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WIGGLING 'LITE' IN GUEST MODE

Patch teardown
MUFF WIGGLER Forum Index -> Modular Synth General Discussion Goto page Previous  1, 2 [all]
Author Patch teardown
naturligfunktion
cptnal wrote:
naturligfunktion wrote:

The thing that worries me is that I have noticed that I nowadays seem to patch very similar everytime. Maybe that's a good thing, kind of sculpting the "perfect" patch, but it is not as exploring as I am used to...


Perhaps time for a case rearrangement?

I think that's a good idea. I also have a new, small case, and I am thinking to either make that into a drum machine, or to do a complete re-over. To be continued smile
EPTC
Fun topic. There's a few things I keep locked into my mixer, or connected to another module. I have a fixed filter bank that processes nearly everything as an aux, so it's input and output are - for the most part - hard wired, though with patch cables that never move.

Other modules pair really well with each other that they sort of become a single unit. For about two years, EMW's pot action recorder and a metasonix r55 feel really like they're meant to exist together (along with a third module to do the voltage-hz, i use an acidlab ms2 in between them) - I haven't had those three unpatched for as long as they've all been together in the studio.
Blairio
naturligfunktion wrote:
cptnal wrote:
naturligfunktion wrote:

The thing that worries me is that I have noticed that I nowadays seem to patch very similar everytime. Maybe that's a good thing, kind of sculpting the "perfect" patch, but it is not as exploring as I am used to...


Perhaps time for a case rearrangement?

I think that's a good idea. I also have a new, small case, and I am thinking to either make that into a drum machine, or to do a complete re-over. To be continued smile


+1 on case rearranging. It breaks up the muscle memory, and makes it more likely that I try new combinations of modules.
MindMachine
lisa wrote:
I keep a patch until I either record it or deem it hopeless.


Mr. Green Yep - same here.
pugix
My composition process these days typically involves getting an idea about a control structure with complex feedback paths. This can involve a good number of LFOs, sample & holds, VCAs, comparators, mixers, etc.. I picture that in my head first, without any consideration of the audio part of the patch. Then I make a block diagram of the control structure before patching it up, because it can be hard to keep straight the translation from the abstract (an LFO) to the concrete (this LFO).

Then I'll make some kind of audio patch that includes oscillators, filters, effects, envelopes and VCAs. At that point I'll start taking gates, S&H outputs, and curved control voltages from there over to the audio patch. When I get some results that interest me, I'll record a bit of it. I'll iterate the patch, trying different controls to audio, and maybe doing a little repatching. Each time that the results interest me, I'll record more. (My recordings are for documenting history and often appear on my website, pugix.com. I always record in stereo in real time. The recordings aren't meant to 'reproduce' the piece, because my compositions really can't be reproduced, but only glimpsed in a snapshot recording. The 'real thing' always has to be a live listening by an audience.)

I usually won't write down the audio part of the patch. After I've iterated enough times to begin feeling the shape and limits of the patch, I'm ready to start the process over. And that's the time that all the patch cords come out. Or, if I intend it for a live event I'll leave it patched until after the event.

I've documented the hard-to-remember part (the control structure), and sometimes use that again, but with variations.
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