All my patches are self running. (If I could figure how to make them
self-patching, too, I wouldn't have anything left to do except solder!)
For a self-running patch to be musically interesting it has to be
capable of evolving patterns, while keeping enough character to be
thematic. I set up patterns of change along several vectors, the most
important being note/chord sequences and timbre variations. Rhythmic
changes are also interesting, but are hard to do well without seeming
disruptive. Syncopations are not too difficult with syncable LFOs (like
the MOTM-320) or a switch like the MOTM-700. I strive for a complex
patch that has several voices, sometimes running poly-rhythmically. If
you are not as concerned with live, real-time sound, you can record
multiple tracks and mix them together.
The heart of my self running patches is always the Sample and Holds. I
seem to be growing a collection of them. In addition to the MOTM-101, I
use two Oakley S&H's, a CGS Infinite Melody (a type of digital S&H), and
two CGS Analog Shift Registers (each with 3 internal S&H's). And I have
more random modules in the works. If you get hooked on the self-running
patch thing, expect to need more "sources of uncertainty" modules.
My process is playful. I start out with a basic idea and patch
something up. Then it grows. Once I have a good patch it can still
take hours of tweaking the pots before I feel it is musically
interesting. The range of variation by pot settings in one of these
patches is vast.
With your setup, Chris, a good starting point is just to make a classic
random note walk. Use an LFO pulse wave as a tempo clock to trigger the
101 S&H and both EGs. You might trigger one EG from an inverted version
of the clock. The output of the S&H can control the pitch of both VCOs
(not with 1V/oct, but with FM inputs). The VCOs can go through
different filters. You might also patch the S&H output to control a
filter frequency. Use one EG to modulate a filter, the other for the
VCA. A second LFO can add vibrato to a VCO or a VCF. Without a
quantizer to make scale pitches it will sound trippy and strange
alright. Get the white or pink noise into the mix too. Play around
with it and don't get discouraged if it sounds awfully silly at first.
This type of patch takes experimentation. Once you get it just right,
then you'll have to decide if you want to just enjoy it or fire up the
recording equipment. Because the next time, you will never be able to
repeat it. You might get close, but I've found it's hard to get the
same sound a month later from an old patch diagram. That doesn't bother
me, because I look at these patches as "happenings" that may never be
repeated. You enjoy the moment. Then it's gone. You let go (aka
un-patching). But there's always the next patch.
-Richard Brewster
Chris Walcott wrote:
>Hey everyone, I want to start playing around with the self running
>patch concept and I was wondering if anyone has any advice, tips or
>tricks they could pass on to me.
>
>My rig consists of a 300, 310, 2 LFO's, 101, 3 filters, 2ea 190 & 800,
>and a mult panel. I also have a voyager with the breakout box. I'll
>probably use a mackie 1204 mixer for all the various outputs.
>
>I'm looking for a wide range of sounds. nice, sweet, bubbly, dark and
>gritty, trippy and strange.
>
>Thanks!
>
>- chris
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