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Monthly Patching Workout 2015-2018
MUFF WIGGLER Forum Index -> Your Tunes Here Goto page 1, 2, 3, 4  Next [all]
Author Monthly Patching Workout 2015-2018
Dear ladies and gentlemen

I decided to start a series this year in which I will show an interesting patch each month. I think it's mainly gonna be interesting patches on the modular or other fun routing scenarios across the various machines in the studio. They're not product demos but also not full tracks, kinda something in between coaxing juicy sounds out of creative patches. Usually I'll do minimal editing and I'll describe the patch so people can grasp what is going on. Hope you enjoy this, any and all comments are very welcome!

EDIT: Gonna continue with this. It's peanut butter jelly time!

I was experimenting with no-input feedback patches using the A199 spring verb and RES4 resonator a lot recently, so that's gonna be the first patch. It's a bit hard to control the feedback bursts so I wanted to get a compressor into the feedback path. As I don't have one in modular land I decided to patch the feedback loop out to my Warm Audio WA76 to tame the feedback.

The patch is relatively simple, it's just a RES4 in the feedback loop of an A199 without any input source, with the WA76 before the RES4. It's really smashing the sound with the "all buttons in" mode to tame everything. Three bands are used from the RES4, tuned to three different octaves. An RG6 is at the center of the patch, selfmodulating and also syncing itself (with the gate out, relatively high threshold) which brings a bit of repeatability to the random generator. The RG6 clock output triggers a Maths envelope which gates the RES4 via the internal master VCA. An S/H output from the RG6 is sent to a Quantimator in "arpeggiator" mode and then the three quantized outputs to the three RES4 frequencies for the rotating melody.

I've added a gated noise (from the MS20) after the feedback loop to produce some attack transients at each start of a new "note". So it's not in the feedback loop but just mixed in with it afterwards. It's triggered by the second Maths envelope and fed through a SPH2 for a bit of variation. I find it nice to signify new notes and also give a bit of a "overblow" feeling like in brass and wind instruments.

I'm changing a few things here and there, mainly the envelopes, RG6 frequency (i.e. master clock speed) and the master pitch (via Maths offset into RES4 master frequency input). Bit of Ableton EQ and compression to further tame those transients and some reverb and delay for the spaciousness. Minimal editing in this one. The A199 and WA76 squashing raise the noise floor quite a bit, cannot do much about it but I like the patch nevertheless.

Hope you enjoy it, cheers! Guinness ftw!

[soundcloud url="" params="color=ff5500&auto_play=false&hide_related=false&show_comments= true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /] tra

And the next edition is up!

Another take on the RES4 as a sound source. Next month I'm doing something new, promised smile

I'm using an audiorate RG6 pitched noise, gated through an Intellijel uVCA into the RES4. A cycling Maths channel gates the uVCA and the RG6 slew (it acts as a lowpass filter). The RES4 is tuned to a minor chord and sequenced from a free running D-LFO random wave. The BP out of the RES4 is multed to the pan input of a VCA2P and an FSH1. A Dixie provides an LFO to the pan on the VCA2P and to the mix CV for the FSH1 mix output (the mix output is used to create a feedback loop on the phase shifter). The separate FSH1 outs go to the L and R inputs of the VCA2P.

In the beginning, the Dixie and FSH1 are subaudio frequency, creating just some nice panning; later on I pitch them up to create a frequency shift and AM mayhem smile In the end I turn down the RES4 bandwidths, which basically leaves the original pitched noise from the RG6.

Slight bit of Ableton EQ, compression, reverb and delay.

Hope you enjoy it, cheers! Guinness ftw!

[soundcloud url="" params="color=ff5500&auto_play=false&hide_related=false&show_comments= true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /]
I've long wanted to see how much pings I could squeeze out of the modular system... So I give you the pinging drum machine!

I have only a limited number of programmable triggers at my patchbay, so I first used an 808 trigger out to sequence an Audio Damage Sequencer 1 for two gates. Another 808 trigger out as well as the one from the 707 and 909 make another three (that's all I have at the patchbay right now for convenient patching) for five programmable gate sequences in total. Only triggers / envelopes are used as audio sources, I wanted to see how far I could get without using noise as audio source - thus the shitty snare hihi

In order of appearance: First we have a kick, I used the first channel of a Cwejman ADSR-VC2 to generate a fast envelope which is then sent to the audio in of a MMF1. I very carefully dialed in the decay and resonance to be able to mult the envelope to the CV in of the filter for a nice attack. A VCO6 provides some FM at times. Then we have the "snare", the second channel of the ADSR and a MMF6 BP are used for it. The clean LP out provides feedback FM to the symmetry; the saturated HPF is mixed back in to the second audio input for some more feedback. Also FM from another VCO6 and a 4ms PEG for a pitch envelope. More tom than snare really... zombie

Furthermore some percussion: A rimshot-ish sound from a SPH2, fairly straightforward with just a trigger in (converted to a nice short trigger from a Doepfer A162) and a bit of modulation from the internal modulator. Then, a kind of bongo sound, a RG6 is clocked from the respective trigger and its clock out used as audio source for a RES4. The RG6 provides some random melody to the main CV of the RES4. The BP out, notch out and multed BP via Intellijel uFold are mixed for the final output. Furthermore, a PH4 provides modulation / FM to the individual bands of the RES4.

Finally the "hihat", again a bit funny without using noise or tons of square waves. I'm using a FSH1 frequency shifter for it. The second A162 channel converts the trigger, the up shift output is used for audio, plus some feedback from the mix output. The RG6 random saw as well as triangle and square outs from a Dixie and D-LFO are used for modulation and FM via a VCA-4MX.

Then multitracked into Ableton with minimal EQ, compression, reverb and delay to bring it together. I did it in one take, pulling cables to mute the sounds and twisting some knobs smile Had to cut out a few small things here and there, but not tons of editing really... There's also a RE201 send / return track.

Enjoy! Guinness ftw!

[soundcloud url="" params="color=ff5500&auto_play=false&hide_related=false&show_comments= true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /] ne

It's time for the April patch. Watch your ears and speakers with this one!

For once we got something without the modular this month. Feedback patches are fun on all machines, and mixers are destined to be used this way every once in a while. So I set up my Midas Venice 160 for some tuned feedback action. It's basically just a drone this time, I gotta try to gate all the individual channels once. Another time hihi

I've got the first four channels going from the direct out back to the same channel input, so no external inputs are used. That gives us four bands that we can tune, which is extremely fiddly of course. Just looking at any of those knobs changes everything, it's all at the edge of breaking apart. I somehow managed to tune them to something somehow related and then mainly jammed with the mute buttons and sends.

Sends 1 and 2 go to a Boss RRV10 for some reverb and an Ibanez AD202 delay. They come back to channels 5 and 6 of the mixer for some further feedback Mr. Green Then the whole thing goes to a Mutator for some stereo and filtering action (basically just cutting the nasty highs and a bit of envelope follower action, plus of course the stereo LFO). It's finally fed into a Symmetrix 606 for some more delay.

Basically no editing but a bit of EQ, compression, reverb and even more delay in Ableton to bring it all together a bit better. Very simple stuff actually, but much fun to jam that mixer properly, so I hope you enjoy it.

Cheers! Guinness ftw!

[soundcloud url="" params="color=ff5500&auto_play=false&hide_related=false&show_comments= true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /] ble

Good work! I need to try out some of these techniques, thanks for sharing! applause
Paranormal Patroler
Watching this topic with much interest. I like how you're applying Eno's "studio as instrument" POV, excellent work!
SlayerBadger! Thanks a lot guys! It's highly appreciated. I like to look at my studio as if it's one big modular twisted I got a lot more funky ideas for fun routings so stay tuned! applause Guinness ftw!
Great stuff.
Well thank you very much Sir! Guinness ftw!
I'm really enjoying this thread! Nice stuff This is fun!
Sorry friend, I guess it glitch triple posted?
Dead Banana This is fun!
That's no problem, more posts in my thread are good hihi applause Thanks mate! Guinness ftw!
It's 'bout time for the May patch! hihi

A feedback patch using the Cwejman SPH2 as sound source. Basically there is onboard feedback but it's not enough to have self oscillation at all frequencies. So the mix out on the SPH2 is used for the feedback via a SSF Mixmode, multed to two channels for more gain and using the "saturation" mode of the Mixmode. They must be inverted or they kill the feedback. The L/R outs go to a VCA2P and are gated there with a Maths channel (i.e. after the feedback network which makes things easier to control regarding levels). The mix out is further multed to an A199 springverb, which then goes to the pan input on the VCA2P.

A selfmodulated RG6 is at the center of the patch: its stepped output goes to a Quantimator, the 1st and 3rd out go from there to the SPH2 L/R CV inputs for the "melody". A bit of modulation from the internal LFO on the SPH2 is used for some kind of vibrato. Furthermore, there's a PH4 providing modulation for the various "amount" CV inputs on the VCA2P and a bit of the SPH2 frequencies as well. Finally, a D-LFO is used for FM on the SPH2, it's tracking the RG6 too. Also, there needs to be an offset on the freq of one of the two SPH2 channels to tune them together, which is provided by Maths.

The whole thing then goes through a Symmetrix 606 for proper delay and is tracked in Ableton. As usual, just minimal editing, compression, EQ and some more reverb and delay are used to finish it all off. The Symetrix has a strange noisefloor that I have to look into once, I've managed to basically notch it all out but it's a bit annoying...

Hope you enjoy it, cheers! Guinness ftw!

[soundcloud url="" params="color=ff5500&auto_play=false&hide_related=false&show_comments= true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /] t-network
applause applause very nice!
i'm soo lusting after a SPH2
Thanks a lot timoka! Love the SPH2, such a great module. Anyways, here's the June edition!

Sometimes you can really get lost in a patch and spend hours tweaking it. This was one of them. I had it set up for a few days now and jammed it for quite some time before committing to record. Not sure whether it's very cool to listen to but it definitely was a lot of fun to do.

It's an FM patch with two PH4 quadrature LFOs, one set to sine and one to triangle. They go to channels one and two of a VCA4MX, then their sum goes to a RES4; the BP and notch outs of the RES4 are routed to the L and R channel of a VCA2P. The BP out is further multed to an A199 for some spring verb action, its output goes to a SPH2 for some phaser motion and then to the pan input on the VCA2P.

At the center of modulation is a self-modulating RG6. The normal S/H out provides a "melody" to the two PH4s via two SSF Mixmodes. Further at the Mixmodes we have two offsets from Maths to push the LFOs wide into the audio range; and then also via the Mixmodes the 90° out from each PH4 FMs itself and the 180° out FMs the other PH4. These later outputs are routed via the third and fourth channel of the VCA4MX: one D-LFO sine output AMs the first and second VCA4MX channels (with the main audio path of the two PH4s), inverted to one channel via a Doepfer inverter; and the second D-LFO saw output AMs the third and fourth VCA4MX channels (with the FM-to-each-other path), also inverted to one channel via the Doepfer. The high S/H out of the RG6 modulates the frequencies of both D-LFO channels, the gate out (threshold and length all the way down) syncs the saw LFO.

The RES4 bands one and three are tuned to a low and mid frequency with relatively little resonance, they're always present basically and sometimes sweeped manually. The second band is mid frequency and high resonance and is "sequenced" by the low S/H out of the RG6 and brought in sometimes. The fourth band is high frequency and high resonance and modulated by the random saw of the RG6 and provides a nice sweep, I also manually played with the level of it to bring it in and out. The inverted random saw out of the RG6 provides a pan to the A199 / SPH2 return on the VCA2P. Finally, the RG6 clock goes to a CTG-VC that provides an AD envelope to the main RES4 VCA.

That's it, then I mainly play with the RG6, D-LFO and PH4 frequencies and FM levels, and the CTG parameters. Lots of fun and a highly interacting patch with all the cross- and self-FM and the RG6 and CTG at the center of it all.

Minimal editing in Ableton as usual, plus some EQ, compression, reverb and delay to smooth it all out and bring up the levels. Could also not resist to add a Space Echo return, of course that makes everything sound beautiful but there you go hihi

Hope you enjoy it and all the best! Guinness ftw!

[soundcloud url="" params="color=ff5500&auto_play=false&hide_related=false&show_comments= true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /] ercussion

Things were starting to drift off into bleeps and bloops so I thought I'd torture you with a boring subtractive patch hihi I wanted to go for something paraphonic with four oscillators and some nice MMF6 mangling It's peanut butter jelly time!

[soundcloud url="" params="color=ff5500&auto_play=false&hide_related=false&show_comments= true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /] het-voices

At the center is an Audio Damage Sequencer 1. It gates the final VCA (Addac 802) and the MMF6 through which all four oscillators go (mixed via the 802 as well). Also, it sends a sequence to the first osc, an Addac 701 (the MMF6 tracks this sequence, too; furthermore there's some feedback from the saturated BP out to the symmetry CV). The second 701 is used for the bass voice, transposed by a Qunexus. As a third osc, a VCO6 is also tracking the Qunexus and transposed a 5th up from the bass 701. And finally, another VCO6, also tuned to 5th, just stays the same in pitch. Using square waves with PWM from an A143-3 on all the oscs but the third, which uses the Cwejman PWM saw from the VCO6. The whole synth thing goes straight through a RE201.

Then we have a ping track. It uses the Sequencer 1 accent to trigger the second ADSR-VC2 channel, the ADSR is then routed to both audio inputs and a CV input of a MMF1. Set on the edge of self-oscillation and in double BP mode, this gives us a nice pinging percussions. It's sequenced by a Sequencer 1 CV output as well as modulated by two multed LFOs of the A143-3, one for the frequency and one for the spacing. The output is then fed back to the CV inputs as well, all the CV inputs are mixed via a Manhattan Analog Mix. This whole voice then goes to an Ibanez AD202.

Finally, we have a noise and snare track. The noise just drones away and is made up by an audiorate RG6, using the high S/H, clock and random saw outputs via a SSF Mixmode to a RES4. A PH4 provides two 270° shifted LFOs for the slew (which acts as a LPF on the S/H out) and the random saw slope (which makes the clock that is feedback modulated by the random saw freak out). The individual RES4 levels are modulated by the same PH4, the frequencies by another one. Both set very slow. Then, a synced and Maths-slewed Dark Time provides some modulation for the global RES4 frequency and the PH4 frequencies. There's also some more feedback CV from the notch output (the notch and the Dark Time via another Mixmode). The BP output goes to a FSH1 for some stereo flanging action, using the up / down outs left and right, with some feedback from the mix output and some sine modulation to the mix CV from a slow D-LFO.

The snare is a quick thing, using the second D-LFO's S/H for a pitched noise (some offset from Maths to bring it up high enough) going through an A124 Wasp filter. It's gated by a Sequencer 1 CV output with a CTG-VC that also provides some snap to the Wasp, which furthermore also tracks the Dark Time. The Wasp is then fed to a SPH2 for some stereo motion. Both the noise and the snare stereo tracks are mixed together with a VCA4MX (this is also where the CTG gates the snare) and routed stereo to a VCA2P and mono to an A199 spring, from there to the pan input of the VCA2P.

Then I basically just jam with the Qunexus, oscillator octaves, MMF6, Sequencer 1 repeat (fun since the ping and snare are repeated as well) and ratchet functions and the PH4 offsets (thus muting the RES4 and lowering its frequencies). Pulling some cables here and there to bring the snare and ping in and out, all done in one take thumbs up No editing at all this time. As usual, some EQ, compression, reverb and even more delay in Ableton to smooth it all out and bring up the levels a bit.

Hope you enjoy it!

Cheers Guinness ftw!

oh wow, sounds so nice! the RE201 does a wonderful job...nothing beats a real tape delay! Guinness ftw!
Thanks mate! Yeah, it's totally cheating but so lovely hihi
For a long time I wanted to see what I can do with a RE201 and MXR 129 Pitch Transposer in a feedback loop via a mixer. So here is the pitchshifting Space Echo! Mr. Green

Also, ever since Paranormal Patroler has been watching this, I've wanted to use the MPS1 for something, anything, just because... cool

[soundcloud url="" params="color=ff5500&auto_play=false&hide_related=false&show_comments= true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /] ace-echo

I wired up the RE201 on the first send of my Midas Venice 160, then routed it to the MXR and from there back to a single channel on the Midas. That way the feedback can be operated on the send where the MXR comes back, which of course will make each repeat shift further up or down. This causes quite a mess with a lot of input and feedback hihi As the MXR has a bit of processing latency, it's a bit fiddly to tune in a nice delay pattern, but I somehow managed to get something... On the second send, I'm using some Quadraverb for a bit of ambience, going back to a normal return.

Then, nothing fancy, the idea is to create a whole sonic soundscape from just simple sources. I decided for a clap and clave from my 808 for minimal drums, plus my Andromeda - sequenced by several patterns of my Zyklus MPS1. Very simple patch on the A6, just two squares, slightly detuned and an octave apart, string-ish amp envelope and a bit of poly portamento.

The main mixer out goes to a Mutator for some filtering of the whole bus and a bit of stereo motion (also a bit of envelope following). Then straight tracked to Ableton in one take, using the Zyklus to bring the different sequences in and out (or rather, stack them on top of each other) and transpose the whole thing here and there - and of course jamming the mixer and amount of pitch transposition. In the beginning, there's no transposition (giving a bit of a flanger effect because of the pitch transposer's processing latency), then I gradually fade it up with some stops at +1, 3, 5, and 7 semitones; then staying at the +12 (an octave) for most of the time and jamming the shift amount a bit more later on. In the end, as I fade out all sounds, only the feedback remains which I crank up quite a bit and shift it around a few times. Oh and also some Mutator tweaking here and there.

As usual, minimal EQ, compression and just a sight bit more delay and reverb in Ableton to round it all off. No editing in this one though.

I'm not exactly sure how interesting it really is and it's gotten slightly long, but it was much fun to do. Hope you enjoy it!

Cheers Guinness ftw!

I'm rather late with the September recording Dead Banana So, I had a sweet meditation patch going while cooking (pumpkin-curry soup), so I thought I'd record some bits and then go totally overkill with adding up effects on it. Turned out rather spacey I guess hihi

[soundcloud url="" params="color=ff5500&auto_play=false&hide_related=false&show_comments= true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /] raindance

So the original patch is three parts from the modular, a noise from a Cwejman D-LFO S/H at audiorate through a SPH2, a FM patch with two PH4 and a pinged RES4. At the center of the patch is a selfmodulating RG6, the clock is used to ping the RES4, the various S/H outs go to some individual and the master RES4 frequencies, as well as the PH4 and D-LFO frequencies and the SPH2 modulator rate. Everything is gated via a VCA4MX and a Doepfer A142-4 for the noise and FM parts, and a CTG-VC for the pings. They are gated from various outs of the RG6, manipulated in timing with a Makenoise Maths and A162. The whole thing is mixed and goes through a FSH1 with feedback and a bit of modulation on the mix from the second D-LFO sine, with the up and down outs used left and right for some nice stereo flanging. A couple of times I go into the audiorange with it. The mix out is further sent to an A199 for some spring verb, the final mixdown is then brought together by a VCA2P.

Then, after recording the patch and a bit of editing, I start to stack up the FX. Besides the original, each return track is also fed into the next one again after recording it. So, first we have a delay-focused RE201 return, straightforward space echo. Secondly, I feed a Quadraverb for the initial reflections into the RE201, focused on the spring verb this time. It's fun to sculpture the space with the digital verb in front of the springs. Thirdly, a stereo delay from a Symetrix 606, fed again into the Quadraverb for some flanging and then to a Mutator for the stereo filter sweeps. And finally, we have a fourth return going to a Boss RRV10 reverb and then an old MXR Pitch Transposer.

Of course, the FX returns become more and more of a drone with each pass. The MXR at the end is a real space machine. Much fun and it ends up tying everything together in a nice way somehow. Good workout for my patchbay too Mr. Green

As always, a bit of delay, reverb, EQ and compression was added in Ableton to glue it all together.

Hope you enjoy it and cheers! Guinness ftw!
I wanted to take advantage of the fact that the Cwejman RG6 sampling signal (of the S/H generator) bleeds into the clock output of the module. Not sure why Wowa did this but it's great fun to ping stuff, as there is a very quiet noise floor in the signal that accentuates the resonance of a pinged filter. I suspect it's also the reason why several modules don't like that clock, e.g. René.

[soundcloud url="" params="color=ff5500&auto_play=false&hide_related=false&show_comments= true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /] generator

The RG6 also does this when using an external input, feeding the ext input through to the clock. I wanted to use the clock trigger for a ping, and in addition have some function generator in the sampling input that would bleed a little into the ping trigger. So, the RG6 is at the center of the patch, its clock goes to a RES4 which is tuned for a nice ping. A multed copy of the clock plus the RES4 output are then mixed and sent further to a SPH2 phaser, resulting basically in two serial pinged filters. The RG6 is also modulating itself from the random saw a little bit. The SPH2 L and R outputs are fed to a VCA2P, the mix out goes to an A199 for some spring verb and then to the pan input of the VCA2P. The three VCA2P channels are autopanned by three outputs of a PH4 - you can hear it nicely in the noisefloor of my system / the A199 hihi

Then, a CTG-VC is fed into the S/H sampling input, basically creating up and down stair patterns. This envelope now also bleeds slightly into the clock output, i.e. the audio chain. I take advantage of this in the middle and towards the end of the recording, bringing in the background drone by pushing it up to the audio range. Of course, otherwise it's just DC in the audio path (which is cut anyway on the way in to the DAW). Furthermore, the mentioned stairwave modulation output from the S/H is fed to the RES4 master frequency as well as the SPH2 L and R frequencies.

Finally and just for fun, we have a D-LFO at audio rate for some FM to the RES4 master frequency, going through a VCA4MX whose channel is gated by an A142-4 envelope, which is triggered from the RG6 clock. Then, I mainly jam with the various CTG-VC, RG6 and VCA4MX controls. So, when the CTG is at audio rates, it creates a drone in the clock out of the RG6. Fun patch applause

As always, little bit of Ableton EQ, compression, reverb and delay. Hardly any cuts this time, quick and dirty smile Hope you enjoy it!

Cheers Guinness ftw!
great, pings are swirling around my head! love it
Haha, thanks mate! applause Yeah, gotta love the VCA2P-PH4 combo. The L and R channels on the VCA2P are modulated by two sine waves 180° apart, and the pan input (i.e., the spring verb return) is panned by another sine 90° apart. Offset knob on PH4 almost all the way up so the LFOs don't fully close the L and R VCAs, and pan knob on the VCA2P almost all the way to the left to compensate for that offset in the panning channel.

Cheers! SlayerBadger!
heavy thread!
I will need more timmmmmmmmmmmmmmmme to digest this all!
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