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WIGGLING 'LITE' IN GUEST MODE

How do you use random?
MUFF WIGGLER Forum Index -> Eurorack Modules Goto page 1, 2, 3  Next [all]
Author How do you use random?
lisa
Now and then I look into a random source module like Chance, Wogglebug or, just today, URA. My initial feeling is always that they're really cool and that I'd do exciting stuff with them but then I reflect on my feeling for a while and I realize that I actually have no clue what to do with them.

When I started my modular journey I did a couple of tracks where I mixed random and other CV and put them through a quantizer to create melodies. That was fun but.. you know, upwards, onwards. w00t Today I use several channels of random CV from Pam's, heavily attenuated, to add a bit of flutter to stiff sounds. Sounds nice but I feel that my imagination limits me. confused

So, tell me! What are your favorite uses for and patches with random modules?
Parnelli
I'll patch mine into a channel of a Maths that I'm mixing CV with to add a little randomness to what would otherwise be a long and boring CV envelope drone. I don't have anything cool like a Wogglebug though, pretty much just simple S&H devices.
insoul8
How redundant would a wogglebug be if I already have a batumi with the expert firmware installed?
bemerritt
If you haven't take a look at some krell patches. Modulating decay, cycle time of an lfo, filter cutoff, the possibilities are endless.
cptnal
Feed some audio-rate random (noise, or something from the Wogglebug's audio outs) through an attenuator on its way to the speed of your favourite delay, or the playback speed of a sample. Dial in just a little to get a wonky tape sound.

Feed the sample and hold output back into its own clock for an irregular pulse.

Right now I have most of URA and Wogglebug's outputs controlling the parameters of Loquelic Iteritas, the Belgrad it's going through, the notes it plays, and the speed it plays at. I've had this patch going since yesterday and haven't heard the same thing twice. This is fun!

Basically, anything you modulate, consider modulating it with random. thumbs up
Illwiggle
Randomizers shine best imho where subtlety is needed. And where Life is needed. Thats the thing about music & its repetitive patterns. While they give a solid basis to the 'motif' they get stale without a 'wild' factor. I see Randomizers as the sort of 'Jazz' element in a system,
the element of surprise.
flx
We already talked about this in the Snazzy FX forum, but I'm more drawn to chaos than to random recently, because the different circuits offer special use-cases/patterns and are not just ... random all the time.

It all started with the Klangbau Logistic Equation, which is a very musical and rhythmical chaotic sample & hold kind of thing (the ideal partner for a Twin Peak Filter for sweet pings):


https://www.youtube.com/watch?v=VMozPzJxBxk

... and then there are the three Snazzy FX chaos modules, Dreamboat (fast Chua circuit), Kitty Eyes (also fast) and Chaos Brother (slow chaos). They are also clockable and especially the Chaos Brother is awesome to generate off-beat triggers, that still somewhat fall in sync with your master clock.


https://www.youtube.com/watch?v=7qCS-KT0-Pw

Unlike random sources, chaotic sources are also more musical when patching feedback loops in my experience.
brandonlogic
im a heavy random user in all my patches. i have the turing machine, URA, wogglebug, a-149, ornament and crime, benjolin, sample and hold's, sloth, etc. and theres still moments where i feel like i could use more! random is the most interesting modulation source to me, and all random modules have their own unique character so you can never have to many. i probably use random more in patches than i use envelopes or lfo's

a few ways i like to use random volts, first things that come to mind:

sample selection- use with a sampler module where you use cv to select the sample. use stepped random to select a random sample on every step. maybe use a different random voltage for pitch cv of the sample if its just percussive or abstract stuff.

delay effects- use stepped random do determine delay time, feedback amount, or filter in the feedback path.

lfo's- use random to change the speed of an lfo randomly on every step or certain clock multiplication.

velocity- use some attenuated random on a vca of a voice in a sequence so that on every step it changes the level a little, nice way to get more dynamics into a sequence.

timber - use on a filter or wave folder.

clocking- for interesting timing/clock use some random to control a lfo or decay of a looping envelope and use that as your master clock to get nice timing variation that can be as wild or as tame as you want depending on attenuation of the random.

buchla bongo type sounds - random is great for fm bongo stuff. use random to modulate the v/oct of the modulator oscillator, or the carrier oscillator, or both. and then into a lpg
JonathanBedrava
I too use randomness pretty extensively to produce melodic CV. I will generally mix the attenuated Smooth or Stepped output of the Wogglebug with an LFO or some other predictable CV source and then run it through a quantizer.

But other uses? Audio rate random for some interesting timbres on the FM inputs of the MakeNoise DPO. Stepped random to select splices on the Morphagene. I'll take a random CV and run it through a compartor to generate random gates and such. I've used attenuated random to control the time parameter on the Chronoblob delay. All sorts of fun stuff!
kindredlost
Random and chaotic control voltages can be injected into more rigid step sequencer lines by the use of a trigger source and S&H to add an offset. I like to choose a particular step or two of the pattern in which to affect a change then dial in the amount of offset from the S&H/random source. Even using a set number of predetermined pitch offsets and a random gates module like the one from Yves Usson to a bank of switches or vca’s sent through a mixer to your vco can stir up interest in an otherwise static sequence line.

The same technique can be used see to add hochet beats or double beats to the line too. Adding in pick-up or passing tones is a nice thing to do randomly.
R.U.Nuts
Random CV into envelope rise and/or fall CV-ins all the time!
richc90
I often just randomly patch random to unpatched inputs and see what happens. True story.
ianbortolotti
insoul8 wrote:
How redundant would a wogglebug be if I already have a batumi with the expert firmware installed?


I have been wondering the same. I don't have the Poti expander, so I just keep the jumpers set to stepped random and slew the outputs I need to be smooth. This way I can have both stepped and smooth random voltages from Batumi at the same time. Haven't felt the need for more randomness than this yet.
Johnnyfive
i enjoy random for audio manipulation stuff - using it to modulate slide of morphagene, or any of the clouds parameters. random gates are fun on the freeze and reverse inputs of the dld (and freeze input of clouds). also had some fun the other day using random into maths to slightly delay gates in a sequence by different amounts, to make it feel a bit more "human".

currently my only random is noise/s&h - thinking about a small random module and eyeing up the erica pico rnd or, if i go down the intellijel case route, their 1u noise tools. qubit chance looks very interesting, but quite big for a 7u set up.
ipnoteca
i mainly use random to modulate effects.
send to wet/dry of a reverb, or size, same for delay time and feedback.
also to modulate lfo or to mess with clock cv input.
nickgrys
I like to use inverse random relationships. For example one random Source determines amplitude modulation indeex. Then invert the same random source and use it to control the pitch of both the carrier and the modulating oscillators. So lower frequencies have stronger sidebands. This was an example from Allen strange's book.
luketeaford
In addition to tips already recommended:

Random Gates: Quantize them to clock with AND logic and you have VC probability.

Fluctuating random: Use an OR (or min/max) to get a nice effect where you have normal motion you hear in a patch (from an LFO say) that is randomly replaced with the greater random voltage (dial this range in so it's subtle)

Stepped random: Use it with an addressable sequencer so that a random voltage is always correlated to a precise voltage. In this way you can have a random sequence where the root note is heavily modulated. And this can be non linear, so it does all kinds of interesting stuff.

Quantized random voltages: make for interesting transpositions.

Audio rate random voltages can be gritty noise sources. You can make a really lo fi sound if you can control the rate with CV.

Having voltage control over the random amount lets you make unusual effects by sequencing changes to that amount.
spukhaft
I hate to thread hijack, but its seems like a good place. I am set on a A-149. But I'm torn about the expansion bit. Any examples of what I could do with the A-149-2?
lisa
Many good, honest suggestions here. I appreciate it!

I never got around to really try out Maths (I've only used it as a dual envelope/LFO) and I'm experimenting with it now which is really rewarding. I'll have a go at random CV in the same spirit, based on your tips in this thread. thumbs up
R.U.Nuts
lisa wrote:
Many good, honest suggestions here. I appreciate it!

I never got around to really try out Maths (I've only used it as a dual envelope/LFO) and I'm experimenting with it now which is really rewarding. I'll have a go at random CV in the same spirit, based on your tips in this thread. thumbs up


As I said: If you use Maths as an envelope, pipe some random CV (attenuated) into the rise, fall or both CV-ins to bring some variation to your envelope shapes/lengths. This makes sequences sound more "alive".

Another of my favourites: Wogglebugs Woggle CV into structure CV-in of Rings and Rings set to sympathetic string mode for oriental style pitch bends/vibratos (attenuvertor of Rings set somewhere between noon and 2 o' clock, otherwise it sounds plain bonkers).

For those asking about wether a Wogglebug is redundant if you have a Batumi: The audio outs of WB are very useful for retro sci-fi FX sounds or source material for metallic percussion. The Woggle CV is very unique and I think hard to emulate by patching other modules.

Sorry for this stream of conciosness post hihi
cptnal
R.U.Nuts wrote:
pipe some random CV (attenuated) into the rise, fall or both CV-ins to bring some variation to your envelope shapes/lengths. This makes sequences sound more "alive".


Another practical application of this is if you have some noise enveloped with a fast rise and short, randomly modulated fall you can get some nice fluid-sounding hats. (Note also the presence of channels 2 and 3 of Maths for attenuating that random.) Pass the noise through a filter and randomly modulate the cutoff for extra variety.
The Junglechrist
richc90 wrote:
I often just randomly patch random to unpatched inputs and see what happens. True story.


Words ;-)
R.U.Nuts
cptnal wrote:
R.U.Nuts wrote:
pipe some random CV (attenuated) into the rise, fall or both CV-ins to bring some variation to your envelope shapes/lengths. This makes sequences sound more "alive".


Another practical application of this is if you have some noise enveloped with a fast rise and short, randomly modulated fall you can get some nice fluid-sounding hats. (Note also the presence of channels 2 and 3 of Maths for attenuating that random.) Pass the noise through a filter and randomly modulate the cutoff for extra variety.


...or plug a VCA between envelope and filter CV-in then mult the random signal you used for envelope times into the VCA-CV-in: Now the filter cutoff frequency is related to the envelope time. E.g. Long decay = high cutoff frequency, short decay = low cutoff frequency.
erstlaub
SeattleDucati wrote:
I hate to thread hijack, but its seems like a good place. I am set on a A-149. But I'm torn about the expansion bit. Any examples of what I could do with the A-149-2?


You can do all sorts of things with it, a non exhaustive list of some of the things I've done with it:

    Patch each out to an envelope/drum voice for randomly triggering things.

    Send one of the outputs into the clock input of the bottom section to sporadically generate voltages from that section.

    Feed them into a mixer and attenuate for a weird non linear sequencer made from adding different voltages together.

    Use them as a visual indicator of the values being output from the top section (the outputs are basically a representation of the random number that's been rolled on the dice in binary)

    Send them through a slew for nice weird smooth bumps.

    Send them to switches to randomly make things happen or stop happening.

    Impress friends and lovers with an exciting blinkenlights show.

    Clock the whole thing at audiorate and get your choice of clicky fart generators.
richc90
erstlaub wrote:
Impress friends and lovers with an exciting blinkenlights show.


This.
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