Had a lot of fun making this. Admittedly part of that was experimenting with my For Four module, this is my first proper piece using that. I was already a fan of Fence from Orangeline and enjoyed playing with Mother for this. I’ll need to do a few more Mother based patches to fully explore it.
All the note information is coming from the Orange line Mother modules for the VCP challenge. I’m using a Novation Launch Control to fade the tracks and control the octave settings on the basal as well as the note range on the FM-OP and the second clouds module.
I’m not sure I understand what Mother is supposed to do. I can get it to work as a quantiser but i’m not sure what some of the controls are for. And i did read the manual.
I agree. I can get it to work as a basic quantiser. But, I do not know what a child scale is and I googled it. I think that the knobs on the right are to adjust note probabilities, but Frozen Wasteland’s Probably Note already has the probabilities preset. I feel some of the same things about Dieter’s Fence (which I use a lot) and Mother. There are some good things there, I’m sure, but I don’t understand all the features and I read the manuals, too.
My entry to the VCP-46 challenge using Mother from Orange Line.
It’s a little glitchy patch for when VCV Rack becomes sentient and takes over the world
Hi,
Here’s my contribution to this challenge.
For once, since Oangeline’s Mother is polyphonic, I tried to make a really polyphonic patch.
All the the pitches for all the voices are managed through a single instance of “Mother”.
I sequenced a scales progression with 3 ADDR sequencers in parallel, one for each scale parameters (root, scale number and Child).
I used Trummor 2 for Kick and hats, Plaits for tuned percussion (Heard alone on the beginning) and basal for all the rest.
Polyknob from computerscare to controll all the parameters (Basal and slap) for each voices separately (Very powerful).
Dual 8 steps sequencer from Count Modula for the comping voices. The melody’s countour is driven by one of the caudal outputs. The pitch contour for plaits is driven by a single Sine LFO. Some randomness are added in and there by playing with the Fate parameters of “mother”.
Amount of gates for Plaits and melody are manualy controlled through a Bernoulli gate. Rhythm and comping voices are sequenced by the LOMAS sequencers whitch are clocked through “Swing”.
I hope You’ll enjoy.
Very Nice one. I love the way you managed all this glitches sounds and the dark ambient sty le of backing voices. Littl patch, huge sound, as usual. I’m a fan.
Two devs in this challenge. The oportunity is given here to me to warmly thank them for their contribution. I’m far to be able to code anything by myself, so thank you so much!
I wish you all a happy new year.
My contribution is just above.
@Aria_Salvatrice
This patch Is about some lazer game… Nice for a quick one. Acid is the gun, isn’t it?
Thanks for splirge!
@domino
This patch is awesome? I really would have been able to do such a generative one myself. I Like also the way you managed the audio path. Very Very interesting work. I’ll have to dig a bit into your module. it seems to be really interresting.
@gbarygbarnes
Hi. It’s the first time I’m listening to your work… And… Man! It sounds good! I love it. Very atmospheric. Nice textures provided by clouds. Nice exatonal scale, also. To instance of Mother for some polytonality (Witch you managed with some mastery, I’ve to say!) is a good idea. Bravo
@buzishoham
Nice one. A bit confusing, musicaly, maybe. But there’s some nice ideas,
@muwkuu
Funny little piece. maybe not enough from the staring module, but that made me lough and dance.
. Seriously, you take so much out of such a little patch! Very inspiring.
