||5U Harmonaig and Marbles
Starting off with the Q-Bit Chord generated round. Mutable Instruments Marbles sending it a pitch c/v, Turing Machine for inversion/quality and an LFo to the waveform. The root run direct to the mix and the three intervals sent through a Synthetic Sound Labs Seqwencer IV sequential vca. These are slowly faded in and out to mix with the root.
The next few looping sounds are the MI Rings and Piston Honda. Both controlled from Marbles.
Finally the main melodic content is pitch directed by Instruo Harmonaig to the 5U. The Harmonaig is pitch controlled from a Q960 step sequencer from Synthesizers.com and a pair of STG Soundlabs Voltage Mini Stores for transposing and voicing.
The pitch data from the Harmonaig sends a root pitch to a Q106 vco and FSFX built MI Braids. The Q106 is fed through a modular build of the Behringer DD400 digital delay and the Braids is timbre modulated by an Oakley VCADSR.
The three other interval c/v's are sent to three more Q106's. The third interval is split into two rhythm patterns gated by a Moon Modular M563 trigger sequencer, STG Soundlabs Trigger Mini Store and various LFO's from Mega Ohm Audio. The filter is an Oakley SVF (band pass). The second tap is into a Modcan 73B delay and direct to mix.
The fifth interval is through a Q107 resonant state variable in band pass with 1v/oct tracking for a sine wave output and send through a Strymon Blue Sky pedal. Slew is from the Harmonaig.
The seventh interval is routed through a Q150 transistor ladder low pass filter.
Other delays and reverbs are from a pair of Lexicon MX200's and a T.C. Electronic D-Two delay. Recorded direct to Cubase in one pass. Video from my iPhone and edited in Final Cut Pro. br> br>
| br>Wonderfully mesmerizing and beautiful piece! I particularly like it starting at 3:45 to the end. br> br>
|JohnLRice wrote: |
|Wonderfully mesmerizing and beautiful piece! I particularly like it starting at 3:45 to the end. |
Ha. You win the golden ear award. That is when the full chord progression finally kicks in.
Up to that point I made a step-in series. I start with the third, go to the fifth and seventh and (at your indicated point) bring in the root.
The fascinating element is the rhythm of the third interval part(s). They are a polyrhythm of a leading half beat against a full quarter down beat. It sets up a half beat illusion on one until the bass part comes in. At that point it sounds like the bass is leading but it isn't. The bass (root) is on one and is heard clearly later when the third drops out (right at 5:00).
I really like these shifted downbeat anomalies. In my case it was purely a fluke. The STG and the Moon trigger sequencers combined to provide the effect accidentally. They got out of sync and I didn't bother to correct them It worked beautifully and I doubt I could ever get them to work that way again. Luck is a fickle mistress. br> br>