MOTM

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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