Hi folks,
here I have my thread where I post the updates of my new project. The task is to ask myself one or more questions about the machines every day and try to solve them in a kind of sandbox environment. No full songs, just ideas and experiments. One recording per day, the so called daily exercises. Many people did that before and I think it is a great idea to get involved more deeply with the gear so I thought, I give it a try!
Day one:
Questions:
What does it sound like to play triplets and quarters at the same time? How to program that in the sequencer?
What can I use the FX-LFO for?
Patchdescription:
The idea of this daily exercise was to try the “3 over 2” rythm. Left hand plays two quarters while at the same time and speed three triplet notes are played in the right hand. So, per bar, four equal notes left hand and six equal notes right hand. Jazz!
Soundwise, this is a simple sine patch. Osc1 and Osc2 are silent. Filter2 is Full Reso, Cutoff 63(and something) to be in octave and tune with the CV-controlled A110 which makes the deep bass notes. On Analog Keys, the tracking of the filter is on 32, so it´s sine is playable. No Polyphony used, all notes programmed, because I could not get the arpeggiator running at all (dunno why, no time to bother, learned about how to make triplets with microtiming instead). I spreaded the notes onto different tracks to have polyphony and additionaly I could pan them differently, which gives a nice effect with the triplets.
Another playground was the FX-LFOs that I never tried before. LFO 1 modulates delay Time and reverb time while LFO2 modulates LFO1.
Everything recorded live via mini jack into the shitty mic in of my PC-motherboard, no normalisation, no compressors or anything added. Live in one take. Played with the mixer page (press perf two times) on the Analog keys and throughout the track changed pattern chain once via song edit mode.
Link: https://soundcloud.com/tonfarben/daily150304
Here I am again. That first file was named badly by me, it must be 150305 and not 150304. Anyway…
Today I recorded a little live tweaking on the Analog Keys. Programmed 128steps of polyphonic melody and tweaked the sound. Question was, what can I do with the feedback mode on oscillator1? Answer: Obviously a lot of harsh noise. So prepare your ears and enjoy. As the feedback mode is rather unpredictable I just recorded a session of 11minutes where the patterns play and I tweaked the filters a lot. Patch:
[ul]
[li]Osc1 in feedback mode with added noise with slowly attacking noise env. Added subosc manually sometimes.[/li]
[/ul]
[ul]
[li]Osc2 sharktooth 12 semitones higher and detuned a little with heavy PWM and manually added subosc sometimes. The PWM is used for AM on Osc1.[/li]
[/ul]
[ul]
[li]Filter1 tweaked cutoff, reso and overdrive. Tracking on 32. A little bit neg Env depth.[/li]
[/ul]
[ul]
[li]Filter2 in Peak mode also with tracking. A little bit pos Env depth.[/li]
[/ul]
[ul]
[li]Breat and Butter ADSR on VCA and a lot of signal sent to all effects.[/li]
[/ul]
[ul]
[li]The Env for the Filters has a very slow attack.[/li]
[/ul]
[ul]
[li]LFO1 modulates Pan and PWM Speed of Osc2.[/li]
[/ul]
[ul]
[li]LFO2 modulates Reverb send and also Pan.[/li]
[/ul]
Nothing fancy today. I just had fun with the four tracks of the Analog Keys. Enjoy!
The only trick used here is the “arpeggiator trick” on the long bass notes. The Arp is set to the highest possible number so it plays whole notes. I programmed 16 notes into it and put a trig on the first step of my 64step-pattern. After the arp is startet, I set rhat trig to a trigless trig (press function and the trig), so it won´t retrig anymore. Voila, instant 512steps loop for the bassline! i read about that trick somewhere on the Elektronauts forum.
Today I let each voice of the Analog Keys play an arpeggio with a different time signature in the arpeggiator in order to achieve randomness and evolving “unrhytmical rhythms”.
Voice1 is playing a sound relying heavily on modulation, through LFO, Metal Sync, AM and PWM. LFO1 modulates Osc1 pitch and LFO 2 modulates LFO1speed.
The other three voices play a sound based on “Toy Piano3” patch, to have some contrast to the harsh sound of voice1.
All voices are mixed on the Keys´ internal mixer page and the thing is recorded in one take, as always.
Thanks guys, glad you liked it! I wasn´t able to do the synth-diary the last two days due to work overload, but tonight I´ll be back, this time trying out stuff on the the RYTM, I think. I already have some ideas. Still lot´s of stuff to try out.
No time yesterday, but today I could finally do something again.
Today I loaded the immortal wave pack into the RYTM. Those are one-cycle waveforms provided by elektron for the monomachine, but RYTM can use them also. With looped one-cycle waves you can immitate an oscillator, and that´s what I did here. On the first five tracks (BD, SD, RS, CP and BT) the same patch is loaded. Synth off, Sample on, in loop mode, sample slot controlled by lfo. So each time a note is played it uses another wave, is another “oscillator”. Because not all waves are the same notes the melodies dialed in get also random, not only the timbres.
The other tracks are RYTMs internal synth engines.
LT used for Bassdrum, MT for short ghost snare, HT for normal snare. CH OH and CY aren´t tweaked much, and the CB is only longer as the default cowbell, if I remember correctly.
Hi there!
Today I jammed on the Analog RYTM. Tried out performance mode, a really nice tool to vary your pattern on the fly.
The melody in the beginning is a FM bassdrum track. The Percussion is FM Snare. The Bassline is made with a single-waveform sample and three performancepads. One for Filterfreq and Reso, one for lfo speed and one for octaveshift. Original idea goes to Zillamatic who did that in the sciencelabchallenge and explained it in his video. Had to try it out, very nice idea!
Another two performance pads I set up you hear alot in this mp3 was setting the FX-LFO to control the Master Volume, set to saw-wave, one pad with a speed of 32 and multiplier of 64, and one the same but with negative depth value, making the pseudo-reverse-effect.
Sorry, the jam is a bit long, with the performance pads you get drifted away pretty fast. Also having to switch between the mutes and back to perf-mode was quite confusing to me.
