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Studio Electronics – Boomstar Modular 3003 Filter [matttech]


 

INTRODUCTION

This demo was put together to quickly demonstrate the general “vibe” of the Boomstar Modular 3003 Filter. The filter is very nice – as are all the VCFs in this range – and the input control makes a huge amount of difference to the sound, giving you a much broader palette of tones than you would get from the original.


 

DEMO 01 – Basic Jam

Patch Details:

1 – Boomstar Oscillation VCO > 303
2 – Cutoff sequenced by z8000 and enveloped from z4000
3 – Erratic clocks from Turing Machine Pulses expander
4 – Manual tweaking of filter settings
5 – Pretty intense res and cutoff and gain tweaking

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Intellijel Rubicon – Part 3: Vector Joystick Drone [matttech]


 

INTRODUCTION

This recording follows on from the more in-depth demos found in Part 1: HERE and Part 2: HERE. Instead of utilising the module in the creation of full compositions, a single aspect of its use is explored this time – drones.


 

DEMO 05 – Vector Joystick Drone

Every now and then it’s nice to return to a module and remind yourself just how good it sounds. Although complex digital oscillators are a lot of fun, some days there’s nothing quite like blissing out on a quality analogue VCO….and getting some drone action on!

This demo focuses on the Intellijel Rubicon’s various wave outputs, blended together in the Planar Vector Mixer. The resulting output was the processed by the Modcan Dual Delay. The Rubicon is especially lovely in this role, producing a really pleasing, almost string-like tone. A simple, basic analogue wave timbre can be transformed into something quite exotic with the turn of a few knobs, and the steering of a joystick.

Patch Details:

1. The Rubicon’s Sine, Double-Saw, Pulse, and -2oct Sub were fed into the 4 inputs of the Planar.
2. A sine wave from a Dixie was fed into the Rubicon’s TZFM input, with its INDEX controlled by the Planar’s CV X output.
3. The CV Y output then controlled the Rubicon Pulse’s Pulse Width.
4. The CV X output was also multed to the Dixie’s Linear FM input, via an attenuator so it could be introduced later in the recording.
5. The CV Y output was also multed out – to the Rubicon’s Exp FM input.
6. So basically as the recording progresses, the pitch of the two oscillators is manipulated alongside their tone.
7. The Planar’s Mix output was fed into an Oakley Classic VCA, whose level was modulated by a SUM of two Maths LFOs.
8. The Oakley’s output was then fed into the Modcan Dual Delay, in Stereo Mode.
9. During the recording the following were tweaked: the Planar’s joystick; the Dual Delay’s delay time, WET/DRY balance, feedback and LPF settings; the amount of pitch modulation fed into the two oscillators; and the frequencies / shapes of the Maths LFOs.

No effects. Slight EQ on mix bus.

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Studio Electronics – Boomstar Modular Sci Fi [matttech]


 

INTRODUCTION

For this demo I wanted to see how much fun I could wring out of the Studio Electronics Sci Fi module – as a modulation source, sound mangler and also as an audio source. The module contains a Sample & Hold with integrated lag/ slew limiter, a ring mod, and two colours of analogue noise. All were used within this patch. The only other sound which was used in this recording was a basic kick loop sample.


 

DEMO 01 – Full Utilisation

Patch Details

1. A Rubicon was used as the main oscillator, with a Sine and Sub mixed together. Its output was recorded direct, and used as the droning “bassline”. This gradually evolves into a more high pitched Sample & Hold patch as the track progresses.
2. A second, higher synth part was added over the top, and was patched as follows: the Rubicon’s Triangle was used to feed the Sci Fi’s Ring Mod X Input, with a separate Dixie VCO’s Zigzag wave sent into the Y Input. This was shaped into a percussive sound via a VCA, and processed with some delay during mixdown.
3. The Pink and White Noise outputs from the Sci Fi were used to create two percussion/ drum sounds. The two noise outputs were fed into either side of a WMD Multimode VCA. Two randomly-triggered envelopes modulated the two VCA channels independently, shaping the continuous noise into percussive hits – one sounding like a snare/ hi-hat, and the other more like a tom.
4. White Noise was also mixed together with a Maths LFO and used to provide the signal source for the Sci Fi’s Sample & Hold circuit. This was used to control the pitch of the Rubicon at various points.
5. During the recording the following controls were tweaked: decay times of the two Noise VCA envelopes; the relative blend of the Maths LFO and White Noise feeding the S&H; the range and lag time of the S&H; and the frequency of both the Dixie and Rubicon.

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Audio Damage ADM Series Effects Modules – Multi-Module Patches [matttech]


 

INTRODUCTION

This is the result of my first day experimenting with my current stock of Audio Damage effects modules, comprising the following: Aeverb, FreqShift, GrainShift and DubJR. Both patches are similar, but the second one makes more use of random modulation. No additional effects were used, so everything you hear effects-wise is produced by the modules. This doesn’t make my mixing sound too impressive, but I felt it important not to confuse matters by using additional reverbs and delays etc..


 

DEMO 01 – Multi-Module Patch (multi-module patch, with backing)

For this recording I wanted to install and experiment with a number of different Audio Damage ADM-series effects modules: Aeverb, FreqShift, GrainShift and DubJR.

1. e350 was used as the sole sound source
2. The XY output was fed into a VCA, controlled by a spiky envelope from the 4ms PEG
3. The output of this VCA was fed into a sequential switch, and then into both the Freqshift and the DubJR. A third DRY signal was also recorded
4. The e350’s Z output was fed into another VCA, and then the WMD Multimode VCA was used to pan the signal between the Aeverb and Grainshift
5. The PEG was modulated to produce erratic, random rhythms
6. A random gate was used to trigger the sequential switch, and a slow Maths LFO was used to pan the Multimode VCA
7. The end result was that the two e350 outputs were randomly sent into each Audio Damage effects module at various times.
8. During recording the controls on each module were tweaked.
9. Initially only the dry signal is heard.


 

DEMO 02 – Multi-Module Patch (more modulation, synths only)

This patch was essentially fairly similar to the previous one, except that a shed-load of random modulation was applied to every single CV input of the 4 Audio Damage effects modules. There was no modulation of the e350 itself, apart from a random voltage output from the Turing Machine, which was sent into the FM input to control the pitch. This was brought in and out manually at various points during the recording. All other sonic variations were achieved through modulation of the Audio Damage effects modules. No reverb was used apart from the one sound with Aeverb applied to it, so the “mix” is a little bare, but I felt it important to not confuse things by using any other delays or reverbs.

Roughly-speaking, the sounds can be heard panned as follows:

1. e350 through FreqShift – hard left
2. e350 through GrainShift – hard right
3. e350 through DubJR – slightly left
4. e350 dry / through Aeverb – slightly right

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WMD PDO mk.2 & TBVCA – Part 3: PDO as LFO [matttech]

WMD PDO Demo 3

 

DEMO 08 – Resetting LFOs

For this demo I wanted to demonstrate how well the PDO acts as a resettable/ re-triggered LFO, and investigate whether it could be pressed into use as a pseudo-envelope if the settings were appropriate.

Patch Details

1 – The e350 oscillator was used as a sound source, via the z2040 Lowpass Filter.
2 – All 4 outputs of the PDO (at slow LFO frequency) were sent into 4 inputs of the a152 Quad Sequential Switch
3 – A reset (once a Bar) was sent to: The Trigger input of the Sequential Switch and the Sync input of the PDO (So that each bar the LFO resets, and the waveshape changes)
4 – A different LFO – at a different Phase – was selected for each channel/ output of the PDO….giving the impression of 4 sequentially-triggered envelopes, with differing Attack/ Decay characteristics.
5 – The SUM Out of the PDO is used to control the FM of the e350, and later on the Morph Z. It is also used to sweep the z2040’s cutoff up and down.
6 – The SUM Output of the PDO is also used to FM the PDO itself, which changes the shape of the LFOs. You can hear the FM being gradually increased up to around 01.15 – creating a more “whip-like” effect on each LFO shape. After this the FM is reduced and the shapes return to normal.
7 – Towards the end the PDO’s rate and shapes are experimented with a little.

Some drums were added, largely to demonstrate how accurately the LFOs are resetting each bar.


 

DEMO 09 – Rhythmically-Triggered LFOs

For this recording I wanted to experiment with using the PDO almost like an envelope generator, with the 4 outputs providing a variety of shapes – depending on the chosen waveform and its phase.

Patch Details

1 – The Synthesis Technology e350 was used as a sound source, via the Tiptop z2040 Lowpass Filter.
2 – The WMD PDO mk.2 (set at its LFO range) was used as the sole modulation source. Its 4 outputs were sent into the 4 inputs of the Doepfer a152 Quad Sequential Switch.
3 – Rhythmic triggers were sent from Silent Way into the Sync input of the PDO (So that on each trigger the LFO resets)
4 – Random gates were then used to switch between the 4 different waves in the Sequential Switch, except for nearer the end, where the same trigger pattern that is syncing the PDO is used instead (this switches through the waves at a much faster speed)
5 – The Sequential Switch output was also sent to control wave morphing on the e350, and the cutoff of the z2040 at various points. In addition it was used to control the amplitude of the final output VCA during parts of the recording.

Bear in mind that you are not listening to the sound of the PDO mk.2 – only the way in which it can be used as a modulation source, to produce rhythmic “envelope-like” effects.

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DinSync – SARA VCF [matttech]


 

DEMO 01 – Lowpass Plucks, Squelches & Kicks

This demo is a basic picture of the SARA in its Lowpass mode, showing off just how powerful and clear it sounds in a traditional role. Does it have any “Ooomph”? – err, “Yes!”

Patch Details

1. 3 VCOs from AJH Minimod > Manhattan Analog Mixer, then into DinSync Sara VCF
2. Lowpass mode was used
3. 1v/oct sequence was multed to all oscs and also to a second mixer, where it was mixed with a snappy ADSR from the WMD / SSF ADSRVCA, and fed into the Freq CV input of the filter.
4. Initially a simple cutoff sweep was recorded, followed by modulation from various combinations of ADSR and the main sequence.
5. Towards the end the combination of filter settings and envelope modulation produced some nice, solid kicks and thuds.
6. Resonance and cutoff was tweaked, as were the modulation depths.

No effects or EQ used. Some minor automation applied to rein in level changes.


 

DEMO 02 – Highpass Mode

This is the same basic patch as the previous one, but this time focusing on the Highpass mode. There were some slight alterations to the patch, and also we are using a slower sequence – in order to better hear the effect of the cutoff sweeping up and down. The Highpass mode – as with all the modes – is extremely precise and clear…but also very musical at the same time. You can hear just how little bleed there is right at the end, where the cutoff is taken particularly high.

Patch Details

1. The Sara’s Highpass output was used this time, and some oscillator Sync was applied to the highest of the 3 AJH Minimod oscillators
2. As with the previous track, the cutoff and resonance on the Sara were tweaked, as were the various levels of the sequence and envelopes feeding its Frequency CV input.

No effects or EQ used. Some minor automation applied to reign in level changes.


 

DEMO 03 – Bandpass Mode

This time round it’s the turn of the juicy Bandpass mode – a mode I find to be quite unlistenable on many filters, especially at high resonance. Not on this one though! I especially like the “bwwarps” from about 02:50 onwards – a resonant bandpass filter that doesn’t sound like absolute bobbins. Always nice!

Patch Details

1. The patch was similar to the previous one, using 3 AJH Minimod VCOs fed into a mixer, and then into the Sara.
2. This time the envelope / sequence modulation combo was augmented by the addition of a slowly sweeping Quadra LFO.
3. These were all mixed together in bipolar mixer, with their polarities / intensities tweaked throughout the recording.
4. The Sara’s cutoff and resonance were also manipulated

No effects or EQ used. Some minor automation applied to reign in level changes.


 

DEMO 04 – Notch Mode Slow Sweeps

Well, I obviously enjoyed myself so much recording this demo that I completely forgot to write any notes whatsoever! What we are listening to is the Notch Mode, from the left hand VCF output – and various slowly sweeping modulation is being applied. Some lovely phaser-like effects are produced, and even the high resonance sounds of 02:20 onwards are pretty sweet-sounding. There are many filters I wouldn’t dream of pushing into this territory, as they would simply break up, clip, and/or become extremely unpleasant to listen to.

In some ways this filter reminds me of the Cwejman ones – in that it is very precise-sounding, with crystal clear resonance – but it also has a more musical edge that makes it a delight to work with. There is also very little in the way of level drop when you start cranking the resonance, and the low end much more beefy than the Cwejmans I have used – reminding me more of the lovely Vermona Retroverb Lancet’s filter.

Please bear in mind that – up until this point – we have only been using HALF of the module’s capabilities, as it it actually a dual filter. It has normalisation between the two filter cores hidden under the hood, which makes for some very unique sonic possibilities.


 

DEMO 05 – Mirrored Stereo Notches 

For this demo I wanted to experiment with modulating the Notch mode, taking the two Notch outputs to opposing sides of the stereo spectrum. The aim was to produce a pleasingly swirly sound which swept from side to side. Said desire was fully sated! PHATNESS was achieved 🙂

Patch Details 

1. Three outputs from the Rubicon were mixed in a Manhattan Analog Mixer, and then multed to both inputs of the Sara VCF
2. A combination of cycling envelopes from Maths were sent into both Freq CV inputs on the Sara. There was various cross-modulation going on within Maths, to produce some erratic shapes and rhythms.
3. The two Notch outputs from Sara were used, with each panned to opposing sides of the stereo spectrum
4. Various controls were manipulated during the recording: Sara’s resonance and cutoff; the modulation intensity and frequency coming from Maths

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Manhattan Analog – SVVCF [matttech]

Manhattan Analog SVVCF Demo 1

 

INTRODUCTION

A set of fairly basic demos, using the Manhattan Analog SVVCF Multimode Filter. I aimed to keep to the one-to-two minute mark as much as possible, as I do have the tendency to record way too much material!

Demos 02 to 06 were based around the same patch, to demonstrate how the SVVCF responds to a variety of tweaking, techniques and modulation. Demos 01 and 07 were slightly more freeform patches.


 

DEMO 01 – Lowpass Squelch

Some gloriously squelchy Lowpass meandering and wobbling.

Patch Details 

1. Three outputs from Intellijel Rubicon into the SVVCF’s three mixer inputs.
2. Slow random gates clocking the Turing Machine
3. Further random gates triggering the Makenoise Function
4. One output from the Turing Machine’s “Voltages” expander used to modulate the SVVCF’s cutoff, and the second output gradually introduced in order to modulate the BOTH input of the Function, randomly altering the envelope length.
5. Various controls tweaked during the recording: SVVCF’s cutoff, resonance, input levels, CV input level; Voltage’s output scaling.

Some reverb applied during mixdown.


 

DEMO 02 – Input Drive

Patch Details

1. Direct out from SVVCF, with three waves fed into the 3 mixer inputs to demonstrate how it responds to level tweaking.
2. A Saw, Double-Saw and Pulse were used, all coming from the Intellijel Rubicon.
3. Modulation was applied to the Exp FM and PWM of the Rubicon, whilst it was being SYNCed (HARD SYNC) from a Dixie, set to drone on one note.

Slight reverb added during mixdown. No EQ.


 

DEMO 03 – Lowpass Envelopes

Patch Details

1. Filter (LP) output used this time, with Rubicon’s Double-Saw, Zigzag and Pulse waves used – again, synced to the Dixie.
2. Two different z4000 ADSRs were used, triggered by different random gate outputs from the a149-2 – one with a soft attack, and one with a snappy attack.
3. The snappy one was also set up so that short gates would fire off its fast release stage, but longer ones would set a slow decay in motion.
4. The levels of the different waves in the SVVCF mixer, the cutoff/ resonance, and the CV attenuators were tweaked during recording.

Slight reverb added during mixdown. No EQ.


 

DEMO 04 – Bendy Bandpass

Patch Details 

1. For this recording, the SYNC provided by the Dixie (in the previous demos) was removed, and the Rubicon’s frequency was lowered substantially, so that it dived down into rhythmic clicking territory.
2. The Bandpass output of the SVVCF was used, with the same two z4000 ADSRs controlling the cutoff, and one of them multed to the Exp FM input of the Rubicon to further bend things.

Slight reverb added during mixdown. No EQ.


 

DEMO 05 – Highpass Self-Osc

Patch Details 

1. On this demo the Rubicon’s SUB was added into proceedings, combined in the SVVCF mixer alongside the Double-Sine and Pulse.
2. The Rubicon’s main frequency was set to a more reasonable range, in order to accommodate the SUB.
3. The Highpass mode was used this time, and I set the SVVCF up so that it was tracking the same sequence that was controlling the Rubicon’s pitch.
4. Gradually I bring in the resonance until it is self-oscillating alongside the oscillator waves.
5. After a while I start backing off some of the waves to demonstrate how the self-oscillation and mixer saturation combine together to create a wide range of extra tones.

No effects added during mixdown. No EQ.


 

DEMO 06 – Highpass Self-Osc SUB FM

Patch Details 

1. On this recording I used solely the Double-Sine wave from the Rubicon, at a fairly high pitch, and then used the SUB output to FM the SVVCF in Highpass mode.
2. Gradually I increase the FM amount, and also tweak the Resonance.
3. It’s amazing how much it sounds like i’ve actually added another waveform into the filter’s audio input, when in reality it’s merely the effect of the cutoff being modulated, bringing in lower frequencies.


 

DEMO 07 – Warm Plonks

This recording used a different patch from the previous 5, and is a slightly longer demo – gradually creeping out of my self-imposed one minute limit!

Patch Details 

1. Various complex random rhythmic triggers and gates were set up in a Sequential Switch, in order to clock the a155 sequencer, and also to fire off envelopes from the Function, switching between its Trigger and Signal Inputs via a Voltage Controlled Switch.
2. So…erratic patterns and envelopes were achieved, with modulation sent into the envelopes to add further variety.
3. The SVVCF was used, fed by 3 Rubicon outputs, and the a155 controled the Pitch of the Rubicon, along with the 1v/oct CV input of the SVVCF.
4. A Dixie FM’d the Rubicon to add interest.
5. The SVVCF’s Cutoff and Resonance were tweaked during recording, as were the FM settings on the Rubicon.

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Happy Nerding FM Aid – Multiple Outputs [matttech]

Happy Nerding FM Aid Demo 01

 

INTRODUCTION

Every now and then you has to remind yourself just how much fun the Happy Nerding FM Aid actually is! It’s all to easy to forget how it can take a simple Saw wave and mangle it beyond recognition – even before you add a second oscillator as a Modulator. In the demo, 3 outputs of the FM Aid are used, with the Rubicon as the main “Carrier” sound source (providing a simple droning Saw wave). The Dixie provides the “Modulator” signal. Various envelopes were randomly triggered to bring the different outputs of the FM Aid in and out.

 


 

DEMO 01 – Multiple Outputs

Patch Details

1. Rubicon Saw was sent into FM Aid’s Carrier input
2. Dixie Sine was sent into FM Aid’s Mod input
3. A random voltage was taken from the Doapfer a149-1 and fed into the FM Aid’s CV input, to control the amount of FM between the two oscillators
4. A second a149-1 output was used to modulate the pitch of the Dixie Carrier oscillator. The Dixie was also synced to the Rubicon
5. FM Aid’s Pulse output was fed into one Oakley Classic VCA, with the Sine output fed into another. These were both controlled by z4000 ADSRs – one triggered by random gates, and the other by the clock signal
6. A third output from FM Aid – the Triangle output – was fed into the Optomix Low Pass Gate, which was randomly struck/ pinged by another a149-2 gate.
7. During the recording the following controls were tweaked: FM Aid’s CV attenuverter and FM level; the Rubicon and Dixie’s pitch (towards the end); the VCAs’ Gain; the Optomix’ Control knob

Other than some slight compression and EQ during mixdown, the only processing of any kind used was the FM aid. Without it you’d simply be listening to a droning Saw wave! It’s amazing what you can do with this module – it can give you an incredible palette of sounds from a single waveform.

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Sputnik Quad Function & Trigger Source / Quad VCF/VCA – Basic Modes [matttech]

Sputnik Quad Function Quad VCF VCA Demo 4

 

INTRODUCTION

These are very simple demos, using the same repeating sequence, in order to demonstrate how the various different modes on the Sputnik Modular Quad VCF/VCA lowpass gate can sound. All demos also use the Quad Function & Trigger Source.


 

DEMO 02 – Combo Mode

This first demo is simply to show what the Sputnik Quad VCF/VCA (a Lowpass Gate) sounds like in its naked form. No effects or processing was used. It was only used in COMBO mode (where it attenuates both high frequencies and amplitude, like a lowpass gate).

Patch Details:

  • 3 Waves (Sine, Double Pulse and Sub) from the Rubicon were mixed in a Manhattan Analog Mixer.
  • The output of this was fed into channel 1 of the Sputnik Quad VCF/VCA (a Lowpass Gate)
  • At points a Dixie Sine wave was used to modulate the PWM on the Double-Pulse, at varying frequencies.
  • The Sputnik Quad Function & Trigger Source provided the short envelope which opens/ pings the lowpass gate. This was a particularly exponential shape, produced by sending the output of the envelope into a bipolar mixer – with the signal inverted – and then feeding a moderate level of this inverted signal back into the envelope’s Decay CV input. This turns it from the default linear shape into an almost identical clone of the fantastic Make Noise Maths exponential curve.
  • This envelope channel was set to output +8v – which can be set via a switch on the PCB (either +5v or +8v). It was fed into the Lowpass gate’s CV input.
  • The output was recorded direct.
  • Throughout the recording I manipulated various controls, in order to give an idea of how the lowpass gate responds to different signal levels, types of waves, and different length envelopes. I used sines at points  to demonstrate whether it overdrives at higher input levels.
  • Towards the end I manually adjusted the cutoff/ bias control on the lowpass gate, to show how it responds to slower modulation.
  • Right at the end I flicked on the Cycle switch on the envelope, and drove it into audio rates. Well, you’ve got to really, haven’t you?

All in all I’m pretty impressed with this module. I have tested every output and input and have noticed no issues with it. It does the “Buchla Bongo” admirably well in my opinion, and is probably cheapest way to put 4 lowpass gates into your system. When combined with the Quad Function & Trigger Source, you’ve got a hell of a lot of timbral and rhythmic bases covered.


 

DEMO 03 – VCF Mode

This demo is simply to show what the Sputnik Quad VCF/VCA (a Lowpass Gate) sounds like in VCF mode. No effects or processing was used. This effectively  turns the channel into a simple vactrol-controlled lowpass filter, with a lovely “woody” tone to it.

Patch Details:

  • Essentially the same as Demo 02, except that this time the envelope from the Quad Function & Trigger Source is mixed with the same 1v/oct sequencer output that is controlling the pitch of the Rubicon.
  • This sequence is mixed with the envelope in the two middle channels of Maths, which is serving as a bipolar mixer.
  • At various points the envelope and/or sequence are attenuated and inverted against each other. The main cutoff/ bias control on the VCF/VCA is also tweaked to accommodate these varying settings.
  • I have left a portion of “silence” at the start, in order to demonstrate how well the VCF closes when no CV source is applied. There is typically a bit of high frequency bleed in vactrol filter designs, but I think this amount is very acceptable. This is the same level as in COMBO mode. The VCA is even quieter when closed.
  • The first thing I do is gradually turn the main cutoff/ bias control through its range, to demonstrate the effect this has on the sound.
  • Various controls are tweaked during the recording, and PWM is applied to the Rubicon as things progress. The frequency of the Dixie is manipulated, as is the balance and overall level of the waves feeding the VCF. Higher levels add a pleasing fatness to the sound.

 

DEMO 04

The final demo of this little set serves to demonstrate how the Quad VCF/VCA responds when in VCA mode. In this mode the module merely acts as a simple vactrol-controlled VCA. I have used nothing other than a single sine wave throughout the recording, in order to demonstrate the effect that the various settings and modulation inputs have on the sound. The patch is similar to the previous two, with the Dixie providing audio rate modulation.

Patch Details:

  • Essentially the same as Demo 2, except that this time the envelope from the Quad Function & Trigger Source is mixed with the Dixie’s Sine wave output, to provide amplitude modulation (AM) into the Quad VCF/VCA’s CV input. The Dixie is following the same 1v/oct sequence as the Rubicon’s sine wave.
  • The Dixie’s audio rate modulation is not introduced until 01.27, where is is blended with the envelope in a mixer and fed into the Sputnik VCA.
  • Again, I have left a portion of “silence” at the start, in order to demonstrate how well the VCA closes when no CV source is applied. I think it is pretty damn quiet personally. I have had dedicated VCAs that have bled far more than this.
  • Initially all I do is fade the VCA’s bias knob up and down, to demonstrate how it saturates (which it does a little. Not unpleasantly though)
  • This is followed by increasing the level of the envelope fed into the VCA’s CV input.
  • The Dixie’s AM is then introduced and its frequency tweaked, demonstrating how the VCA responds to different rates of AM.
  • During the recording I also experiment with varying levels, VCA bias settings, along with envelope decays and levels.
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Sputnik Quad Function & Trigger Source / Quad VCF/VCA – Day One: 4 Channel LPG Patch [matttech]

Sputnik Quad Function Quad VCF VCA Demo 1

 

INTRODUCTION

This is the result of my first day experimenting with the Sputnik Modular Quad VCF/VCA – otherwise known as a Lowpass Gate,

Further, more focused and technical demos – demonstrating the Quad VCF/VCA in its different modes – will follow. This one is essentially an intuitive patch session, chucking a bunch of modulation and sound sources at the thing to see what happens!


 

DEMO 01

A bit of a late night one, this.

Desperately wanted to have a play with the Sputnik Quad VCF/VCA (Lowpass gates), along with the Quad Function & trigger source, and they certainly didn’t disappoint!

The Lowpass gates are lovely, and seem to have a nice tail to them, without ringing on forever. I’ve not noticed any problematic distortion or anything, and the fact of having 4 of each of the functions generators AND the LPGs really opens up some interesting possibilities – for cross-patching/ triggering etc..

This recording shows how the four LPG channels can be used when fed with 4 different oscs – WMD PDO, Intellijel Dixie, Braids, and the Cyclebox. Various random gates were used to trigger the Quad Function Generator, and other snappy envelopes were also integrated to add some other flavours – ones from Maths, Function , and temp-synced r hythmic ones from the 4ms PEG

I really like results actually – pretty scatty I reckon! I ended up using some standard CV modulation on the lowpass gates at points, in conjunction with the sharp envelopes that were pinging them for the most part – this adds a pleasing “bowed” kind of edge to the sounds at various stages. At around 02:20 onwards I swear I can hear someone sliding around on a violin!

Excellent modules!

More sensible, technical demos follow…

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Mutable Instruments Braids & Doepfer a196 PLL Wig-Out [matttech]

Mutable Instruments Braids Demo 2

Braids & Doepfer a196 PLL Wig-Out

Well…..the patch details on this one are going to be brief, as I simply cannot remember anything about recording it, and didn’t make any notes. Soz!I can at least confirm that Braids was used as the main sound source, and it was sent through the Doepfer a196 PLL (Phase Locked Loop). There are all manner of clattery percussive tones coming from the a196, and I think the PLL was mixed in with the signal from Braids – which was set to one of the more conservative patches. I seem to remember that most of the madness comes from the a196 itself, rather than Braids….but beyond that details are sketchy at best!It gets pretty harsh at points, even with judicious amounts of dynamic EQ applied to rein in the top end. Don’t say you haven’t been warned!I do kind of like it though…A few effects, along with a basic beat, were added in Logic. The main bulk of the recording is one track, but towards the end a second, higher part is layered on top.Savagery ensues…..
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Intellijel Rubicon – Part 2: Synths Only [matttech]

Intellijel Rubicon Demo 2

 

INTRODUCTION

These recordings demonstrate the sonics of the Intellijel Rubicon in all its naked glory, without the additional production featured on the full tracks from Part 1: INTELLIJEL RUBICON – FULL TRACKS.

All patches are the same as in Part 1, with any changes detailed in these posts – this is largely the removal of additional processing, in order to provide greater transparency.


 

DEMO 01 (Synths Only)

This first demo utilizes the Intellijel Rubicon within a fairly traditional Dance Music setting. Various wave combinations are used, and there is an emphasis on Pulse Width Modulation.

“Synths Only” Mix

This demo contains the same patches found in the full mix, with the following alterations:

  • The main Rubicon part and Sub (that enters at 02.08) are soloed.
  • All EQ and compression is removed.
  • Crystallizer (chorus) is removed from main Rubicon part.
  • All FX and Volume automation is left in.

 

DEMO 02 (Synths Only)

For this second demo, I decided to try out some more imaginative patching, with an emphasis on Osc Sync sounds and FM.

“Synths Only” Mix

This demo contains the same patches found in the full mix, with the following alterations:

  • The main Rubicon and Dixie Sub Bass parts have been soloed.
  • Only the Dixie sine Sub Bass is used for the sake of clarity.
  • EQ has been removed from both parts.
  • Chorus has been removed from Dixie Sub Bass, but left on main Rubicon part.
  • Other FX automation has been left on (reverb sends).

 

DEMO 03 (Synths Only)

For this third demo I decided to concentrate on sounds which can be generated by sending the Rubicon through Lowpass Gates, whilst applying various FM.

“Synths Only” Mix

This demo contains the same patches found in the full mix, with the following alterations:

  • The two Rubicon parts are soloed. All EQ and compression is removed.
  • FX and volume automation is left on.
  • Any saturation heard takes place within the modular – probably within the Optomix.

 

DEMO 04 (Synths Only)

For this fourth demo I have returned to Dance Music-related uses of the Rubicon, but this time in a faster, more Techno-flavoured setting. Various combinations of PWM and FM are applied.

“Synths Only” Mix

This demo contains the same patches found in the full mix, with the following alterations:

  • The main Rubicon and Rubicon Sub Bass (through z2040) parts are soloed. They are panned slightly left and right respectively for added clarity.
  • EQ has been removed from main Rubicon part.
  • EQ/ Dynamic EQ left on Sub Bass part to tame excessive resonance on z2040 when heavily tweaked.
  • The main reverb was left on, but the delay removed for added clarity.
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Intellijel Rubicon – Part 1: Full Tracks [matttech]

Intellijel Rubicon Demo 1

 

INTRODUCTION

These tracks developed from some commissioned demos I put together for Intellijel. I have also provided alternative versions in Part 2 which show off the naked sound of the Rubicon, without any other additional production.

Click on the link below to check them out:

RUBICON DEMOS – SYNTHS ONLY


 

DEMO 01

This first demo utilizes the Intellijel Rubicon within a fairly traditional Dance Music setting. Various wave combinations are used, and there is an emphasis on Pulse Width Modulation.

Patch Details 

Up to 02.08:

1 – The Rubicon’s Double Saw, Pulse (side aligned) and -1 oct Sub are sent to a mixer, and then to a VCA (controlled by a modulated z4000 ADSR).
2 – Moskwa provides the sequence, via an ADDAC207 quantizer. The sequence is transposed up and down by Silent Way.
3 – The 4ms PEG produces a cycling envelope, with its speed controlled by the main sequence. This is sent into the Rubicon’s PWM input.
4 – Manual tweaking is undertaken – wave balance, manual Pulse Width and PWM amount.

02.08 until 03.08:

1 – A different set of waves used: Normal Saw and Double Pulse are sent to the VCA used previously.
2 – The -1 oct Sub is sent to a different VCA, whose amplitude is modulated by a clock-triggered z4000 ADSR. This is layered up underneath the main part.
3 – Further manual tweaking of parameters is undertaken.

03.08 onwards:

1 – As above, but PWM is now modulated by a cycling Maths envelope.
2 – The Maths envelope’s amplitude (via a VCA) and frequency is slowly modulated by a SIlent Way LFO.

Production Notes

The deep bass underneath is from REFX PlastiCZ.
Sound Toys Crystallizer (chorus) into side-chained compressor on main Rubicon part.
Occasional delay automated in and out on main Rubicon part.
Occasional reverb automated in and out on main Rubicon part
Slight EQ used on Main Rubicon part.
Separate Rubicon sub (from 02:08 onwards): Side-chained Compressor and slight EQ.

 


 

DEMO 02

The aim of this demo recording was to try out some more imaginative patching, with an emphasis on Osc Sync sounds and FM.

Patch Details

Initial Patch:

1 – A Dixie bassline is sequenced in Silent Way. Saw and Sine outs are used to provide two different Sub Bass recordings – Saw at start, Sine for rest of track.
2 – The Dixie’s Square output sent to Rubicon Hard Sync input
3 – A randomly clocked Moskwa sequence is sent – via Maths slew limiter – into the Rubicon’s 1v/oct input. The Rubicon’s Sine and Double Saw outputs are used, synced to Dixie bassline.
4 – The Rubicon’s outputs are sent out via a VCA, which is controlled by cycling PEG envelope. The PEG envelope is modulated by a149-1 random source, producing erratic rhythms.

As the track progresses, TZFM is brought in. The patch is fairly complex, but I’ll do my best to explain it!

1 – A Makenoise DPO is used as the FM source. OscB is sequenced to the bassline, with OscA synced to OscB internally.
2 – Various controls are then manipulated on the DPO during the recording, with OscA initially set to Follow OscB, but then gradually this is removed, and OscA is instead Exponentially FM’d by OscB.
3 – Finally the same Moskwa sequence that is producing the higher Rubicon part is used to control the pitch of the DPO’s synced OscA. So basically, the DPO is FM-ing the Rubicon, but the DPO itself is undergoing various Sync and modulation procedures. This keeps the whole patch from becoming too random and dissonant.
4 – On the Rubicon, the TZFM is being indexed by a random output from the a149-1, sent through a slew limiter.
5 – Towards the end, the Symmetry is manipulated manually.

Production Notes

Audio Damage Vapor (chorus) used on Sine Sub and main Rubicon parts.

Various volume and FX automation is applied (mainly reverb and delay sends).

EQ and compression applied to both Rubicon and Dixie parts, with some mild saturation used. Multiband Limiting applied to main Rubicon part, and Exciter applied to Dixie sub to bring out mid-range frequencies before hitting the chorus.


 

DEMO 03

This is another track that pretty much turned into a full composition during the recording process. The aim of the demo was to concentrate on sounds which can be generated by sending the Rubicon through Lowpass Gates, whilst applying various FM.

Patch Details

Initial Patch (All audio comes from Rubicon):

1 – Two channels of the Makenoise optomix Lowpass gate are used – LPG 1 containing the Rubicon’s Sine and Double Saw, and LPG 2 containing the Double Pulse and -1 oct Sub.
2 – LPG 1 is modulated by a combination of a triggered Exponential Maths envelope and a cycling PEG envelope.
3 – LPG 2 is modulated by the OR output of the PEG.
4 – The PEG’s division is modulated by a random output of the a149-1 Source of Uncertainty.
5 – A Dixie is used as the TZFM modulator, following the same sequence as the Rubicon.
6 – The TZFM is indexed by a randomly-triggered Maths envelope.
7 – There is a feedback element to the patch, whereby the Triangle output of the Rubicon is sent into a VCA. This VCA is modulated by one of the cycling PEG envelopes, and the output is sent to the Linear FM input of the Dixie. When this PEG envelope sweeps in, it allows the Rubicon to FM the DIxie, which in turn FMs the Rubicon.
8 – An e350 is modulated by another a149-1 random output for the first part of the recording, and its output is used to apply PWM to the Rubicon.

From 03.12 onwards:

1 – The Sub and Sine are dropped out, leaving the Double Saw and Double Pulse.
2 – The Slew of the PEG is adjusted to make it more “plucky” sounding. The PEG is also set so that a random gate toggles the envelopes’ Cycle mode on and off in an alternating fashion. The output of one of the PEG’s envelopes is set to modulate both LPGs simultaneously.
3 – Exponential FM is applied to the Rubicon from the e350, which is now being sequenced by the same sequence as the main parts.
4 – The e350 is switched to LFO mode as the recording progresses, and as the Exponential FM reaches its peak.
5 – All sorts of manual tweaking takes place, and towards the end the Symmetry of the Rubicon’s TZFM is modulated by another random output of the a149-1

Much chaos ensues!


 

DEMO 04

For this fourth demo I have returned to Dance Music-related uses of the Rubicon, but this time in a faster, more Techno-flavoured setting. Various combinations of PWM and FM are applied.

Patch Details 

1 – Various combinations of Rubicon waves were used throughout.
2 – Earlier sections focus on Pulse and Sine waves, whereas later ones centre around Sine and Triangle.
3 – The e350 Morphing Terrarium is used as a modulation source extensively – for PWM and TZFM of the Rubicon mainly.
4 – The e350 is synced to the Rubicon throughout, and the Rubicon is synced to a Dixie as the track progresses, and more intense TZFM/ Symmetry modulation is applied (The Dixie is following the same SIlent Way sequence).
5 – Silent Way is producing the main sequence, which is multed to the Dixie, Rubicon and e350.
6 – The e350’s waves are modulated by the Turning Machine’s random output at various points, affecting the PWM of the Rubicon, along with its TZFM.
7 – Towards the end the Symmetry of the Rubicon is also modulated by the morphing e350, and by manual tweaking.
8 – The e350 is switched into Glitch mode at various points, adding to the “choppy” feel when it is modulating the Rubicon’s PWM and TZFM.
9 – Towards the end the Rubicon’s Pitch is manually turned up and there is also some Exponential FM applied by a rhythmically-triggered Maths envelope.

The bassline is the Rubicon’s Sub output being sent through the Tiptop z2040 filter. Manual tweaking of this filter takes place throughout, and a rhythmic Maths envelope modulates it at points. It is also FMed by the Dixie at points.

Production Notes

EQ, compression and side-chain compression applied to main Rubicon and Rubicon Sub parts.
Audio Damage Vapor (chorus) plugin applied to main Rubicon part and Rubicon Sub at various points.
Dynamic EQ applied to Rubicon Sub part to tame excessive z2040 resonance.
Various volume and FX automation applied (reverb and delay sends).