJ; how Oxygene and Equinox were recorded in his kitchen, and how the mellotron was partially broken so that he couldn’t use all the keys.

I haven’t been releasing as much because I’ve been focused on understanding the building blocks, the underlying sound design and track construction of all those you’ve mentioned. That doesn’t mean my stuff’s any better, but I feel like I know more :smiley: