So by polyphony, it sounds like you mean polyphony perhaps more from a musical sense, and not necessarily VCV polyphonic cables. That makes sense.
Your challenges definitely are inspiring and spark creativity. I miss them when they are absent for long stretches. More than once your challenge has given me the inspiration and focus I need to break out of a rut and create something.
Great sound design. It spawned an idea - imagine a quality video game with an embedded virtual synth (VCV Rack?) sound engine with autogenerative patches producing constantly evolving atmospheric sounds.
I had a similar idea just the other week. Most video games are programmed to play the right music for whatever the player is doing, but it only has a finite number of songs and phrases to choose from.
If done the right way, a patch embedded into a game could essentially compose or at least vary the music so no two players ever hear exactly the same thing.
To take it one step further, what if the patch is part of the gameplay and the player is actively seeking new modules to add to the overall soundscape i.e “congratulations, you have discovered Reverrrrrrb!!” Triumphant jingle
My entry for the VCP Challenge #76-use one voice-in this case a Vult Opulus-going through reverb, 2 delays + a stereo Chorus.
The predominant sound from Opulus is a tuba sound. This is then whipped all over the place by the fxs.
my first entry is this time 3 variations of a patch,
I used made three slightly different patches with different modules for the voice,
the first one is the new Cytomic CF100 VCF, the second is Instruo Troika and the last is Horas Detour. Only the Cytomic module is a premium,
I would call these patches tiny
PatchStorage got problems me thinks.
So patch is attached to this post.
SynthTech Morphing Terrarium chained to a variety of processing modules to build a drone.
The aim was to build a soundscape meeting certain criteria:
ranging from organic ambient sounds to harsh digital noise, evolving generatively without sequencing, incorporate modules that can be turned on or off to drastically change the sound.
Not being able to use mixers has resulted in heavy clipping so I had to dampen the drones sonic bandwidth quite a bit (sounds a bit flat and muffled now) but you get the gist.
Bellringing isn’t my thing, but I’ve been meaning to build this sequence as an exercise. There are many traditional patterns (or Peals) in British bellringing, and with 8 bells most would take many hours to play through. I decided to leave that for another time (and possibly another sequencer) and concentrate on the Changes.
This is a single voice from Plaits, modulated to produce the scale of F major in 8 notes. I used Bassmaster to make the lower bells sound louder, and of course reverb to give the impression of distance and echoing from the bell tower. I added a bit of swing to make the timing a bit off, because bellringing is not a precision activity, apparently.
I started out with something more elaborate here - hence the complex setup of Gardener and Seeds of Change (to drive a v/Oct sequence & possible modulations) along with Modulators which are only sometimes applied to the FM VCO 3. This turned out to be unnecessary for the rest of the patch but I left it there since it is certainly something you should copy when you like to do generative music.
(a: SoC instance runs seed of Gardener, Gardener runs another SoC instance, 8Face has presets of Gardener divisions. It is a powerful setup for pseudo random sequencing and modulation [since modulations will also repeat along with the notes… it is a Turing Machine on Steroids and can solely sequence, modulate and drive vast patches | b: counters/clock dividers drive a switch to add or remove modulation CVs from a module, probability adds a bit of jazz).
What is actually happening in this patch is rather simple in comparison: I saved a couple of presets for the FM VCO 3 in Transit and run through them sequentially - modulators add further movement to the presets every now and then.
While I love Transit and don’t use it often enough I learned a few unfortunate things about it doing this patch:
modulations to surge modules (their attenuation function) needs to be set prior to linking them with transit or else no modulation can be applied via CV
transit pairings can not be copied or recovered, if your module freezes you lose all the presets, you cannot save the presets as a selection, you cannot apply “mirror” to a transit driven module to copy the presets to another module instance, even unmapping a knob means its presets will be lost… it can be recoupled to transit but will not reassign to its preset.
TRANSIT will probably not get any more updates and lacks all fundamental features that were implemented in VCV 2 effectively rendering its main selling point (pre-setting) useless.
none of those problems apply to 8FACE and thus it’d probably be more effective to just create all presets with 8FACE, copypaste a second instance afterwards and use a crossfader to fade between modules.
Due to the aforementioned problems… I accidently uncoupled my instance of the FM VCO 3 (after saving it as a collection and before saving the patch) and now I don’t have a working patch file.
Video just runs through all presets… while I pass the time adding visual effects.
The chain features compression, simple mastering/limiting and EQing.
following this thread! Hoping I can take a patch or two from here and port it to the Zoxnoxious analog synth. Current hardware has 3 VCOs and a VCF so it’s suitably limited to one voice. That and the hardware is full-on prototype with each board having quirks of their own. With that disclaimer if someone has a patch that fits this I might just take it up, port it over, and post it on the thread here: