EXTENSION: NEW DATE APRIL 25TH
Friends, it looks like we are inside at home protecting ourselves, family and the public for the duration. Since it is on everyone’s minds, Patchable 0014 was shaping up to be rather similar to a contest that Waveform Magazine just launched. Therefore, we are combining the NYMS Patchable with this contest. It is up to you if you want to submit to the contest or only the Patchable. Good luck, stay safe.
NOTE: New York Modular Society is in no way affiliated with Waveform Magazine and has no direct involvement in this contest. this is not a partnership between our organizations. NYMS is simply encouraging artists to participate in the Waveform contest.
THE WAVEFORM COVID 19 CORONAVIRUS SONG CONTEST
While we are saddened by what’s happening everywhere, and disappointed (but obviously understanding) by the cancellations of conventions, live performances, jobs, etc., taking place, health is always the number one priority—mental health included. As may of us are cooped up due to Covid 19, and feeling anxious, sad, restless, isolated, or just plain bored, we’ve decided to hold a contest for songs about/inspired/uninspired by what’s going on. We’re hoping this will help to foster in a little creative positivity to the situation as well as keep us from going stir crazy. Have we mentioned that there will be prizes?!?!? Stay safe, healthy, and creative everyone!
1st place – One year print/digital subscription to Waveform + Waveform goodie bag + Waveform Switchenator DIY kit
2nd place – One year print/digital subscription + Waveform Switchenator DIY kit
3rd place – One year print/digital subscription
- Song must be new and written for this contest, so no back catalog stuff please
- Only 1 entry per person
- Artwork for a theoretical LP cover must accompany track. What can we say? We like art. 500 x 500 pixel JPG
- Songs/artwork must be submitted as a WAV file via email to firstname.lastname@example.org with the title “Coronavirus song Contest” in the subject line, by April 25th 2020
READ THIS FINE-ISH PRINT:
We will alert winners via email and announce them on social media outlets. We’ll also yell it out in the streets. By submitting a song/artwork for this contest, you give us the right to publish it on our Bandcamp page, wherein we might make a special Waveform COVID 19 Coronavirus compilation for download. If we do this, it will most likely be free, but if we decide to charge for it, ALL proceeds (minus Bandcamp fees) will go to an appropriate charity of our choice. Only select entries might make it on this compilation, but that is subject to change. In the case that you have already purchased a Waveform subscription and win one of the prizes, your subscription will be extended include a extra year/4 issues.
IF ANYONE WOULD LIKE TO DONATE ANYTHING TO FURTHER ENHANCE THE PRIZE LOOT, PLEASE EMAIL US AT email@example.com AND WE CAN MAKE ARRANGEMENTS.
ONE LAST THING
THIS PATCHABLE RUNS FROM MARCH 16TH – APRIL 25TH
- Include the suffix PATCHABLE-0014 in the track title. A completed track title would look like this: Spiral Vortex PATCHABLE-0014
- Upload your track to soundcloud by end of day, Wednesday April 25th.
- Include a link to your track and patch notes in the comments below.
12 thoughts on “Patchable 0014”
Nerd Seq is master clock and drum triggers via Tip Top BD808 & SD808 and 2hp Hats
Arpitecht is sending CV to DFAM for bass line
Triad is sending CV to Chainsaw into Mimephon for ambient chord bed
Chords triggered by the NEW port of Triad into Pons Asinorum into Intellijel Quad VCA
Mimeophon sometimes also gets a 1/4 note stab from Dixie saw via Pons Asinorum tight EG and exponential VCA
Klee is sending CV to Dixie 2+ into Forbidden Planet into Pico DSP in stereo delay mode for the melody
Melody is triggered by Klee bus 1&2 combined in Maths and sent from the OR port to Pons Asinorum
Quantum Rainbow blue noise into Pura Ruina with gates from Klee for noise percussion
Mother 32 is doing some audio rate PWM percussive sounds that open towards the end
Turing Machine is transposing everything
A long distance collaboration. Piano recorded with a phone in a room in NYC. Guitar and modular in Louisville, Ky.
Piano is just a straight up recording on an Android device… mono, which is fitting as my partner in A Tyranny of Bees is profoundly deaf in one ear. She sent me the track which I processed with Echophon. I added a guitar track processed through my Shared System… mostly Erbe Verb on the arpeggiated chords. Drums are 808 samples played with a Disting MK4 sequenced with a Frap Tools USTA. Ebow guitar driving a Disting as a pitch to voltage device adding a bit of DPO drive into the ebow guitar. Reverb courtesy of Erbe.
Long time listener, first time caller!
Euclidian rhythms from Pam’s semi-randomized via a CV input from a Maths envelope
Drive Akemie’s Taiko, with xtra Pam’s modulation
…and a tracked and held (K2) Maths LFO arpeggio through Disting quantizer into a Crave, with FM from its own LFO.
In the final third, tempo cranked down and Mimeophon cranked up, with clocking and flip from Pam.
Sequences from Crave and Volca Sample and FM and lead melody is K2
orthoganol devices 101/102 sequencing the cwejman BLD, VC)-2rm and VCO 6 with MMF-1s filter. FSH-1 and SPH-1. Drums are MMF-6 fullqpeak for the kick, white noise for HHat and cross modulated vco-2rm for snare. all are summed through the orthoganol devices 301.
Post – touch of compression – touch or dual delay
An attempt to capture the surreal emotional experience of sheltering in place in the relative safety of an NYC apartment during the pandemic, while the city suffers and struggles below. Stretches of serenity and security churn against a creeping, woozy unease. Dis/Ease. These are parts I-III of what I’m hoping to make into a longer piece.
Patch notes: Parts I and III are primarily Lyra-8, run through a Moogerfooger Ring Modulator and mwfx Judder, then into the modular, where the audio signal is multed, one copy running through Mimeophon and another through Natural Gate. I play the LFO Rate on the Moogerfooger and run that into the modular, again multed, so that I can use it as a variable master clock for Batumi, Marbles, Mimeophon, and DLD. Batumi is in phase mode, modulating Mimeophon, DLD, and Natural Gate in the rack, as well as Lyra-8 delay and pitch and Moogerfooger Mix. Marbles strikes the two channels of Natural Gate, which run through DLD. Stupidly, I broke down my patch for Part II without transcribing it, but the main modular component was a sequenced and modulated Rings, which accompanies a softsynth (Arturia SEM and piano) performance.
Spent a lot of time playing in post on this one!
Long winey 70’s synth leads are Midi through Dexed VST in reaper, with Wow and flutter, compression, EQ and TubeAmp plugins
Clock source was a Pamela’s Workout at 75 BPM
The Regular bassy rythem Blurbs with strikes are produced from a Make Noise Qpas. Howe we got there: Clocked Triggers running into A 2HP TM, and an ADSR. The out of the ADSR using a stacked cable Runs to a VCA and to the FM input of a Bublesound VCOb. The 1V/oct of the VCOb is being driven by the TM. The Saw output runs through the above VCA and to the Left input of the Qpas. The right input of the Qpas is fed from the SAW of a GMSN! pure VCO the 1V/Oct comes from the CV output of the second sequencer of the Division 6 Dual mini running an 8 step sequence. Linear CV in is coming from a GMSN! Pure S&H/ 2HP NSE. For the Rest of the Qpas connections: The Second branch of the stacked cable drives Freq1, Radiate -L is being driven by O_c in Quatrauria mode (taking a trigger from Pamela in TR2) and the Triange strike is a loop back from the Right Band pass output. the Right hand !!¡¡is coming directly from the clock. Low Pass L and R, as well as Smile Pass L are going to the mixer. Post was Compressors, Tube AmP and Wow and flutter plugins in Reaper
The “drums/Drips” are smaller loops produced from a clocked gate, but with some skip added. It comes from the Gate output of the top sequence of the Division 6 Dual Mini Sequencer and into the Molekko AD/LFO for AD. This goes to a VCA controlling the signal from from a Pico VCO.
whats up with the date — call me dumb but i swear it was the 15th
It was! Waveform pushed their contest cutoff 10 days. This pushed to coincide.
Headphones or good speakers are recommended.
Performance video is here:
Patch with the Pittsburgh Modular Voltage Research Laboratory and its corresponding Touch Controller, The SV-1 and KB-1 Keyboard, and the Microvolt 3900. Also featuring Make Noise Mimeophon and CV Bus Case, Mutable Instruments Clouds (clone) Befaco STMix, and a 2hp Avert.
Weird patch. I pretty much had all of the oscillators on both the VRL and SV1 pretty much FMing each other all over the place and being played with the VRL Touch Controller. I had the filter on the SV-1 patched to self oscillate and was playing that with a simple octave arpeggiation from the KB-1. The filter kept drifting out of tune so I had to set it in tune on the fly a few times.
The Drone from the VRL was going through the clouds clone which was receiving modulation from various things and the SV-1 was going through the Mimeophon which was also being modulation from various things.
The Microvolt was self patched to make percussive noises and was only receiving clock from the KB-1 and has some delay and reverb via some guitar pedals.
In this patch I have a sequence going on the Matriarch. Oscillator 1 and 2 are both sawtooth waves. The second oscillator is slightly detuned and is sync’d with oscillator 1. Oscillator 3 and 4 are both triangle waves up one octave. A gate from PNW at /16 the clock speed is modulating the pitch of the first oscillator. There is some ping pong delay on the sequence. Throughout the patch, I mess with the settings of the envelope on the filter cutoff.
The kick drum is from the BIA which just has an envelope going through an attenuator and modulating the pitch a bit.
The ‘vinyl rip’ sort of sound throughout is from the Rubicon. I have a ramp wave LFO going into the sync input, a square wave LFO into the pitch cv, and a sine wave LFO into the symmetry input. The Rubicon is self FMing with the sub output into the exponential FM input. There is also some audio rate modulation into the cv of the VCA that the Rubicon is going through. Finally, the output of the Rubicon is going through the Optomix with a looping envelope on the control parameter.
The rest of the percussion are samples on the MPC One.
This performance was created for New York Modular Society’s Off The Grid show on 11/19/2020 and for Patchable 0014, Covid. I created a live modular scoring exercise to two films I had altered and cut together. The overall theme is escaping Earth and Covid, but finding aliens the weren’t exactly welcoming. Enjoy!
Instruo CS-L sequenced by Stillson Hammer, two final outputs to Optomix, double gated by bursts from Quadrax and LFOs into Strike from Maths. Audio to X-pan being controlled by Quadrax LFO both attenuated and attenuverted to create alternating pan channels.
Sine wave output of Instruo CS-L to Make Noise QPAS filter. Resonance and Frequency are sequenced by 0-ctrl.
Erbeverb feeding back. Tilt is randomized by Frap Tools Sapèl, Depth is receiving CV from a Quadrax LFO. Absorb is receiving random smooth CV from Wogglebug.
Random Source Serge NTO into Serge VQVCF, manually controlled with some later help from stored voltages in Sapèl. Audio to Echophon.
Basimilus Iteritas Alter receiving gates from Stillson Hammer and Quadrax End of Rise outputs. Pressure CV from 0-ctrl to Morph.
Morphagene into Monsoon (Clouds) into Optomix. Gene CV is sequenced by 0-ctrl.
Moog Grandmother Krell patch using sample and hold voltage to effect speed of LFO, filter frequency, and pitch of oscillator 2.
In March or so I made something called “Everything is Strange and I Don’t Know What To Do With Myself” which my partner described as impossible to listen to. Hopefully this isn’t as anxiety-inducing.