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PATCH NOTES.

On this page, you can find some of my patches and projects with patch notes, video jams, and files.

ATHLETIC AESTHETIC - 2024-07-28

[ youtube jam - download patch ]

This jam was requested by one of the subscribers, so I decided to upload it while re-learning Teletype basics. I’m going to take a break from fixed racks with Audible Instruments for some time because I really want to focus on Teletype and learn different ways to use it as the “brain” of my setups. (It has almost endless potential, but I’m too lazy to figure it out in one go). Funny thing: I’ve been patching only Audible Instruments modules for the last 2-3 months, and I have a strong feeling that I haven’t used even half of their functions. That’s why I love modular synthesis so much, I guess!

In this case, I had one restriction - to use only 5 modules: Marbles, Stages, Plaits, Elements, and Clouds. I made a few patches that were okay, but in the end, I added a mixer module because I really wanted to use Plaits and Elements as separate voices. Also, I’m starting to feel a little bit better with all the different controls and changes while jamming, but it’s still quite chaotic and challenging (I wish I had one more pair of arms and a bigger brain, man!).

Here are some patch notes:

  • The “sequencing” part is almost identical to the previous patch: Marbles creates CV and triggers for both voices and runs the Stages 5-step sequencer.
  • This 5-step sequencer modulates the model of Plaits, which creates those rhythmic noise patterns.
  • A copy of Elements' first output goes to Clouds, which I’m using as a reverb/delay/texture layer.
  • Everything else is basically modulations: each step of the Stages sequence modulates some parameters of Elements and Plaits.

Pretty simple, but I like the mood and timbres! Seems like I’m using similar techniques too often, so I’ll definitely take a little break from Audible Instruments.

RINGS OF SATURN - 2024-07-21

[ youtube jam - download patch ]

This week I was experimenting with smaller patches. When I first discovered VCV Rack (and had zero experience with modular stuff), I was really overwhelmed by the huge number of modules and didn’t know where to even start. So, this is an invitation for all the beginners out there to try pressing the buttons and tweaking the knobs!

I think this is a great example that you don’t need 100 modules to make some interesting timbres and melodies. Right now, the way I learn modules is pretty simple: use one sequencer, one voice, and one effect. Using such restrictions, you can find some new interesting techniques and learn these modules much more deeply, so give it a try!

Patch notes:

  • In this patch, I’m using Marbles as the main sequencer. It triggers Stages (through a Bernoulli gate to make the triggers less frequent) and Rings.
  • Stages create two things: an LFO for different modulations and a 5-step sequence that modulates the rate of Marbles and some algorithms of Spork (it’s from the premium collection by Path Set, but you can use Clouds to achieve similar results).
  • You can create a lot of cool rhythmic variations by tweaking the sliders of Stages and locking the Marbles sequence.
  • Rings is running the sympathetic strings algorithm, but I changed it a few times during the jam.

The one thing I’m still really missing is the ability to play keys or guitar during the jam. It would be awesome to harmonize all this stuff or play lead melodies. I’ve tried to do it a few times, but my brain can’t handle it at all. The only solution is to create macros for each individual parameter, but there are like 20 of them, so it would be overwhelming too. MIDI Fighter is almost the ideal solution for this problem, but it costs like a fcking submarine haha.

I’ll try to map some controls to my Komplete M32 keyboard next time; it should be fun too, I think!

TREEHOUSE - 2024-06-26

[ youtube jam - download patch ]

Pretty simple patch, but I love the vibe. It reminds me of my childhood in the countryside - something dreamy and peaceful, a time when problems didn’t exist yet. Call it nostalgia, but there was something really special about this pure perception of the world and things around you. It felt like home everywhere; everything felt endlessly deep and meaningful. Nowadays, whenever you try to catch this feeling, it slips away even further. Maybe the only solution is to stop trying, but this absence of connection to the world haunts me all the time.

Anyway, here are some patch notes:

  • Overall, it’s very similar to the previous one - Marbles generates 3 CV sequences, which are merged by MS4 and go to Plaits. These chords are triggered by Re-Burst, which is triggered by one of Marbles’ trigger outputs.
  • A copy of the chords goes through Dual Dynamics Gate (envelope mode) into Rings.
  • Stages generates a 6-step CV sequence, which modulates Rings (structure). You can try removing the green cable from Rings to see how the sequence changes.
  • Also, the same sequence from Stages triggers the sample and hold input and creates a lead melody sequence from pink noise.
  • Main structural changes are done manually - changing Rings’ frequency between 24, 29, and 36 values.
  • There is a delay at the end of the chain - it is used to create some space in the mix (small different latency for left and right channels).

DESOLATION:STAGE II - 2024-06-20

[ youtube jam - download patch ]

This is the second iteration of the previous patch. If you want more details, check the previous video and description.

Main changes:

  • I got rid of Teletype and merged 3 CV sequences from Marbles instead. (Bad news: now it’s only 3 notes and the length of the sequences is the same, so we don’t have the cool feature of evolving chords anymore. But this way we can utilize Marbles better.) Also, the 2nd and 3rd sequences are used as CV for bass (Plaits) and strings (Rings) (I don’t know why I labeled Rings as “bells”; don’t pay attention to this). These sequences go through sample & hold to add more melodic variations.
  • The sequence of chords goes into FM-OP instead of Plaits.
  • Added RE-BURST to trigger Rings.
  • Added RND module to create more movement. It’s triggered by t1 from Marbles and sends 6 random CV values to different parameters all over the patch.
  • Stages now generates 3 AD envelopes which control the VCAs of chords, bass, and strings.
  • Added separate filters to each instrument.

Other changes are minor, like a few LFOs, quantization, FX, etc., so I did not include them in the patch notes. If you have any questions, ask in the comments!

This jam turned out to be darker, more measured, and gloomier than the previous one. I think it would suit it to be even slower. I like the previous one better though (because of the variations in chords and deeper dynamics), but I see them both as different locations on the same alien planet, or as day and night atmospheres. Not like rivals, more like relatives with different tempers.

I hope you liked this patch. Feel free to turn the knobs and explore it yourself!

DESOLATION:STAGE I - 2024-06-18

[ youtube jam ]

This is one of my older patches, from when I had just discovered Teletype. There are going to be a few more jam reuploads from early 2024 this week, and then I will start uploading new stuff. These patches were important for my progress and my attitude towards modular synthesis, so I want to keep them here as a memory.

In this patch, I’m using Teletype as a tracker. It creates 4 CV sequences which are merged by MS4 and go to Plaits through a slew limiter. All 4 sequences are of different lengths (you can see this closer to the end of the video in the Teletype window), so the Plaits pattern becomes more evolving and generative. I’m also sending the 4th sequence directly to the Rings CV input to create an additional voice using the sympathetic string model.

Marbles acts as a clock for Teletype, Rings strumming, and periodic delay modulation - a trick that I use in every second patch (high-pitched ratcheting sounds every few bars).

The heart of this patch and the main performative tool is Stages. I’m using it to create an LFO that triggers an AD envelope, which triggers Plaits (I don’t know why I used the trigger input instead of the level input, but it works fine in this case anyway).

Unfortunately, I don’t have this patch anymore because it has evolved into another (as you might guess from the video title), so I’ll leave the Patchstorage link to the last iteration of it in the next video.

GIRLSXHARPS - 2024-06-15

[ youtube jam ]

I came across Hundred Rabbits a few weeks ago and was amazed by their devices! Check out their website; there are many wonderful articles about software development, sustainability, and philosophy. This is my personal favorite.

I’m learning all the operators now, and this is my first attempt to make something meaningful with a shift register. I tried to make my own shift register patches for a few days, but they were too big and my brain hurt a lot, so I took the one by EZBOT from Patchstorage. He also has great tutorials on Orca if you’re interested; check them out too!

In this patch, I’m using a 4-channel version of this shift register, which creates 3 sequences:

  • The main riff played by LABS choir and Eratosthenean Additive Oscillator
  • A little semi-random sequence played by the harp preset in Pianoteq
  • A bass track played by Plaits

Basically, all the variations come from changing the trigger rates of the 4 shift register channels, changing the rate of the “I” operator which controls generator coordinates for harp sequence triggers, and adjusting timbres, envelopes, and effects.

The main difficulties I encountered:

  • It’s really hard to control so many parameters in both Orca and VCV. You need to keep in mind all the possible changes in Orca while adjusting the VCV patch for the next section (e.g., I planned to change the bass sequence CV when preparing to perform but completely forgot about it). Possible solutions: create some kind of macros in Orca so you can change one variable which controls different parameters for the next structural change, or use MIDI devices to control main parameters in VCV so you don’t have to switch between Orca and VCV all the time.
  • Poor control of individual bass notes' octaves. I definitely need to create another sequence, write it to a variable, and change all the notes manually.
  • Everything is very straight and tied to the frame rate (sometimes it’s good, sometimes it’s not). Possible solutions: add swing/humanization by delaying triggers and CV in VCV rack, but it could be too complex, I think. Another option is to double the BPM in advance so you can add some kind of syncopation.
  • As I mentioned in the previous video, I tend to use new tools in the same way I used Ableton/Bitwig, but it’s more of a skill issue that will only be resolved with time and practice. However, in this patch, there is a small thing that shows the range of new possibilities in Orca: bass and harp sequences are interconnected. Notice how bass triggers are eliminating some triggers of the harp sequence, creating more space and variation - and these changes differentiate depending on both sequences! I think that such small details are the whole point of using different experimental tools in music production.

All in all, I see an ocean of possibilities, but I definitely need a lot of practice to become more familiar with this type of sequencing. It still blows my mind watching some Orca patches on YouTube, so there is a lot ahead to find out and try.

ZERO-G:CATNAP - 2024-06-14

[ youtube jam - download patch ]

This is one of the first patches of early 2024 when I started experimenting with fixed racks inspired by some limited Eurorack setups. At that time, I was overwhelmed with endless amounts of different modules, and it seemed like I was just copying the DAW workflow - creating a lot of tracks and trying to make songs using old principles. It was part of the transition to the modular world, I believe.

I started exploring smaller Eurorack setups and creative techniques people have used and was heavily inspired. Patches that contained 10-15 modules were much more alive and moving than my boring, bulky patches! I decided to use more limitations and start learning the modules I use more deeply.

This setup was intended to include only Mutable (Audible) Instruments modules, but later the Plateau reverb was added. I’m still figuring out the possibilities of ~62HP 4U equivalent setups in VCV, so I’ll upload a few more jams with this setup later!

Patch notes:

  • Marbles:
    • triggers Tides
    • triggers Rings
    • sends CV to Plaits
    • triggers Clouds freeze function through Bernoulli gate
  • Tides: generates 3 envelopes that control some parameters on Plaits / Ripples / Warps
  • Plaits & Rings are mixed together and go to Clouds