time is weird. frequency is time. timbre is frequency.

I’m still feeling that time is crawling and flying simultaneously. Maybe that’s just the new normal. It’s probably always been true, but maybe the pandemic made me notice it more.

The partially formed concept I had for the album I’m working on is related to time — entropy, the “arrow of time” and how it relates to life; the opposing but complementary forces of Preservation and Ruin, from which Harmony arises, from Brandon Sanderson’s Mistborn series.

Except that the tracks I’ve recorded really aren’t that much in line with that. I’ll just keep recording stuff, and see what happens I suppose 🙂

I wound up with the 4ms Ensemble Oscillator (ENOSC) and am hugely impressed with it.

Trying to keep the technical description part of this short — ENOSC begins with the basic concept of additive synthesis, but instead of fixed harmonic frequency ratios between the partials, it lets you choose from preset or custom-defined chords, scales, or non-octave repeating interval sets, within or outside standard Western 12TET tuning. The idea is to explore the whole spectrum between additive synthesis and music theory. You can also detune them for lush chorusing effects.

On top of that, the partials can FM each other, using the root or highest partial s the modulator, or each modulating the next higher. Combining that with different frequency intervals can give extremely rich results!

And on top of that there’s a phase shaper and a wavefolder, each with three modes.

The sets of partials have three different output assignment modes, but unfortunately each of them can suffer from phase cancellation issues. Thankfully I’ve built up a pretty good roster of ways to deal with those, it’s just something I’ll have to keep an eye and an ear on.

Overall, the sounds this thing can produce are diverse and… kind of alarming to be honest. Pipe organs are easy, and as others have said, using it for drones feels like cheating. I’ve accidentally created really brassy horns with a sort of grace note attack, with no envelopes at all, just as a consequence of the crossfading as the Root input changes along with cross-FM. It’s done vocal formant “yai yoi oay” type stuff, 808 style hi-hats, a combined bassline/chord stabs, wild FM percussion, and some almost Karplus-Strong like power chords. The thing is full of sweet spots and it’s very easy to get something good out of it, but I feel like it’s going to take a while to familiarize myself with it so I can more or less predict what will happens when I change one aspect of its current state.

ENOSC is 16HP, and feels like it’s deceptively small — like it’s trying to fool people into thinking it’s humbler and simpler than it really is. It also tends to eat attenuators for breakfast — any CVing you do needs to be really cut down to size to work well. So it probably should have been 26HP, like the 4ms SMR and SWN as well as E352 and Shapeshifter. It deserves the larger stature 🙂

I’ve gone ahead and put the Faderbank, HD mk2 and E352 up for sale. The kinds of sounds I’m getting from my current rig without them are perfectly suited to what I want to do, while giving me a whole lot of mad ̶s̶c̶i̶e̶n̶c̶e̶ engineering exploration.

I also bought a used Phonogene, for semi-lo-fi varispeed tape loop stuff — something I have missed since trying W/. The looper and Spectral Time Machine in E520 are their own things, good but not the same as that; Clouds is granular and also different; Mimeophon is not quite there with its hold feature. Bitwig doesn’t really do it live or in such a hands-on way, though I’ve made decent use of its sampler in the Grid.

I’m going to pass on Casper/Bastl Waver, after watching a video demo where the sounds are just not very appealing, there was some nasty clipping and some thresholds where the level suddenly jumps.

My past few tracks have used a LOT of moderately slow LFOs, which made me think a bit about maybe Zadar or a DivKid 0chd — but I do have plenty of available CV outputs and can assign them to LFOs in Bitwig, so I won’t go there.

I feel I’m at or near a “version 4.0” of my modular synth, and maybe I will write up a summary of it, like I did with what I had near the start of this blog.

the bell and whistle orchestra

Saturday morning I went ahead and rearranged my modular setup, discovering my plan for the Pod 60 wasn’t going to work. Pod cases are pretty shallow, and some modules just won’t fit in them. When people report the depths of modules on ModularGrid, they don’t always take into account connectors and cables on the back, so that 28mm module isn’t necessarily going to fit into a 34mm deep case. Also, there was really no way I was going to fit a flying bus cable in there to sneak in an extra power header. So I revised the plan on the fly, and I think it’ll work out. Monday when the custom snake cable arrives, I’ll rewire my studio rack box and see how everything goes.

Shapeshifter arrived yesterday afternoon, and it’s a delight. If considered solely on its strengths as a wavetable oscillator, it’d be a disappointment. If considered solely as a TZFM complex oscillator (using only sines), it’d be… okay, but not spectacular.

It’s all about synergy, though. Things that I thought were extra “bells and whistles” turn out to be part of an unusual orchestra, each one multiplying the awesomeness rather than simply adding to it. The patch I have playing right now while I write this has:

Osc1: “Harmo2” wavetable with the position being slightly modulated by an LFO. It’s playing a minor chord inversion.
Osc2: “Flute1” wavetable.
Main output: Osc1 and Osc2, ring modulated.
Osc2 FMs Osc1 mildly, while Output 1 phase-modulates Osc2 very shallowly.
There’s a touch of comb filtering delay driven by Osc2’s frequency.

Change any single piece of that — the depths of modulation, the ratio of the two oscillators, either wavetable or position within it, disable chord mode, use Tilt, remove the ring modulation or change to some other algorithm, enable oscillator sync… and it could be a radically different sound, but probably still awesome.

Just having FM and PM working circularly leads to magic. Sometimes the oscillators will spontaneously synchronize, in a fragile sort of way, and bring something completely new. Go too far and it’ll just spit and hiss and bubble like a rabid reptilian cat-thing; hit it just right and it’s cellos from heaven. Sometimes when it’s running too wild all you have to do is change the combination mode and it’ll fall into line, or it will start to sound like 1500 Game Boys all playing the same chord in a cathedral. Possibly underwater.

So it’s a little unpredictable — the module is well named — but as much I like spelunking in sonic caverns of possibility, we’re going to get along just fine.

I think what I’m going to do in a few days is put Hertz Donut mk2 and E352 into boxes and see if I miss either of them. That seems to make more sense than trying to directly compare them. In terms of playability I do think it’s a match for the Donut. In terms of features and sound, it’s kind of completely different from E352, but seems poised to play a similar role in how I use it in my music.

Akemie’s Castle is safe. I feel like it’s the FM master, and also better at big dense chords than anything else.

I’m thinking that Loquelic Iteritas, Orgone Accumulator, and others that largely do their thing by having two oscillators modulate each other in various ways, are less likely now. VCOs more along the lines of Ensemble Oscillator or Odessa would be more likely to offer something complimentary but different.

moving parts

The Synthesis Technology E520 Hyperion Effects Processor arrived Saturday. It is indeed a lovely and powerful piece of synthesis technology. As with every one of the brand’s modules, the build quality is really solid and sharp-looking. The LCD on this module is the brightest and has the best contrast of any I’ve seen on a piece of music gear (though this photo really doesn’t show it that well). More importantly, the interface is really smooth and easy to use, with very little shuttling around in menus (with the exception of one feature I will never need) and some of the things it can do to sound are nearly unbelievable.

The E520 has several different algorithms, with the possibility of more to come in future updates. I could (and started to) write up descriptions and mini-reviews of all of them, but that would be long, and probably boring to most people, and you could just look at this for the dry technical version.

So I will just say: there are a bunch of delays, each with unique features and character. Like the ability to change the sample rate of a delay while still staying locked to a tempo, or just shift the sample rate way down to make the delay darker and warmer. Or filters, pitch shifting, pattern-based delay, a “beat repeat” style delay, or a spectral delay that shifts different frequencies by different amounts of time.

There are some other time-domain effects, like a shimmer reverb, granular pitch shifter, sound-on-sound looper/recorder (with beautiful lo-fi tape degradation stuff you can dial in), frequency shifter, flanger with diffusion (which also doubles as a Karplus-Strong short delay), phaser, chorus, wah, etc. And there’s a “dual mono” mode which lets you select two simplified effects and chain them or run them independently.

There are some spectral effects which are kind of out of this world. If the module only had the Spectral Crusher algorithm, it’d still be formidable. Several years ago, I wrote some experimental VST plugins that manipulated sound in the frequency domain — but they were awkward, put a heavy burden on the CPU, and mostly just gimmicky. But Spectral Crusher does several of those in a way that is highly useful.

A normal (time-domain) filter reduces the strength of certain frequencies — for instance, a lowpass filter lets lower frequencies pass, while suppressing higher ones. (Filters generally also have side effects on phase, resonant peaks where they increase levels of some frequencies, and so on which are exploited musically.)

But imagine turning that sideways — filtering out frequencies based on their incoming strength. You could take the strongest bands in a signal and cut them off, letting other harmonics and noise through — and then since the fundamental was probably one of the strongest frequencies, maybe pitch shift the results down an octave. Or you could apply compressor logic to thousands of individual frequency bands. Or you can force the levels of individual bands to decay more slowly than normal, yielding a kind of reverb.

Honestly, as much awesome stuff as this one particular algorithm can do, I feel like there’s incredible potential for even more manipulation of this kind. Granted, a lot of it would probably just sound like mush — but it’s an area I think we will see explored more in the future.

Anyway, there are some other spectral effects — a “drone maker” that slowly samples and sustains bands with a slow fade, a delay with spectral pitch shifter, a delay that applies variations in delay time to different bands, and a “Spectral Time Machine” looper that reminds me of Red Panda Tensor but more (and smoother, since it’s spectral rather than granular). It records audio in the frequency domain, applies feedback effects to it, and lets you play it back and overdub at any speed — backwards, forwards, even completely motionless — with pitch shifting independent of the speed. It’s pretty magical, although apparently was a little underappreciated by the beta testers.

So, yes, it’s quite good. Worth the large amount of rack space it takes up — though honestly, I think for 95% of usage it could get away with half the knobs and jacks. It’s got that flexibility for the edge case situations though, and in modular, that can sometimes be a make-or-break issue.

What else in the Eurorack world? The Pod 60 has been sitting here waiting to be filled up. The Sweet 16 controller should arrive today, so I could move everything over — but I will wait a few days before setting everything up, because my custom snake cable is also shipping now. That way I can rewire the rack with my audio interface and PDU all in one go. I bought a used Shapeshifter and it should be on its way soon. So all this is coming together pretty quickly.

I tried a couple of other firmware options on my Starling Via. META strikes me as a mini-Plaits and mini-Zadar in one module — doing different things depending on mode and looping settings. Oscillator and drum synth; wavetable-based envelope and looping envelope; “sequencer” and looping sequencer (although really those are just “envelopes” with weirder data). I liked the oscillator and drum stuff, but I think I’d rather go with an actual Zadar for the fancy modulation source if I were so inclined, since its display and warping capabilities make it more intuitive.

I tried OSC3 next, and will stick with that for a while. Basic oscillator shapes plus phase modulation, but with two “side” oscillators that have unique detuning features. It has an output that signals the beating frequency between the oscillators, so you could synchronize other modulation to it; you can also synchronize the beating to an incoming clock, which gets pretty wild if you use varying rhythms. And it’s got a chord mode that sounds nicely thick in a chiptuney sort of way, which complements the Via platform’s VCAs and sample-and-hold for some wild AM drones. I’ve got faceplates for OSC3 and META incoming, so I can switch between thus (and the SCANNER and SYNC3 I’ve already got) without being confused about the interface.

I figure I am headed for a “version 4.0” of my modular, but I don’t quite know what that looks like specifically yet. It all comes down to how I feel about Shapeshifter in usage and sound. My rough prediction is this:

  • I’ll probably like Shapeshifter very much in terms of sound and feel. It’ll probably be “grab and go” enough to replace the Hertz Donut.
  • Shapeshifter’s design is primarily a complex oscillator, which happens to use wavetables — wavetables are a weaker feature in it. E352 is primarily a wavetable oscillator, which has other tricks (and TZFM was literally an afterthought). The way I use my E352 in general is that the unison, FM etc. are the primary feature and wavetable morphing is a secondary axis of modulation and variation — so therefore, chances are I will feel like Shifter can replace the E352 as well.
  • Unless Shifter has a very specific FM character to it, I will probably decide — after stewing about it — to keep Akemie’s Castle for now. Yeah it’s big, yeah it’s power hungry, but nothing else I’ve heard in modular sounds like it, and it’s not just the chords or the quasi-harmonic-oscillator thing I do with it.
  • And I’ll probably decide against filling the available space with a Verbos Harmonic Oscillator. It’s big, and pricey, and I’m kind of already using some similar techniques with Castle anyway.
  • I could decide I do want another oscillator though — perhaps Rubicon (a top-notch analog oscillator that does TZFM and is praised for clarity) or Orgone Accumulator (a sort of generalist digital oscillator with some neat sounds) or Odessa. Or I might recognize that Shifter, Castle, Kermit, and whatever the Via is being today, and also the Angle Grinder when it’s not being a filter, are enough 🙂

just when I thought I was o̶u̶t̶ done

Okay, I know what my priorities are going to be with gear stuff.

That Pod 60 case arrived, and it’ll fit fine in the intended space. I’m waiting on the Sweet 16 module before setting it up — and hopefully, that custom snake cable so when I dig around inside the 3U box that has the PDU and audio interface in it, I can switch everything over all at once.

Paul from SynthTech showed off a completed black-panel E520, so I’m expecting my shipping notification any day or hour now.

After that, the next thing I will try is the Intellijel Shapeshifter.

Early on in my modular journey, I look at this thing and my brain shut down. I saw that 2-line LCD and the word “Preset” and thought of desktop synths I’ve used in the past that didn’t work out. From that day forward, I blocked out all awareness of the module entirely.

Yesterday I happened to start reading a thread about it and then watched some videos and then, strictly metaphorically you understand, slapped myself on the forehead. Because this thing is most of what my favorite oscillators are, plus more. It is:

  • a complex oscillator with TZFM (like Hertz Donut mk2)
  • that uses wavetables (like the E352)
  • and also does phase modulation (like the E352)
  • and can do unison detuning (like the E352)
  • and has a chord mode (like Akemie’s Castle)
  • and has a logic output (like the HDmk2) but which can do multiple different types of logic, not just XOR
  • and has a wavefolder (like HDmk2/E352), but it’s analog and can independently process external audio
  • and can use an external signal to do waveshaper-like table lookup (like Jena)
  • and has a sort of bank-spanning interleave mode
  • and can do a form of phase distortion
  • and has a delay synced to its modulation oscillator, which can go into audio rates and act as a comb filter
  • and can do ring modulation and other combinations of two inputs
  • and can act as a vocoder

And sounds pretty fantastic in demos. I will have the space to try it next to everything else I already have, but it may displace some of those old favorites.

E352 does have some features Shapeshifter doesn’t, though in theory I strongly favor Shapey’s feature set. I fully expect that this is a battle that’s going to come down to sound character, I expect.

Whereas HD mk2’s survival in my case is likely to be more about feel. I tried to replace the Donut with several different things and finally circled back to it — I don’t want to make that mistake again — but if Shapeshifter feels as comfortable and inviting to use, there we go.

Akemie’s Castle is a somewhat different beast and Shapeshifter is not really a direct replacement… but it could still step into a similar functional role, especially paired with some other option. I like what Castle can do for me, but I always have in the back of my mind that it’s big and consumes a lot of power. I can imagine replacing my E352/HD/Castle with a Shapeshifter and a Verbos Harmonic Oscillator perhaps. (VHO is another one that I have loved in other peoples’ music and in demos; it’s large but not quite as large as Castle, and a bit pricey but if I’m replacing three major oscillator modules with two it could make sense.)

Of course there’s also a chance that I won’t actually like the Shapeshifter, and everything else will stay as is. I had a Rainmaker for a while, another complex Intellijel module, and found I preferred working with something simpler. But I feel like this is a bit different. We’ll see.

After working this out, the next step is likely to be a Casper/Bastl Waver. I doubt I would then go for Drezno and Jena, since Shapeshifter will have covered the Jena side of things. And then, well, we’ll see what happens. So much for being “almost finished” with changes to my modular 🙂

knock knock

Who’s there?

Opportunity.  It's Opportunity.

Thanks to an offer I could not sanely refuse, I have a 4ms Pod 60 coming. This is a slim, 60HP powered Eurorack case that I don’t have room for… unless I replace my 16n Faderbank with a Tesseract Sweet 16, which I totally can do. (And the Sweet 16 has CV inputs it can convert to MIDI and i2c messages along with the faders. Neat!)

So that gives me +36HP of free rack space (for a total of 40, or 48 without the arcade button) and some relief to the -12V current burden on my main case’s power supply, for pretty much no budget hit.

Aside from the Sweet 16 itself — and the cheap little Mazzatron Mult+PassThru I ordered before this happened, which might free up another little bit of space — am going to sit on my hands and not order more stuff until the E520 arrives… really for real this time. That doesn’t mean I won’t plot and ponder!

slow churn

I haven’t been feeling super creative lately, so there are only two candidates for the next album recorded so far. Otherwise it’s just been a little bit of experimentation, and bit of thought into “finishing” the modular.

Back when preorders opened for the SynthTech E520, it was offered in both aluminum and black panel versions. I chose the black to match my E352. Naturally, production of the black panels was delayed, so while some of the other early birds have been receiving their modules, mine is probably going to show up around the start of next month or so.

I have a WMD MSCL compressor/limiter on the way. While I have a couple of strong favorite compressors in the software world (DDMF MagicDeathEye and NI SuperchargerGT), having one in analog hardware might have some benefit in feedback loops, sidechaining, or overcooking signals a bit. A lot of people who don’t use software like it for “mix glue,” but I’ve also heard some demos of it used on individual channels, and it seems promising.

That leaves 4HP unclaimed in my case, or 12HP if I put the arcade button aside. I’m thinking about waveshapers, and there are a few options:

  • There have been leaks about the upcoming Intellijel Bifold, which is 8HP and has both Buchla and Serge style wavefolders and a crossfader between them; they can be used independently or together, or it can act as a ring modulator or VCA. So that’s a neat option.
  • WMD C4RBN (Carbon) was also recently announced: a 4HP filter with an input saturator and an output wavefolder. But I don’t like the filter character at all from what I’ve heard, although to be fair, most sawtooth-through-resonant-filter-sweep demos make me cringe. I didn’t much like their MMF filter when I demoed it at Knobcon before either, though.
  • Casper/Bastl Waver is a badass “wavefolding drone mixer” that seems extremely relevant to my interests. I absolutely love the sound of it in demos. My concern is its hefty power consumption. I suppose I could still add a secondary PSU to the case if it comes to that, though.
  • Xaoc Jena is an 8HP “binary transfunctioner” — essentially a wavetable without the oscillator. It’s part of the “Leibniz Binary Subsystem” — requiring the Drezno module, which is 12HP. As Deckard in Blade Runner might say, this is both a benefit and a hazard. I’d have to pull out another 8HP of something to make way, and that’s a hard choice.

Leibniz is a cool system. Drezno is basically two modules in one: an 8-bit ADC, converting an analog input into 8 binary outputs which have their own front panel jacks and are also passed to the next module in the subsystem. (With that section alone, you can use it as a sort of multi-step comparator, turn an LFO into rhythmic gates, or send those “bits” into a mixer to create other waveshapes from modulation or audio signals.)

The right side of Drezno converts 8 bits to an analog output. The fun here is that bits can be manipulated in between — ignored, inverted, cross-patched, delayed, divided, or independently generated — and can be processed by other modules in the subsystem. Both the input and output clocks can be overridden externally, so you can use it for sample rate reduction and bitcrushing effects, or clock it like a sample-and-hold at the speed of a sequence. You could patch it as a binary shift register, freezing patterns of bits that rotate left or right or travel in unusual paths.

Jena interprets the 8 bits from the ADC as the index into a wavetable, and outputs its own 8 bits. Typical use would be to feed Drezno a linear ramp “phasor” so that Jena moves smoothly through the table. The tables consist of interesting audio and LFO stuff, Walsh functions (which let you combine complimentary sets of square waves at different harmonics for an alternative form of additive synthesis), and drum patterns. Jena also has a synchronous mode which can use the input signal as a “hint” but remove any imperfections in how it scales or resets, plus a phase modulation input.

So that offers a lot of possibilities, but something’s got to be sacrificed if I go that route. Perhaps I could put a module in reserve and rotate things in or out as the whim strikes. Or I could pull out my rarely used Gozinta and one of the Shades and see how that goes. Perhaps the E520’s scope mode will make me feel less need for the O’Tool+. Perhaps I could DIY or acquire a breakout box to patch my modular to the audio interface without using the Bastl mults (or make a very simple box for those two mults). Or maybe reconsider a 4ms Pod, which is a compact case I could put controllers in and a little overflow space — though fitting it right in front of the case could be a little awkward. Hm. (For that matter, that could fix the power issues and allow for that Waver…)

Anyway — not making any decisions until I play with the E520. I don’t really need another waveshaping option, it’d just be cool. 🙂

wiggle room

Naturally, the Asus Transformer Mini which I was going to use yesterday for videoconferencing in my performance review, has kicked the bucket, shuffled off this mortal coil, run down the curtain and joined the choir invisible. It is an ex-computer.

I used my phone for the meeting, which worked fine (and the review went great). I’ve also ordered a ChuWi Hi10 X, budget Windows tablet that is winning a lot of reviews right now. I kind of wanted to just get a Kindle, because 90% of what I did with the Transformer was read ebooks but it’s a bit bigger and heavier. But then there’s that other 10%, and my eyes do appreciate having a larger screen, and anything that doesn’t put money directly into Jeff Bezos’ bottomless money pit is a small victory.

I’m keeping my 0-Ctrl for sure. I found I can use the clock and envelope functions in ways that enhance it as a controller rather than necessarily a step sequencer; I also find that other touch controllers tend to either lack the same immediacy and freely tunable values, or cost a lot more, or both. Both avenues of research led me to believe 0-Ctrl really is my best choice, and also to have some fun and make some noise 🙂

I went ahead and ordered the Planar 2 I’ve been pondering for a while. It’ll replace my mostly-unused second Stages, and in many ways replace the Touché SE I was planning to sell. Planar is a joystick controller and motion recorder, mixer, crossfader, panner, VCAs, and some other things besides thanks to a clever design.

In preparation, I rearranged my case to fit the controllers at the bottom, rebalance the power consumption, and make space to test the two incoming fixed filters while I decide which to keep and whether to sell off my pedals. In about 3 weeks when the E520 arrives, I’ll make some further decisions about remaining space. I’m kind of thinking about an Erica Pico BBD (if I don’t feel completely full of delay effects) and an SSF Autodyne compressor, or I could just leave some empty space for future stuff.

I kind of accidentally — thanks to a sharp-eared listener when I was testing the noise issues the Mimeophon has — discovered that the unshielded cables between my modular and my audio interface are picking up interference. It’s pretty low level, unless there’s a quiet part in the music and I’m boosting the level quite a bit in the computer. Some modules, if they’re the last in the chain, act as an antenna and pick up weird signals either from other modules, or some other source of interference.

Now of course I tend to make messy music, and usually my gain staging is such that this sort of noise would be too quiet to notice or hidden by other things. But I had always intended to replace this jerry-rigged mess of cables — mostly short right-angle patch cables plugged into adapters plugged into cables plugged into other adapters. So I did some research — important to avoid spending ridiculous sums or getting something unsuitable, especially when search engines often are really terrible at showing you the exact kind of cable you’re looking for — and ordered a custom snake of 6 cables, double-shielded, in an appropriate length and with the correct connectors. There’s of course no guarantee it will solve interference issues, but it’ll at least be tidier and less likely to fail.

out of sequence

As of Wednesday, I’ll have been working from home for four months. Later this week I have a performance review meeting, and it’s the first time they have asked for me to use a camera. My desktop doesn’t have one, but I’ve set up my tablet for it.

Work’s mostly been going smoothly, but music making less so. Ever since getting the 0-Ctrl I have found myself somehow following paths that just don’t bear fruit for me. There were more rejected songs than usual while working on the last album, and I haven’t done anything I particularly like since then. I think I might have finally figured out why — I’m starting the process with a sequence, instead of starting from sound as I usually do.

Some of my work has sequenced parts, but regardless of when those appear in the recording, that usually comes later in the process. My best work tends to happen as a result of exploring sound and finding something that wants to have a piece of music built around it. It seems that if I begin by patching the 0-Ctrl, I look for some kind of “interesting” sequence and try to build around that instead, and the result really doesn’t remain interesting.

So I’ll avoid doing that, and see if that gets me out of my rut. I might also consider reselling the 0-Ctrl and maybe the Lyra-8, in favor of assembling a controller skiff with an Intellijel Tetrapad. Maybe even replace my 16n with the Eurorack “Sweet 16” version for one integrated controller. Hmm.

These thoughts kind of went along with rereading Art & Fear last weekend, which talks a lot about the (highly personal and individualistic) process of artmaking, and how its importance to the artist is paramount but its relevance and transparency to the audience is almost none. This issue for me is definitely a process thing — start with sound and I’m good, start with notes and rhythms and I’m not. It’s a bit weird, but there it is. Just like my decision 3 years ago to

Alongside these thoughts about sequencing, I’ve also been pondering questions of quantization and generative/algorithmic composition. I could babble on about it here as I have elsewhere while getting my thoughts together, but I think it comes down to using my pals Marbles and Teletype in some fresh ways rather than needing anything new.

I think I could easily let go of my second Stages. One of them covers many handy roles within my modular and shows up in more patches than not, but the second isn’t really getting tapped very much. I don’t have a candidate in mind to replace it right now though, so I will wait a bit and see.

Last weekend I tried to cancel my order for the EMW Fixed Filter Bank, since its shipping has been delayed over a month due to coronavirus, and I ordered a Make Noise FxdF which I had thought was unavailable. It turns out, EMW just shipped it. So both of them are on the way, and I’ll compare them and keep the one I like most. This is also the last chance for my pedals; if they don’t do something special for me in a feedback loop with one of these fixed filterbanks, I’m selling them off.


The next Ambient Online compilation has the theme “Unity”, and proceeds will go to the ACLU. (I’d personally have chosen a different organization, and in fact I have done so personally… but protesters definitely need their rights protected right now.) So my second-most-recently finished track will be going onto that instead of the new album.

And my most recently finished track was a Drone Day 2020 project. In hindsight I don’t really love it, so… go hit my Soundcloud if you want to, but meh.

This Friday, Bandcamp is doing another one of its #BandcampFriday things where they waive their fee. Can I record one more track for the album, put together the artwork, do the mastering and release it so quickly? Even with a dentist appointment tomorrow evening? If so, great! If not, well… the release should still be soon. Either way, I will dedicate 100% of proceeds on the album to Reclaim the Block.