Скачать с ютуб "Below The Sky" featuring Moog Matriarch, SOURCE, Subsequent 37, Bloom, Morphagene, 0-Coast, Magneto в хорошем качестве

"Below The Sky" featuring Moog Matriarch, SOURCE, Subsequent 37, Bloom, Morphagene, 0-Coast, Magneto

Another adventure in modular meets semi-modular in a hybrid environment using Pro Tools for master clock and to record and mix. All sounds are being generated live by the set up you see except for a Valhalla verb and 3 instances of Soundtoys PanMan, plus some compression and EQ for the mix. Clock is via MIDI from Pro Tools into the MIDI input of the Mother 32 and then using the assignable CV out of the 32 to go to the Tempi and become the primary clock. Channel one is going to the Grandmother, channel 2 is driving the Arturia Keystep sequence, channel 3 driving the Qu-Bit Bloom sequence, channel 4 is routed to the clock in of the Morphagene, and then channel 6 is going to the Sync In of the Mod section of Matriarch. The Matriarch is such an inspiring synth, and I'm still starting with it a lot and then adding other elements, and this jam is no exception. It's a pretty simple patch but the sauce is in using the Wave Out of the Mod section being mult-ed and then sent to both inputs of the onboard delay time 1 and time 2. Using a reverse sawtooth that's also assigned to the Cutoff and Pulse Width Amounts with the Mod wheel at about 90% full forward position. Then I'm taking a clock channel out from Make Noise Tempi to the Matriarch's Sync In of the Mod section, so it's tempo locked. Paraphony is set to 4 Voice mode with Osc 1being a Square wave, Osc 2 a Sawtooth, Osc 3 a Square wave, and Osc 4 a Sawtooth. Sync button enabled and Osc 4 is selected for sync with its frequency knob around the 2 o'clock position. I'm gradually opening the Cutoff knob manually as well throughout the piece and then closing it back down again for the ending. Native Instruments Maschine playing back a groove I made with mostly kicks and adding a side stick and hi hat pattern as the song evolves. Clock from Pro Tools via USB. Grandmother is only played manually here, and the patch uses both Oscillators with a Pulse Width wave and in Sync mode. Frequency knob of Osc 2 at about 2 o'clock. Mod section is set to a Sine wave with the wheel at about 50% rotation and being sent to the Pulse Width Amount. Wave Out of the Mod section is going to the Pitch In of Osc 2. Cutoff at 2 o'clock and KYBD Tracking is 1:1. Definitely using some of that quirky delicious onboard spring reverb too. Mother 32 is running an 8 step one note sequence and I'm taking its LFO Triangle wave out down to the Granny and thru its attenuator to back off some intensity, and then back to the 32's VCO Mod in to give it some slow tonal variation, since otherwise it's just playing a static pattern. VCO is a Square wave. Really fun to interconnect the semi-modular synths' various CV functions to get results. Qu-Bit Bloom is generating a 32 step sparse sequence set to a slow clock division with some variation of a minor pentatonic scale based on the 5th of the tonal center using the Mutation and Branches functions, and driving the Make Noise 0-Coast through the ever-so gorgeous sounding Strymon Magneto. Initiating the sequence from the Tempi in Mute mode. 0-Coast: Dynamics knob fully clockwise, Balance knot at about 3 o'clock, random Stair step wave modulating the Multiply CV in, CNTR modulation the LINFM, Trigger In is being modulated by the Bloom's channel 2 Gate out. Then 0-Coast is being processed by the Strymon Magneto on a nice long delay setting. Yep, it's Eurorack mounted! Using an Arturia Keystep to play back a sequence that's just short of a 4 measure phrase and this makes it rhythmically flip around so it's in a slightly different spot when it repeats. It's playing via MIDI out a patch I made on the Subsequent 37 that's in octaves and the lower octave has glide on it and the high octave does not. I just love the sound of it when part of the notes are sliding around and the others are dead on. Arturia is getting clock from a channel of the Tempi. For Morphagene, I used Pro Tools to create a 16 bar phrase with Output's Analog Strings and Exhale. I then patched clock to the Morph and recorded it as one long Splice, then went back with clock running and added a new Splice to every measure so when the part plays back, it moves in time thanks to advancing thru the Splices using its End of Sample Gate. I also have the Morph knob turned up to the point that there's a slight overlap in the Splices. A channel from Maths is connected to the Morph's Play input, allowing me to start and stop playback. Finally, I made a bass patch for the vintage Moog SOURCE I have and I'm playing it manually. I'm running it through a Soundtoys Decapitator a bit to add some grind but it's actually pretty subtle. Helps it cut a little. The SOURCE is an awesome sounding mono synth that I intend to use in more patches to come. That's mostly everything I think, but if you have any specific questions, just hit me up on here. Thanks for listening and please like (or dislike if you must lol), comment, and subscribe if you're enjoying the channel! ~Tim