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Share your ER-301 Music

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#304

There’s 3 reasons I like the posts here;

  1. I admire anyone who publicly posts their work - imho this should always be encouraged regardless of the content because this is how we learn, just the act of publicly posting changes your relationship with your recorded audio and makes it easier to take an objective view

  2. Technical competence, if something is done well or is interesting, it doesn’t matter if I personally like it or not, it deserves recognition and appreciation

  3. Personal enjoyment - sometimes 1 and 2 are there and I also really enjoy it on a personal level because it is the kind of thing I like and in some way wish I had done myself - of course this is completely subjective and largely irrelevant to anything other them myself

I am happy to say you definitely scored 3/3 in my little list of criteria for appreciation :smiley:

I’d love to hear more about how you did it, see a photo of your setup or anything really :slight_smile:


#305

Agree with Kel, this is great!


#306

Aww, shucks… Thanks, your words really made my week, like you wouldn’t believe! having just filed all my music in my figurative desktop drawer for so long, I’m very energized by getting out of that mode and out in the world with my stuff.

I’m always happy to talk synths and especially think about processes and the nitty-gritty, so I’ll make sure to do a small writeup soon.


#307

Yeah, so, a small writeup concerning my patch with the clip above.

I’ve talked with friends about how live performance w/ a modular can be difficult and for me, the relative rigidity of a modular (no program changes :slight_smile: ) can be to a large extent be mitigated with a great sequencer, clever patching, and … the ER-301 :grinning:

I have no qualms concerning using auto-saves as a sort of patch memory – so an auto-save per song it has been so far.

I mostly used the 301 for two purposes: Simple monophonic melodic instruments (e.g. some of the orchestral sounds) and as a grain player. @elinch mentioned using the manual grains with manual offsets controlling the parameters – and I instantly stole it and fell in love with the method <3 So there are some field recordings (trains, kids) and some melodic stuff (acoustic guitar) that I control in this way.

I used a Doepfer matrix mixer to control the dry level, delay send and reverb send of each voice – both ER-301 and other oscs – looking to take this further in the future, some more creative patching would allow for more crazy sounds.

Honorable mention: The Klangbau Köln Twin Peak filter is incredible. You get such nice broken and weird sounds out of it thanks to the normalizations – everybody talks about the pinging, but I’m really there for the other stuff :slight_smile:


#308

I am (was?) hesitant to post this, mostly because it’s quite minimal. However, it uses the ER-301 for everything other than the kick and the crackle’n pops. So, here it is :slight_smile:

In short, I played a guitar melody into a pedal looper and shared the buffer with a variable speed player. The playback is almost too slow, and simultaneously pitched up, to even register as a guitar. This is patched into Elements for reverb and resonator-y type things. Then several sample players provide percussion. Plaits handled the bass drum as well as the crackle, via another pedal looper and its particle noise mode. Just Friends did most of the modulation, but again it’s pretty minimal :sweat_smile:


#309

70% or so of ER-301 noodles!


#310

#311

Have a track coming out on the new Modularism Vol 2. compilation this year which heavily features the 301. Will also perform the same patch live at Superbooth in about 3 weeks so will try to post some content after that. First time using the 301 in anger :crossed_fingers:


#312

ER-301 back in the rack, so this was a quick session. Enjoy!


#313

in this track the er-301 is the centerpiece - delays, sample player, granular engine, mixer, eq.
a piece with 3 sequences from plaits. once sequenced live, once as a sample in the er-301 and once edited with the morphagene. the piece builds on a drone from the verbos harmonic oscillator.


#314

Elinch , that some awesome stuff man, well done


#315

Here comes my first piece done entirely with my small modular system !
It’s a kind of sonic postcard, of a place not too far from where i bought my first modules (sisters, maths, cinnamon) last year. Actually those field recordings were taken on 22/04/2017. Not too much significance, just a sign of how long it takes for something to build :slight_smile:
The 301 does all the sound generating, layering and mixing, CPU clicks included and warmly welcomed ^^
Video is not so good, but of all the moving image capturing devices i found in the house, this cheap webcam was the least horrible; it’s meant to be seen with the ears anyways.


#316

Very cool! I’d love to hear a bit about how you used and manipulated the field recordings, if you’re willing to share it…


#317

sure! It’s relatively straightforward.
All layers are turned on/off by the teletype via grid control.
I also have 5 “presets” that load the layers state and a set of parameters for these.

The first (base) layer is simply a 12 minutes selection from a longer take. It is in a card player unit, with an offset controlling speed (quantized to 1,0.5,0.25,0.125,etc).

A more dynamic layer is a roughly looped sound of a train mangled thru three sisters.
Another one (the elevator + city hum low quasi-notes) is simply a ~5 min sample played from various slices.

The last one using field recordings is two manual grains, slightly panned apart, each with a different sample and set of parameters. There is control on the triggers rate and length of grains which when cranked up loads the cpu enough to get the crackly “lower samplerate”-type sounds (around 5’20-50) (i must say i’m pretty amazed by how well the 301 audio behaves under heavy load).
Most modulation throughout the patch is from the o_C strange attractors app.
The time and triggers are random within selected windows, so playing the piece supposed to be more of a listening and interacting than a performing act.

The other sound sources are: for the bass, a sample of sisters low out in self oscillation; for the sines at the end, two osc units from the 301 with waveshaping/filtering from warps/cinnamon. The idea with these high pitched notes is that when they disappear your ear should have an imprint of the notes and hear ghost echoes of them in the noise of the industry in the city’s initial recording.


#318

Hey !
Another little track I create last night !


#319

My submission to this weeks Disquiet Junto. The ER-301 did everything from drums to tape-y wobbles, and the granular processing of a field recording of birds. W/ plays a warped arp loop. Mangroves is the voice.


#320

Really love my ER-301. In this patch I’m using 2 stereo channel pairs playing various samples, background textures (recorded an earlier atmospheric patch from the rack), pads, and all drums and percussion from the ER-301. Drums are triggered by the Eloquencer, all the other sounds are just running looped.


#321

using the 301 to process a guitar loop (crappy noodling care of yours truly). this patch has 6 versions of the original loop - some just pitch up/down, some being run into the granular players with lots of modulation. almost managed to use every a, b, c, d input.


#322

so nice.
is the bass, your pitched down guitar loop ?


#323

that is correct. there isn’t a version of the actual guitar line playing as recorded. pitched down, pitched up and then all the granular stuff.