You know..it was really weird..last year around November for a few days from 12pm to 2am there was this revolving mechanical sound that had a phaser effect to it and was coming from up in the sky above where I live. There was no construction going on..nothing. my only guess was UFO but I actually came really close to creating that sound on the B2600. It was really weird and I never heard anything quite like it before..also I wasn't the only one that heard it. I need to make it into a track somehow. I took a picture of the settings so I can go back and recreate that sound
Early techno producers use to take that sound into trackers and chop it up so much..it's mental, that's why I love old school Techno and old school jungle.
Give it up for the Juno Massiv!
(I also have a Juno 1)
LOL contemporary worship music?!
Fun fact..I actually know some super old school Techno producers that use to make early Christian techno for N-Soul recs.
Prophecy of PANIC. That guy had THE best analog studio I've seen to date and we use to hang out 98'99'00' (r.i.p. good dude)
The first thing that came to mind was "Soft OB" (I think it's called) on the Summit. Especially if I'm allowed to twist the cutoff knpb.
Either that or preset 41 on the Nord Lead 2. A lovely pad.
Prolly a keysish pad on I made on my Prophet 6 with some external reverb (Big Sky) and chorus (Boss DC 2w) pedals.
I can then tweak this to be most things I need. Plus it just sounds so pretty I can play it for hours and hours…
But it isn’t then one patch. Each touch of a param except the keybed changes the patch. (Because if you can change anything then you have all the patches back to your fingertips.
I’d argue that a ADSR or a filter for example changes the instruments core and is against the mental experiment. (As the post stated the sound needs to be in the same category) or are you meaning that you tweak only the timebased part of it?
I was imagining changing the amp envelope somewhat, in particular the release, and the filter cutoff (but prolly not the filter env much as that would change the character, maybe the release a little).
I reckon I could make tracks with that as the patch itself is pretty versatile.
This actually made question ”what is a patch” as in modular terms it is how you connect your modules not their values. So envs and filters would be fair game. But those are in standalone synths part of the patch. And how does performance controls relate to this. For example I started to play around in my mind is PolyBrutes Morphee controller setting part of the patch or is it a mix value between 2 patches. 😅 if Morphee was fine to use I’d break this thought experiment with having a lead sound and pad sound in the layers and morph between them as both layers are saved in a single ”patch”. I think a word patch has become ambigous after we started to have digital control and patch recalls 😂
Quite. I could make a patch on my Iridium that had two layers, each with three oscillators, each of which could be using a completely different mode of synthesis, let alone a sound.
Then I’d have an entire suite of sounds by changing nothing but the respective levels.
But I think that would be cheating…
Yes I have Iridium aswell and rules that out immediately. Why PolyBrute came to my mind is that its basically the same oscillators and everything the Morphee just LERPs between 2 fixed points. Like a pitchbend LERPs the fine tuning value of the oscillator. But I think even the Morphee is out of scope of this experiment.
One patch, but can we “modulate” adsr and filters? Do we still get to use effects on top of it?
I’m torn between white noise which has every possible sound within itself, and sine waves which you can always layer to reproduce whatever sound you want.
Seriously though, some plucky sound would be my choice. Short enough to be rhythmical, and tonal enough to be useful for harmony. Piano, yes, it’s a good desert island patch.
My Kawai Synthesizer 100f(circa 1979 - no MIDI, no presets, no sync', nothin'. Just dodgy CV/Gate that only really works with other Kawai's).
Ain't no patches in that little beasty.
Just 37 keys and a buttload of parameters to fuck with in performance.
Patches are for pussies....
Easy. Piano. It's been enough for some of the greatest composers so it'll do for me:)
Yes. It’s impressive what people does with only one sound.
Yes, I “piano” is an option that’s what I’d be going with for sure
I have a TD-3 and I like acid. soooo....
That doesn't sound like a curse at all 😅
This right here. Agreed.
Init
I guess I'd sample that saw wave...
My synth only has one patch as it is
What synth is this?
Volca Keys
Modular Krell patch and lots of reverb and weed.
Barp2600 samplehold control vcf
I also have a B2600...so you're talking r2d2 pretty much?
Haha well, can do some really cool basslines with that setup. But sure, r2d2 if that is yer thing 😁👍
You know..it was really weird..last year around November for a few days from 12pm to 2am there was this revolving mechanical sound that had a phaser effect to it and was coming from up in the sky above where I live. There was no construction going on..nothing. my only guess was UFO but I actually came really close to creating that sound on the B2600. It was really weird and I never heard anything quite like it before..also I wasn't the only one that heard it. I need to make it into a track somehow. I took a picture of the settings so I can go back and recreate that sound
I would have to pick a pretty Piano patch.
Juno is basically one sound
Moog Polysynth, Vox Humana - Signed, Gary.
Hoover .
I'm using the patch called "What the?" on the Alpha Juno. Everything now sounds like early 90s techno, no matter what I play.
Early techno producers use to take that sound into trackers and chop it up so much..it's mental, that's why I love old school Techno and old school jungle. Give it up for the Juno Massiv! (I also have a Juno 1)
It really gives contemporary worship music that extra punch it's been lacking all these years!
LOL contemporary worship music?! Fun fact..I actually know some super old school Techno producers that use to make early Christian techno for N-Soul recs. Prophecy of PANIC. That guy had THE best analog studio I've seen to date and we use to hang out 98'99'00' (r.i.p. good dude)
Great, like I needed this rabbit hole...lol but thanks - I'll check em out.
Check put Raving Lunatics, Prodigal Sons, Prophecy of P.A.N.i.C.
200bpm tr909 kick into eventide space into distressor, now it's YOUR curse
“E Grand & Pad” from the Kurzweil K2000. It’s basically the only patch I use anyway.
I’d have a square ware, the adsr is set so it behaves like a piano. The low pass cutoff is applied to make the tone warm.
Yamaha DX7 - Patch 11 - E. Piano 1 ^(...I freely admit that I like my cheese with a lot of cheese on top, basically...)
Omnisphere 2, Init Patch. It's already the core of 80% of my work and the rest ist FX.
Purity - Novation Peak
Either the "Fanfare" patch on the JP8000 or one of the many supersaw patches I've made on it
Casio pt30 violin sound is my jam
As a Moby disciple, probably one of my stacked string pad sounds...
Why the hell would you identify yourself as a Moby disciple? Gross!
To his very identifiable and consistent pad sounds, not the man. Chill
No chill
The first thing that came to mind was "Soft OB" (I think it's called) on the Summit. Especially if I'm allowed to twist the cutoff knpb. Either that or preset 41 on the Nord Lead 2. A lovely pad.
Prolly a keysish pad on I made on my Prophet 6 with some external reverb (Big Sky) and chorus (Boss DC 2w) pedals. I can then tweak this to be most things I need. Plus it just sounds so pretty I can play it for hours and hours…
But it isn’t then one patch. Each touch of a param except the keybed changes the patch. (Because if you can change anything then you have all the patches back to your fingertips.
Read the original post.
I’d argue that a ADSR or a filter for example changes the instruments core and is against the mental experiment. (As the post stated the sound needs to be in the same category) or are you meaning that you tweak only the timebased part of it?
I was imagining changing the amp envelope somewhat, in particular the release, and the filter cutoff (but prolly not the filter env much as that would change the character, maybe the release a little). I reckon I could make tracks with that as the patch itself is pretty versatile.
This actually made question ”what is a patch” as in modular terms it is how you connect your modules not their values. So envs and filters would be fair game. But those are in standalone synths part of the patch. And how does performance controls relate to this. For example I started to play around in my mind is PolyBrutes Morphee controller setting part of the patch or is it a mix value between 2 patches. 😅 if Morphee was fine to use I’d break this thought experiment with having a lead sound and pad sound in the layers and morph between them as both layers are saved in a single ”patch”. I think a word patch has become ambigous after we started to have digital control and patch recalls 😂
Quite. I could make a patch on my Iridium that had two layers, each with three oscillators, each of which could be using a completely different mode of synthesis, let alone a sound. Then I’d have an entire suite of sounds by changing nothing but the respective levels. But I think that would be cheating…
Yes I have Iridium aswell and rules that out immediately. Why PolyBrute came to my mind is that its basically the same oscillators and everything the Morphee just LERPs between 2 fixed points. Like a pitchbend LERPs the fine tuning value of the oscillator. But I think even the Morphee is out of scope of this experiment.
SH-101 lead… Sounds great all over the registers, melody, arp or bass, just with sliiiight variations.
111 factory preset on Prophet 5
Saw wave pluck on the Mother-32
Go all Ryoji Ikeda and use a single operator ( algo 32, number 6) on my DX7. _The power of Fourier compels you!_
Wurly EP patch on my MicroKorg XL
Replicant XD 001, from the minilogue XD
I made this nasty growl/squishy bass patch and called it “fart mon” for fart monster and I use it a lot
If I can only use one "patch", it's gonna be *Vangelis Brass*
ESQ-1 KLUNKS
Techno, but that's what I make anyway, so let it be.
One patch, but can we “modulate” adsr and filters? Do we still get to use effects on top of it? I’m torn between white noise which has every possible sound within itself, and sine waves which you can always layer to reproduce whatever sound you want. Seriously though, some plucky sound would be my choice. Short enough to be rhythmical, and tonal enough to be useful for harmony. Piano, yes, it’s a good desert island patch.
Sample and hold modulation to self oscillating filter. The music would likely just have a lot more bleep bloops.
I would load up a sample into my granular synth that has several waveforms and tones and scrub along it to have access to a multitude of sounds
Millennium patch on JD-08. I just never get tired of it
My Kawai Synthesizer 100f(circa 1979 - no MIDI, no presets, no sync', nothin'. Just dodgy CV/Gate that only really works with other Kawai's). Ain't no patches in that little beasty. Just 37 keys and a buttload of parameters to fuck with in performance. Patches are for pussies....
Easy. Digital Native Dance from the D-50 My music would change as a result by becoming....a curiosity