Today’s upload is a result of testing the triggering of the Nord Modular G1 from the Moog Mother 32 using a patch I already created to use with triggering from my Roland TR-606 toms. I wasn’t sure it would work the same but it ended up working perfectly. Should anyone want the patch by the way, drop me an email, it’s no problem.
The bass throbbing comes from the Moog Mother 32 and using the sequencer. I am slowly getting to grip with it, it’s not complicated, it’s just far from intuitive, but persistence is the key. The bouncing ball style pattern is the lfo’s running into the tempo and reset to keep it all tidy. Definitely the type of patch that yeilds some interesting grooves.
The bass drum sound is coming from the Nord Modular G1, and using a patch based loosely on the classic Roland TR-606, TR-808 style bd, essentially a pulse firing into a resonant filter.
All the noise and movement comes from various FX’s, but the main beef is from driving through the DBX 160A compressors, and boy what machines they are, highly recommended.
I let it settle down towards the end to just be the bass and bass drum sounds minus the FX, with only the compressor doing its bit.
It’s a very repetitive jam, the way I like it.
Tonights upload ended up being a bit of a jammed conclusion to a difficult sound comparison exploration between the Moog Mother 32 and the now classic Nord Modular G1.
I will definitely explore this comparison more in the future, and will probably present my findings in a more A-B fashion than todays jam. I had hoped the patching of the Nord Modular wouldn’t have needed to be all that disimilar to the Mother 32, but as this particular patch relied heavily on a combined pulsewave and sawtooth passed through a resonant filter, I couldn’t quite get the balance exactly right, and have the filter behave in the same manor on both. The Nord Modular seemingly a little harder to hone, without some patching trickery.
However, this trickery is definitely one of the Nord Modular G1 strengths over any other hardware modular setup. the ease at which a tweak here and tweak there is only limited by CPU, and not by space or spending a fair lump of cash.
There is also definitely a sharpness in the Moog Mother 32, an edge to the waveforms that isn’t in the Nord Modular. I would even say the Nord Rack 2 is sharper and more “analog sounding” than the Modular. This sharpness was certainly a consideration when working on the recent Reloc release, which todays upload probably sits closest, albiet a little more erratic or clumsy, probably due to my needing to be in a skype meeting and not playing in the studio.
I was late.
Since my previous uploads of last year, I have finally found a way to begin exploring the software Supercollider, and it’s great.
Much like most people who have looked into using this software, I too was met with a super steep learning curve. It greets you with a firm expression and says “sorry, your not making music today!”.
Although I code for a living, the biggest issue with coding in Supercollider is not the code itself, but more what happens if you get it wrong. Unlike any other coding language that might produce an error in the form of an error message or worst a blank screen, none of this is quite as painful as how Supercollider deals with it.
Typically the error comes as a result of inputting a number in a part of the program dealing with volume, which should have been dealing with frequency. 440Hz, if controlling amplitude is, well, quite loud, and even turning down the volume to one bar on the laptop, it is borderline painful at times. If you have ever seen the opening of Ghostbusters the movie, where Bill Murray’s charatcer Peter Venkman is electrocuting someone during a ESP test using Zener cards, well Supercollider is its equivalent in sound.
However, after watching the incredible videos from Eli Fieldsteel found on his YouTube channel, this rarely happens to me anymore. And not only thatm but working with the software has speed up tremendously and is is not to disimilar, if not quicker, than working with the Nord Modular G1.
I highly recommend anyone who is the slightest bit intersted in Supercollider, to check out Eli’s videos. He has a calrity in his delivery that is pleasing to listen to and super easy to follow, it really is super helpful. Me and my wife Lucia often have him playing just before sleep, haha.
Todays upload is a small experiment using a single 808-esque bass drum and sequence coming entirely from Supercollider, with additional reverb provided by the amazing Ensoniq DP4+.
It’s back and it’s blue.
The first upload of what I promise to be daily uploads once again, comes from some studio experiments with the Moog Mother 32 and a Motu soundcard reverb, which I have to say has a certain quality I find very useable.
This is just one Mother 32 playing a basic patch and, as is often the case, I find yields more interesting results than some complex patches tend to, in my opinion.
I find the Moog Mother 32 incredible to work with for various reasons. Yes, it has limits, and you will catch yourself wishing one more connection is possible, but the fact you can’t, it wont let you, is what makes it one of the best machines I have used in a long time. As a result of that limitation, I find I dig much deeper into the sound of this machine, seeking out those edges where interesting things tend to happen.
The process of creating changes also with the Mother 32. There is a tendency to record blocks of audio, at least for me, although to be fair this is often my process, but these does seem to be an influence on how I reflect on basic ideas, learning where some sounds or patterns are perceived as complex or balanced versus others, and yet there is always with a sense of clarity, simplicity and focus with the Mother 32 which I really appreciate. Unlike the Nord Modular G1, which has been featured heavily on previous uploads, the Mother 32 is more akin to working continuously with a single Nord patch but from the hardware and not the software. It’s both hands off and yet hands on, having a more direct and integrated feeling that the Nord Modular G1 often lacks.
I love the Nord Modular G1, and I love this new Mother 32. They are two very different machines, but with equally pleasing results. I am super impressed with the Moog Mother 32, so you can expect far more from it in subsequent uploads.
Nice to have you back, and it’s nice to be back.
More sonic exploration into the adorable Kawai K1m. The sound of this machine is pretty exceptional.
A single waveform sequenced by the arpeggio on the Nord Rack 2, with a reverb at points, not that it really needs it.
Finally getting some time to play about with the Kawai K1m again, amazing synth, really enjoy using it. It’s a very different vibe to using the Volca Sample for example, and has more in keeping with the Dr T’s KCS or the Alesis MMT-8, which I think would partner it well.
This upload is a 101 providing the 808-esque kick, and the 606 is provided support on the bd and toms…the rest is Kawai K1.
Many years ago I was lucky enough to be given a Kawai K1 as a gift from my brother. It was an amazing synth, and despite having to give it back a week later, I always remembering that machine having a certain quality to the sound that I loved, and only more recently realised a connection with certain music I also love.
It turns out that albums Frequencies by LFO, one of my all time favourites, and the Electro Soma by B12, another favourite, are both heavily using the Kawai K1. I would even go so far to say that that classic bass sound on LFO, is almost certainly coming from the Kawai K1.
Yesterday brought me and the K1 back together and boy does this thing sound incredible.
Lots of digital fuzz from the low bit rate. Very useable and simple editing. Small enough for the desktop, as I got the keyboardless K1m. And yet again I have something that looks like a fax machine to make music on.
Needless to say, a massively underated synth and if you can find one I recommend taking the plunge.
Enjoy the upload