This is nice!!
thanks! it’s mostly 301, JF and teletype (a few serge modules too) // recorded live (very overdriven) on the tascam 464
ER-301 Study I of mine.
All sound sources come from the marvelous ER-301, including 2 OSC units and 2 internal resample units, driven by the Hemisphere and finally mixed in Blackhole DSP. Thank you guys for listening and hope you enjoy it.
Built this really fun patch today. Two Manual Loops units (in mixers), listening to their amplitudes and using them to modulate their own lengths, pitches, delays, filter cutoffs. I’m just using an offset from Triatt to sweep the start position on both.
I really like this patch! I tried to build something similar, but it doesn’t sound nearly as interesting and vibrant as yours.
Would you mind sharing the patch or telling a little more about it? Are you “listening” with an Envelope Follower – and is each of the both channels being modulated by the other one?
Sure! The two mixers are basically exactly the same: in each, I have a Manual Loops unit, and then the audio output of the unit is used to modulate some of its parameters.
For each ML parameter I want to modulate, I put an instance of @Joe’s Pingable Scaled Random unit in its sub-chain (though this could be a sample and hold as well). In the random unit’s
trig sub-chain, the layout looks like this:
Input source (audio output of the ML, grabbed from scope mode on v.4.10) → Limiter (if needed) → Envelope Follower → Skewed Sine Envelope.
Lastly, to keep movement going in a more manual way, I have a simple offset patched to control the
start position in the ML unit.
The result is interesting to me in that the amplitude-based modulation will cause semi-chaotic behavior; the loop might get into a quiet zone where nothing much happens, but then it’ll kick itself into high gear all of sudden. The physical offset basically just ensures the loop doesn’t get totally stuck.
Hope that helps!
Yes, thanks, that helped a lot! It would be nice if the patch could never get stuck, even without manual start modulation. Is there any logic module that can send a trigger when it doesn’t receive a trigger for a certain time?
A simple backup solution might be to mix the trigger generated from the audio signal with a velvet noise unit running at a very low frequency, which would send random trigs every once in a while…
Sure just invert+offset the output of the envelope follower and feed it into an envelope generator with a very slow attack, then take that envelope and feed it into a comparator with a pretty high threshold. The comparator would spit out the gates you need.
A new track from my recent album “The Logic of Nonsense”. Sounds created in realtime using 3 manual grains and my voice from a microphone using one Sample Looper. No overdubs and layering in post. Just improvisation …
Long live Ligeti!
Long live The Pleasant View
I have started to score my paintings with pretty random bits of modular recordings. It’s sort of an experiment in synesthesia. Here some examples, more to be found on same IG account
That last melody must have been mangled through the amazing Custom Unit: Trash Tape - Realtime Crappy Cassette effect, but I can’t even remember recording it.
Proud to share this long piece (in fact, the longest I’ve ever composed), which was included as part of the massive ambient compilation spearheaded over on lines. The ER-301 was critical in making this – I basically used it as a tool to layer, process and synthesize nearly a year’s worth of recordings (modular + field). In fact, I’d say it was the catalyst.
Hope you enjoy, and thanks for listening!
hey i’ll also post a track i made for the most recent disquiet junto collab at lines. ER-301 doing all the granular / looped sample playback stuff with (don’t ask lol) me scratching wallpapers.
latest thing I did on my ER-301…its a bit on the long side
its a track i recorded live with my eurorack before I had my 301. this excercise takes the original stereo recording into the 301 into a 3 band chain for various granular fx and internal modulaiton…
Just got the ER-301 and its a joy! I’m a newbie to all this modular stuff but stumbled into something interesting while studying manual grains and clocked grains.
With intellijel quadratt1U.
White noise -> A
This way I can scan offset of ‘start’ with B and use A to expand random grains in that area. Its nice to close A so you get a consistent grain. Builds a nice rhythm
Triggers from MI Marble.
Did a bit of playing around with raw sample players and some piano stuff. Decided to do a bit of the beginning of Steve Reich’s Piano Phase.
It’s a fun patch to leave running while doing chores around the house.
Yes! This piece of music was a significant inspiration when I first built the piano sample, (actually in collaboration with @Joe) this kind of phasing is something very dear to me. Strangely I can hear clicks in this more than your other example (again laptop speakers) it would be good to know where they are coming from and find a solution.
I’ve started a thread about Manual Grains vs Sample Players for playing piano and percusión sounds and I talk about this…
Could the clicks come from stopping the sample playback and going to the new position as a new note is beeing triggered? I guess if you play slow tunes the clicks go away, right?
Today I will upload a versión of the piano Sample player using Manual Grains for you guys to test It.
I am not that familiar with the manual grains unit. But I was wondering whether playing with the Squash Parameter might be helpful to keep those pops and klick in check… did you try to shape the grain envelope that way ( rather cosine than square)?