Patchable 0005

Continuing our slow, off kilter shuffle toward the darkness of All Hallow’s Eve, for this patchable, you are compelled to draw upon the ominous energy and unresolved temperament of the tritone.  Pulling inspiration from classic horror films of the 70’s and 80s, create a track that uses the tritone in its gut wrenching deepness.

You are not restricted from using other gear, but modular synths must be used.  

HOW TO PLAY

THIS PATCHABLE RUNS FROM OCT 18th – OCT 31st

  1. Create an original piece of music following the above challenge.
  2. Include the suffix PATCHABLE-0005 in the track title.  A completed track title would look like this: Spiral Vortex PATCHABLE-0005.
  3. Upload your track to soundcloud by end of day, Thursday October 31st.
  4. Include a link to your track and patch notes in the comments below.
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mrwilliam

https://soundcloud.com/w-y-543363470/w-y-the-pit-patchable-0005 This soundscape I made pretty damn simple- patch notes: Boog was being played by hand with a Beatstep Pro (only because it was closer than my Keystep) Oscillators one and two were tuned to a tritone and the LFO was giving some movement/vibrato to the oscillators and filter. I was mostly playing octaves and tritone. I obviously had some others in there as well. The Boog was going through a Make Noise Mimeophon then a Mutable Instruments Clouds clone. Both had no modulation going to them at all. I had a long attack time on the envelope generator plus… Read more »

kindstranger

Short sketch! https://soundcloud.com/relatabletones/oooo

Arp voice: ramp + clock into Drezno generates polyphonic gate sequence. Gates trigger Zadar envelopes, which open up VCAs on 4 channels of bit-reduced sines on Assimil8or. Arps are run through 3 Sisters, FM’d by Marbles, then Magneto, also clocked by Drezno. Sequence is ramp + random + clock into o_c in CopierMaschine mode, with a rotating tritone scale mask. Bass voice: E352 through Crossfold + Belgrad + Tallin, contoured by a Maths function and sequenced with ER101, run through Clouds in Oliverb mode.

chris

https://soundcloud.com/beaver-crossing/presently-pending-patchable-005 My piece doesn’t really qualify as scary in the traditional halloween sense. I used two different chords with the tritones and resolution to create the feeling of waiting. I spend my life waiting for something or to get somewhere that doesn’t exist while all the while Ialready have it and you are already there but I can’t escape the waiting. Soooo… horror in a different sense and I think that the two different tensions with periods of resolution represents this well. This piece uses G7 dominate and B diminished for two different tritones. These both resolve to a c… Read more »

forestine

https://soundcloud.com/forestine1/unresolved-patchable-0005

  • tuned werkstatt (low pulse) and primary oscillator (blade wave) a tritone apart. sequenced by mimetic digitalis
  • werkstatt has some pwm and lfo filtering
  • delay pedal with shimmer reverb
  • werkstatt lfo out into primary oscillator fm
  • clep diaz unipolar into blade cv
  • clep bipolar into fragments cv. fragments into spring reverb of moog
  • blade wave into sem filter, inverted envelope from vc eg into cv
  • grandmother tuned to another tritone, pulse on osc 1 and square on osc 2 with pwm
  • quick delayed triangle into grandmother filter cutoff for beebeebeeps
Last edited 2 months ago by forestine
Ethan James Startzman

What’s more fun than one tritone? Two tritones making a diminished chord! Two channels of an Instruo CS-L are being sequenced from a Stillson Hammer into an Optomix. The Optomix strike and levels are being controlled from two Maths modules in Cycle mode. From there, the two signals are sent to mults, with one pair of left and right going to an X-Pan, and one pair going to a QPAS being sequenced from a Make Noise 0-ctrl. then 4 outputs of QPAS on to a 2HP Switch being sequenced by a different channel of 0-ctrl. The output of the Switch is going to an Echophon and… Read more »

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