Here is my latest music, “Celtic Knots”. This has Meander collaborating with Path Set Rainbows Ring module. This is a temporal fractal sequence using 3 “play-heads” in Ring, each playing at a different clock rate. It is in Bmin with a Bmin pentatonic scale quantizer for the sequences.
This piece takes a while to fully take off.
I’m getting a tropical forest, an old army truck, some dynamite and some sweaty fellows on a mission…
Those sweaty guys should have asked for my permission to use my song. I’m a pacifist! 
Here is my latest music, “Coming Home By Fourths”. This is still in a minimalist style but has a harmonic and melodic progression. The piece is in Bm and the harmonic progression steps away from “home” on the circle of 5ths and then returns to home mostly by 4ths. The Bm pentatonic ostinato is provided by the Path Set “One Shot” with an 8 step sequence of 4 notes with a 12% randomization setting and 20% heat setting. It outputs to a Grande Quant which is receiving the Meander Bm pentatonic poly external scale. The octave of the ostinato is being sequenced via CV. Voices are via FM-OP, Organ Three and VCV Drums triggered by the Meander 1ms Clocked Trigger Pulses outputs. The Meander bass part is syncopated.
Here is my latest music. This is a step back to my style from 1988-89 when I was first beginning to use Meander to create ambient, meditation, guided journeys using my Roland alpha-Juno-2 and Roland Sound Canvas, all via MIDI.
This is in Bm with a traditional 8 bar blues harmonic progression. A Count Modula 8-Step Sequencer feeds into a Path Set One-Shot to provide the ostinato melodic sequence in a minimalist style. The VCV voices are FM-OP and Organ Three. The choral voices are via HOST and Arturia Audio Lab V. Several CV automation sequential switches are used.
Edit: The ostinato from the sequencers is quantized via Grande Quant which is fed the Meander pentatonic scale.
My Ensoniq Mirage was always a bit of a disappointment, so I did not use it much on my earliest electronic music. In the early 90s I got a Kurzweil K2000RS (rack sampler) which opened up a big world of DSP processing and sampling and digital sound library management via SCSI.
As mentioned before, I built my first modular synthesizer in 1973, but there is no surviving recordings of music created with that. So, I had been doing synthesis for 15 years by the time I developed Meander.
Prior to modular, I built a lot of electric guitar sound processors like, fuzz box, wah-wah pedal and timbre-gate. Even earlier, in the mid 60s I was stringing piano wire across my parents’ grarage and adding magnetic pickups and striking and plucking the wire and varying the wire tension with a foot pedal, creating some really bizarre electronic music. I was probably about 15 or so that time.
In high school, I took a year of vocational electronics to teach me to be a TV repairman, since the teacher said those would always be in high demand 
Oh wow, that’s absolutely beautiful Ken, love it! Getting distinct Mike Oldfield and Philip Glass vibes, which aint such a bad thing. I really should try out Meander shouldn’t I, feels highly overdue…
This song remembers the 6 cats who during the years from 1997-2021 were partners in my Purr Software music and 3D gaming endeavors. They are all gone now but remembered fondly. Of course they are singing the blues in this song.
Thank you, Lars.
haha, us old timers have some similar background. I made a bunch of guitar gizmos and stuff when I was a youngster. My little avatar/icon here is a close up of a VCO I made for my modular synth that I built from scratch (10 turn counting dial for pitch, each turn is an octave), on blue background courtesy of my can of blue motorcycle paint.
Oh - yeah - made that modular in 1979. Used it a ton.
I remember using a 10 turn vernier pot on one of my builds, but I cannot for the life of me remember which. Of course, I may be having a flashback to the experimental physics lab I started interning in the summer after my freshman year and continued through my MSc 7 years later. Tektronix scopes had a lot of those pots on them.
A fun thing about experimental physics, is that, at the time, physicists built a lot of the equipment themselves leaving only the most critical to the staff machinists. So, I learned vacuum plumbing, welding, metal shop skills, electro-machining, and all sorts of skills. I should have gotten a plumbers license for my copper pipe vacuum and gas handling work. My MSc project (construction of a 3He/4He dilution refrigerator that used quantum effects to cool to 5 millikelvin. It consumed half of a lab.
But, by the time I got to college, I had been operating my “lab” at home for about 6 years. I build some massive Tesla coils, an aluminum foundry in the backyard, a carbon-arc furnace in the garage for making glass from sand, a large wind powered car that we ripped the tires off of the first time we turned in the wind, motorcycle sidecar that turned out to only turn left, rockets, liquid propane cryogenics and on and on. I still have my “research” notebook from when I was 14.
So, I have always been a tinkerer and explorer.
my first “job” was building equipment for the neurophysiology lab at UC when I was a student. Best job I ever had. And I could use their drill press and metal shears to make panels for my synths. Pretty sure I “borrowed” those 10 turn knobs from the lab. They weren’t using them…
I did the same My wah-wah pedal had an aluminum chassis with a wooden pedal that I built in the shop using bandsaw and metal “break” (bender). Bizarrely, most of our raw aluminum stock came from Los Alamos surplus. I got to know Edward Teller fairly well, as he was an adjunct professor at my university. That generation of physicists had some interesting stories to tell. But, it did firm up in my mind which directions in physics I did not want to go.
My father got his physics phd at UC. Pretty sure he knew teller, too.
I was married and had my first child, so I stopped at my MSc and went to work in industry, even though I had completed a third of my PhD coursework.
Yep, probably every physicist in the US was involved in the Manhattan project. I watched a good movie last week, “Adventures of a Mathematician” about Stanislaw Ulam, Jon von Neumann, Teller and the gang. It was an interesting exploration as told by Ulam of a battle of conscience during that effort.
Here is my newest music piece called “251 is Prime”. This is a long 30-minute generative ambient piece with several degrees of meta-sequencing with each sequencer running at a different clock speed such that the general structure should not repeat for many, many measures. The melody is being generated by Meander but quantized to the Meander pentatonic scale via Grande Quant. The primary ostinato (repeating phrases) are create by arpeggiating the Bmin scale current II-V-I (251) chords in several different ways and evolving over time.
This is at a BPM of 15, using Meander’s clock and divisions of the clock rather than using a clock module.
Here is my latest music “In the Major Minors Sequences”. This takes some of the evolving sequences techniques of others in a separate topic and adds my own take on it… Several types of meta-sequencing are included. Two instances of Meander provide poly external scale output in both B minor heptatonic scale and B minor pentatonic scale. These feed into 2 Grande Quant modules, both of which is switched between the two scales via a slow clock signal. The bottom row of modules is the evolving sequence. The Master Reset button will probably need to be clicked to sync up all of the sequencers and clocks.
Here is the patch if you would like to play with it:
In the Major Minors Sequences.vcv (11.0 KB)
Looks awesome, will definitely have to find a few free hours…er… days… to dig into this! lol
Be sure to read the manual. It is relatively detailed, as manuals go. In the manual there is a “Quickstart” patch that only has 7 functional modules but enables harmony, melody and bass generative music.
Here is my latest music, “Epigenetic Evolution”. This is a continuation of the exploration that several of us have been involved in related to creating nicely and interesting evolving or mutating sequences. This patch is a bit of a Frankenstein where I shamelessly took several contributors’ approaches, chopped them up and mixed with my own approaches. It also includes one of @Omri_Cohen recent techniques for creating slew mixed sequenced drone notes.but also quantized to the same Meander scale, in this case the Bmin pentatonic.
This is in Bmin and has two instances of Meander, one supplying the Bmin heptatonic scale and the other the Bmin pentatonic scale to Grande Quants for quantizing everything to a common scale. So, the evolving sequence is quantized to Bmin heptatonic and the drone sequence to Bmin pentatonic.
Here is the patch if want to play with it and perhaps mix it up even more. Epigenetic Evolution.vcv (10.0 KB)
