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Patch Notes

With the exception of percussion, all voices are generated directly from the sequence being played by the Minifreak. The Minifreak itself is using a modified default patch with SuperUnison, reverb and delay. MIDI out is going to mBrane in 4P mode and clock is sent to the BeatStep Pro via USB. There is no additional processing of the Minifreak’s audio and is sent straight to the DAW.

The evolving chord that is present through the piece is generated by channels 1 and 4 of Mob of Emus and later the addition of Brains in waveshaper mode. Channels 1 and 4 from mBrane are sent to two channels of Scenes in orange mode for sample and hold, which are being triggered from two channels of uT_u using clock divisions of mBrane’s channel 1 gate output. CV from Scenes goes to channels 1 and 4 of Maths for slew before going to MOE. Channel output is combined in a 3 to 1 mixer before being attenuated by pedal converter and sent to the left input of the Zoia. The Brains is getting similar treatment, but using channel 3 of mBrane and with no slew. Brains’ output is sent to Cloaks to allow the signal to be faded in and out. From there it goes to Zoia’s right input.

In the Zoia, the left input is converted to stereo, then run through two separate filters(one per channel) that are set similarly but each is modulated independently by slow free running LFOs. This signal then goes into a stereo mixer. A copy of the mono signal is run separately to a bit crusher that is then into the mixer, copied to both channels. The Brains input on the right is immediately attenuated and then passes through its own filter before going into the mixer. The mixer then runs into a stereo ghost reverb before going out to the DAW.

The boops and chirps are generated in a similar way as the chords. Channels 2 and 3 of mBrane go to two channels of Scenes for s&h. Gates for one are generated by channel B of Brancher on the left side of uO_c with the original gate coming from channel 3’s gate output on mBrane. Gates for the other are generated randomly via uT_u. Both gates go to QEG for envelopes and meet up with the audio at the octal vca. Both outputs are sent to the 3 to 1 mixer, attenuated by the pedal converter, and sent to the desktop pedalboard.

Signal goes into the Alexander Rewind, which is converting mono to stereo and running the dual algorithm in ping pong mode. The new stereo signal then goes to the Strymon NightSky set to dense down an octave, octave up input shimmer with low glimmer, and some low pass filtering before going out to Cumulus. Mix is 50% with 70% reverb. Grains are being clocked by the A output of Brancher on the left side of uO_c and position is being modulated by uTides output 1, which is also modulating itself via output 4 going into shift. From here, signal goes to the DAW.

For the percussion, all triggers come from the BSP, which later has the random turned up to 50 with 50% probability to provide variation. Kick and snare are generated by Rainier in drum mode. Hats are generated by sending noise from channel 5 of MOE to two VCA channels and the trigger to the right side of uO_c in brancher mode. Both outputs go to QEG for envelopes. All three percussion voices go to XXM stereo mixer, then to the Disting. The Disting is set as a stereo low pass filter and is modulated via slow lfo from channel 6 of MOE. From here it goes out to the digdugDIY Purple Rain Stereo v2 for compression and bit reduction before going out to the DAW. Towards the end, both the beat repeat button of the Purple Rain and the looper of the BSP are used to glitch the drum patterns out.

The audio interface is a Scarlett 18i20 with Reaper as the DAW. Mixing, compression and EQ were done before bouncing.