Morbius demonstrates pattern bussing with Moog-style modular step sequencers.
This is NOT a music-video. It’s a patching demonstration ONLY.
After more requests for additional info, I’ve made ‘another’ “Pattern Bussing” demo. (Sorry- no hi-def or someone to operate the cam for close-ups). I suggest that you simply watch the sequencer lamps and listen to the pattern changes, to get an idea of what this technique can do for you, either LIVE ‘on-the-fly’, or in the studio.
This patch allows you to change the sequenced patterns heard to many different-sounding patterns, and even changing the time-signatures (and back again) WITHOUT loosing either the ‘pulse-sync’ between the two Q960’s, or the ‘time-signature sync’, musically speaking… like- changing from a 4/4, to a 6/4, to a 3/4, to a 2/4, and back to any one, including the original 4/4. You can make it sound like you have a large number of ‘DIFFERENT’ patterns (and you could use these different patterns in different songs, or sections of songs)… and all, “ad-Lib”, improvised, on-the-fly, or any way you want.
None of the patching needs to be done DURING the performance… so everything can be preset and tuned, and you can use a written chart for specific changes you may want at specific places in the music.
Yeah… digital sequencers have some advantages, without any doubt. But- none will let you control, and actually ‘play the instrument’, like this. If you wanted to change the usual patterns played, in an improvisational way, live on stage… a digital will be extremely limiting, only allowing what has been preloaded. With this analog technique, you decide and alter any part, in any way, at any time, backwards, half back & half forward… your creativity is the only limitation.
After many months of experimenting, I found that using only FOUR return buses back to the Master sequencer are needed, even though, from one through eight are possible.
This is not a Moog Modular, but rather a Synthesizers.com Analog Modular system, and I’m using the Q960 Sequencers (2) (clones of Moog’s 960). There are several ways and modules which work well for switching the buses. The Q963 is ideal, and to do this, you’ll need two Q963’s, ‘daisy-chained’ in series, BOTH connected to the ‘SLAVE’ Q960.
Other modules that either WILL work, or will LIKELY work (and this would be for using FOUR buses, as I do here): a ‘patchable’ A/B trigger Bus; two Q149 Signal Selectors; two Q113 Mixers (or four Q112 Mixers); two Q962 Sequential Switches (although there are advantages, there CAN be some unexpected results when used manually); four Multiples (using the switch between the upper and middle jack groups; or- just build your own on a ‘blank-panel’.
Vintage Korg Trident analog polyphonic synth Mark 1 with MIDI IN.
How Vesper made Lady Gaga’s Telephone call
The final outcome:
And here’s how he did it in Ableton Live, who actually was chosen as the number 1 DAW at ST
There are several pieces of Youtube videos connected to this one so the rest you will have to see on his Youtube channel
Learn to be a drummer
A step by step tutorial, more can be found on their Youtube channel, or you can simply skip it and use a drum machine 
Live Sampling in Reason 5
Live Sampling is coming in Reason 5 and since we will all be sampling like madmen I wanted to cover some NN-XT sampler tips and tricks. This week I dig in my own toolbox of production tricks when I am using the NN-XT.
Ever wonder how to get a stutter or glitch edit on a vocal? Maybe you want to play the sound of a TR-808 kick drum as a bassline… all this and more is covered in detail in this week’s episode.
How to expert in oscillators, filters and more
Native Instruments’ Massive synth is a great tool for creating nasty, rocking bass and lead sounds.
In this video Brian demonstrates the basics of using Massive’s oscillators, filters, and other features. He also shows how to enhance your Massive sounds using plug-ins like Transformer
What about DELAY in music
The History of Delay
Phil Taylor over at Effectrode the builders of some of the finest tube based pedals in the world wrote a fine article on the history of delay. Dating back to the telegraph days delay/echo has take a long time to perfect electronically and is still being perfected and worked on. A quick read but very interesting and makes you relish when you stomp on your favorite delay pedal !
Go here to read the full story >>
A closer look on NI’s Evolve Mutations
This 4-part video series takes a look at Native Instruments’ Evolve Mutations 2
EVOLVE MUTATIONS 2 takes audio-visual sound design to the next level, bringing 2 GB of new and original sounds for composers of film and TV scores, game sound designers and music producers seeking unique effects and textures. Split into four useful categories, EVOLVE MUTATIONS 2 delivers powerful and dramatic content in a highly convenient package. Created by working pros in the film TV and games industry, EVOLVE MUTATIONS 2 also contains the debut of the incredible new Trigger FX feature for effortless and inspiring transformations.
Evolve Mutations 2 contains over 300 new sounds based on 2 GByte of samples. The material is organized into four categories:
- “Rhythmic Suites” include stirring percussive and tonal loops complete with individual slices and keymapping;
- “Percussive Kits” allow the creation of original percussive beds;
- “Stings & Transitions” support a composition with striking and suspenseful transitional elements;
- “Tonality & FX” provide a range of highly expressive, evocative instruments and pads.
This is the first out of four videos:
Native Instruments tutorial – Massive
Brian Trifon is back with another electronic music production tutorial, this time focusing on synthesis with Native Instruments Massive synthesizer.
Nice glitch Ableton Live tutorial
Ableton Live guru Tom Cosm explains his approach to creating “a glitching effect that compliments whatever you want to glitch. I have named this effect Clitch”.
This is the latest in a series of very nicely done videos by Cosm – see his site for more info and his YouTube channel for earlier videos.
In this tutorial video I explain a unique way of glitch up your audio, be it synths, drums or vocals.
The technique works like this
- Add an audio effect rack after what you want to glitch, and give it 128 chains
- Give each chain a unique effect (beat repeat, filter etc)
- Midi asign a range of 128 keys (C-2:G8) to the Chain Selection Ruler
- Create a new “trigger” midi track
- Send the MIDI of that trigger track out to the IAC driver
- Either duplicate the MIDI clip for your synthline, or extract a groove from a sample and drag it from the groove pool onto the new trigger clip
- Add MIDI effects to the trigger track so that the new notes in the MIDI clip do new and intersting things.
This is probably the most advanced tutorial I have made, so I encourage you to watch the video as I feel I do a much better job explaining it than I do writing it down!
DATAMASKIN
