This is quite a retro sounding piece and my Kotau to the great Berlin School in the 70ies. Great Artists! (Edgaer Froese, Klaus Schulze, all the others…)
We start with some noise (A-117 Digital Noise output) put into a A-101-1 Vactrol VCF. The filter is near self oscillation and is modulated by an A-155 Sequencer. We go into an A-132-3 VCA, modulated by an A-142 VC Decay.
Then we have a traditional electronic “bass drum”. This is an A-106-6 XP VCF, self-oscillating and with some white noise input from an A-118. To add some dirt, I put the result through an A-136 Waveshaper. The A-106-6 is modulated by an A-140, which also controls the A-132-3 VCA.
Next we hear some “snare”, whatever, percussion sound. This is a bit more complicated: Sound source is coloured noise from an A-118, put into an A-124 Wasp Filter. Then I put the result into an A-127 Triple Resonance Filter. After this, the result is put into an A-132-3 VCA (both Wasp Filter and VCA are modulated by an A-140 ADSR). We’re not finished yet. Then we go into an A-188-2 Tapped BBD, and with both outputs into an A-134-1 Panner – modulated by an A-147 VCLFO, which is reste by the master A-154 sequencer clock, divided by 8 with an A-160 Clock Divider. Complicated snares, eh?
The sequenced bass lines are quite straightforward: two A-110 VCOs (square wave and triangle wave 1 oct down) go into an A-108 Ladder Filter (in bandpass mode). Then into an A-131 VCA (which sound more “retro” than the hifi-alike A-132-3). Both filter and VCA are modulated by an A-140 ADSR. The filter is also modulated by the A-155 Sequencer (same sequence as for the VCO pitch).
This bass line is doubled (i.e. another two A-110s and another A-108 and A-140). Both voices are separated a bit in stereo. I use one A-155 for the two bass lines (two separate rows through an A-156 Quantiser) and another one for triggering bassdrum (XP Filter) and snare drum (Noise through Wasp Filter). The A-154 Sequencer Controller for the bass lines is modulated in “first” and “last” step, the sequencer controlling rhythm is reset by some combination of trigger / sample and hold and trigger delay (being “nearly” random). The additional digital noise is triggered by a combination of A-160 Clock Divider, A-161 Clock Sequencer, A-165 Trigger Modifier and A-186-1 OR-Combiner.
Both bass lines are transposed manually (with an LMK2+ through a Kenton Pro-2000 MkII) and there is some Melotron sound by GForce M-Tron.
As usual, there are no overdubs, everything is recorded “live”, with some additional reverb, delay in Ableton Live, some slight distortion with NI Guitar Rig and mastering in Cubase.
Here we go:
Track length is 13:29.