"Air on a Phone Signal" [mp3 removed]
The problem with adding extra midi channel capacity to a modular synth is now you need more envelopes and amps to shape all that sound. EGs (envelope generators) and VCAs (voltage controlled amplifiers) have been ordered but in the meantime am using other means to trigger the extra channels. (I had enough oscillators.) Here an LFO makes a basic phone signal sound, which runs throughout this extremely modest piece. Drum samples were added in the second half.
"Antipodean Sample March" [mp3 removed -- a revised version is available on Bandcamp]
Sampling wavetable module output and then playing it back as a wavetable and a sample is the main "new" thing being tried out here. House beats tie it together (mostly). The noise textures in the instrumental middle section (if the song had vocals) interest me most here. They go on just long enough that the return of the slightly dumb march tune you didn't really want to hear again feels like a relief.
"qMI Four Channel Composition" [mp3 moved to Bandcamp]
"qMI Three Channel Composition" [mp3 removed -- a revised version is on Bandcamp]
Recently added module -- Vermona's Quad MIDI Interface -- allows you to write polyphonic tunes with monosynths and/or mix four-part harmony in the synth's mixer without later overtracking. These are both done that way. Starting out nursery-rhyme simple; hope to be doing Bach by the end of the year.
"Gamma Wave Source and A-112 Delay with Freeze" [mp3 moved to Bandcamp]
This sounds like acoustic guitar samples but it is a wavetable synth with 8-bit delay. Long MIDI notes act as a gate to "freeze" the delay, causing the repeat notes at the halfway point and end.
"Mutator_uLFO_42+43" [mp3 removed -- a revised version is on Bandcamp]
Same setup as the previous posts with the addition of filter sequencing for the Mutator and swapping out the Gamma Wave Source oscillator (instead of the Z3000 module I was using). MIDI notes from the computer are used as a gate and pitch-controller for the filter as it does its normal sweep (MIDI pitchbend curves are also effecting the cutoff frequency). The EXT input from the uLFO (described in the previous posts) is adding the syncopation. Lastly, 1V/Octave is being used to sweep several wavetable waves in the GWS, giving a little tooth to the signal. Two sessions were done - one with pitch in the oscillator and one without - and then overtracked. The detailed notes are in case I ever want to come back to this. (The Mutator is '96 gear; hence that analogue bubblebath sound. I'm trying to make it do everything the manual says it will. Am going to add drums to this at some point.)
