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