This is an improvisation on a rather complex patch. (This patch ate up around 80 cables…) I use six VCOs here, together with 7 VCFs, a tapped BBD, both Wave multipliers A-137-1 & 2, A-126 Frequency Shifter, etc. The result of this cable mess is some acoustic mess (what else), but quite some fun with all its happy-go-lucky-sequences.
We start with some percussion from EZdrummer in Ableton Live. There’s simple midi sequence through Live’s arpeggiators that controls some of the A-100 voices. The most “fat” one consists of three A-110 VCO through two A-108 Ladder Filters. The filter outputss (used in 6dB and in 24dB mode here) are mixed with inverse polarisations (A-138c), so we have a nice 6dB/24dB highpass as well. Filters and VCA are controlled by an A-140, there is also a slow triangle LFO on the filters.
Then thre’s a high sequence which consists of a single A-110 VCO: sawtooth into an A-137-II Wave Multiplier and then into two A-106-1 Xtreme filters (serial connection – highpass first, then lowpass). The Wave Multiplier is controlled by an A-143-3 Quad LFO (four triangle waves). The Square output of this A-110 goes into an A-136 VC Frequency Divider which is controlled by a sawtooth LFO (creating a glissando of minor chord “undertones”) – the glissando is fed into one of the A-106-1s as well. After this, everything is put into an A-188-2 Tapped BBD. Another A-140 controlls VCA and filters, and in some places I use an A-143-1 Complex Envelope (all four ADs in LFO mode) to modulate the BBD frequency.
We also have an A-111 for a slightly more “atonal” high sequence: it is synced and frequency modulated by another A-110, fed into an A-137-I Wave multiplier and then into an A-126 VC Frequency Shifter. The Frequency Shifter is controlled by an A-155 Sequencer. The result (original A-137-I output and A-126 output into an A-138 mixer) is put into an A-106-5 SEM Filter. Envelope is another A-140.
Finally, I use some background electronic percussion: coloured noise put into an A-127 Triple Resonance Filter and (with some parallel A-117 noise) an A-124 Wasp Filter. VCA and filter envelopes are controlled by a final A-140.
Triggers and gate signals have been treated in various ways with A-162 Trigger Delay, A-160 Clock Divider, A-161 Clock Sequencer, A-165 Trigger Modifier and A-186-1 Trigger Combiner.
Here we go:
As usual, everything has been improvised (apart from basic patch creation) and no overdubs have been made.
Track length is 14:29.