Drums The drums are just straight-up Volca Beats. A bit of global stutter gets some syncopation.
Bass the main bass line is a Volca Bass. Three sawtooth oscillators in unison, the top and bottom ones detuned maybe 20-odd cents above & below the middle one. Slow triangle LFO modulates VCF cutoff. A bit of envelope control over VCF cutoff as well. Lots of resonance—the Volca Bass filter is a real growler. Ableton's Glue Compressor in side-chain mode (taking the input from the Drum track) clamps it down a bit. I recorded sequences in the Volca Bass sequencer and triggered them live from the Volca Bass.
Swarm/Violin This is pretty involved. The only thing that's making the sound is a Livewire Dalek Modulator. The "modulator" oscillator frequency on the Dalek is being wiggled by the Flame Clockwork (which is receiving MIDI clock from the DAW).
The output of the Dalek is multed to a Harvestman Polivoks VCF (in bandpass mode), an Intellijel µVCF (bandpass mode), a Doepfer A-105 SSM, and a Makenoise Function (as an envelope follower)
The Polivoks cutoff frequency is modulated by a slow looping function from channel 1 of Maths. The µVCF frequency is modulated by a slow sine wave from the Pittsburgh Modular Oscillator (LFO mode, naturally). The A-105-SSM's cutoff frequency is modulated by the output of the Makenoise Function (i.e., an envelope follower in this patch), which gives a "breathing" quality to the buzz. Resonance on the A-105 SSM is controlled by the smooth random voltage output of a Wogglebug.
The two bandpass filters are each fed into a channel of a Makenoise Moddemix. Their levels are controlled by slow triangle LFOs from a Malekko Oscillator II, each 90 degrees out of phase. Each channel is then hard-panned left or right.
The output of the A-105 is multed to 2 VCAs, on of them controlled by a channel of Maths and another by an inverted copy of one of the triangle wave LFOs from the Malekko Oscillator II (so now 270 degrees out of phase).
All of these are going into a Synthrotek stereo output module, and then the stereo outs into my interface.
That stereo channel gets reverb, stereo delay, some glue compressor (side-chain mode: taking the input from the drum track), some EQ.
The Flame Clockwork is clocking everything in this track.
Whew. OK, I know this is probably boring & derivative, but this has been kind of fun. Believe it or not, this all started out when I wanted to use the Dalek Modulator for a drone. I stumbled on the buzzy/violin type sound & built everything around that instead.
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