Did this awhile back and may need to thin it out a be compliant with the rules of this challenge. This uses a single arpeggiator driving three VCOs, along with a VCF. The VCF has two inputs, so I may have violated the mixer rule there, along with the 3 VCOs… Well, a Minimoog has 3 VCOs and I don’t think anyone would call it polyphonic…but I do recognize that’s not how the rules are setup.
Quantizers spread the 3 VCOs out, then Clocked jumps the sequence around an octave every few bars. The resonance goes a bit off the rails half way through, it ought to be tamed down but it does show the screaming range of the filter. The scope shot is eye candy showing the straight output from one of the 3340 VCOs and the 3372 analog signal processor output. Overall it’s got the composition skills of a 13 year old doing 1990s techno in their bedroom, which is right about where I plateaued with my musical talent.
I’m including a rough port of the patch to native Fundamental modules. The original uses actual hardware (actual analog VCOs, VCFs) that interface with custom modules.
filter_big_rack_native.vcv (4.0 KB)
Don’t you love the way Bach suggests polyphony while using only one voice in e.g. his cello suites? Yeah, that’s what I thought. By the way: I used this trick earlier in VCP 64.
This is my first entry to VCP, I use Rings as my voice with some Airwindows modules (I also used Alright device´s T-Wrex in one of the stereo input and Prince of Perception in the other).The patch
Hi ablaut, beautiful work as ever. I love the tones you get off the resonator, and the use of space is just so soothing.
Would you mind explaining what you mean by your “current fixed rack”? Presumably you put it together with the idea of creating several different patches and soundscapes, but being new to this I’ve only started every patch from scratch so far. How long do you keep the fixed rack? And how do you choose the right modules?
a “fixed rack” is something some people like to do from time to time, to emulate a physical eurorack, where you also (usually) don’t have endless possibilities of adding more modules. it’s a fixed collection of modules, that you can cable up in various ways. omri has a playlist on it here.
this one i put together two weeks ago, to explore during this summer. i already made several patches with it: the ones for naviar haiku 495, 496, and 497. and i plan on working with the same fixed rack for the rest of the summer. see what is possible with this, and explore some of these modules deeper.
i chose these modules based on experience. what do i need to make a complete patch? and which modules are my favorites, but also fit together?
Not the guy you answered, but your inspiring work has me attempting to make another fixed rack. I have the worst habit of putting too much in a fixed rack, kitchen sink approach. I need to streamline my workflow and put my fast workflow modules together and start having fun. Love how you entangle a couple of sequencers/clock dividers like Grids and Marbles to get things moving, marry the predictable with the probabilistic.
It’s a really cool concept, I’ll definitely try it one day. I do find that my patches so far end up with so many modules and it must be a nice challenge to have some limitations!
I wanted to build something around my favourite oscillator; Geodesics Energy. It’s been my go to for a while but I wanted to see what else I could get out of it besides musical spacey bleeps and blorps. I found many different textures but ended up losing a few due to over-modulation and not being able to find my way back.
I forced myself to stop on this texture which, to me, evokes various sized bells, gongs and big tom toms or even bass drums.
This was a really fun challenge and I might make a few more submissions for vcp-76 using this as a mini fixed rack, just to see what other textures I can produce with Energy.
Here is an entry that features my patched emulation of the Future Sound Systems OSC2 Recombination Engine. Some may object to my use of a bunch of Venom Mix 4 and VCA Mix 4, however those are all part of the emulation that logically represents a single complex oscillator. All three oscillators within the emulator are tracking the same V/Oct melody. The master oscillator slices the other two VCO waveforms, with the “positive DNA” only sounding during the positive half of the master, and the “negative DNA” during the negative portion. A mixer is needed to splice the two signals into a single complex waveform.
It is a slow ambient piece that ebbs and flows, hence the name Ocean Dreams. I recorded it for 30 minutes and combined it with a montage of ocean scenes - beach scenes at the beginning and end, and underwater life in the middle.
I originally created a version of this patch nearly two years ago, but never published it. I recently updated the emulator to use MindMeld PatchMaster and docB Interface for the user interface and patch bay, and also fixed the PW Skew computation to what I think accurately models the FSS hardware. My original version of the emulator used Bogaudio VCOs so I could control the phase of each wave form - an enhancement over the FSS hardware. I also needed/wanted simultaneous exponential and linear FM, so I mix FM into the V/Oct signal for exponential FM, leaving the dedicated FM input for linear FM. Unfortunately the Bogaudio V/Oct input does not track at audio rates, so it did not work well. I switched to the VCV VCOs, sacrificing the phase control enhancement for the dual FM capability.
My “One Voice” patch. Mostly an excuse to play with the new, lovely Cytomic CF-100 filter, and the Surge Delay which is just great as well. Oops… I just re-read the challenge rules and it says no polyphony, so I guess I’m in violation. Sorry bout that, thought I’d share it anyway.
Here’s my entry: Slow meditative minimalism for solo piano – a semi-random performance featuring Pianoteq’s Petrof Mistral with a touch of granular effects from Dawesome Love.
