Wiardgroup

Hi Olivier,
   sorry for the delay in my answer. I was sick last week. I love 
messy chaotic patches, so your question was all the more intriguing. 
   Here is the most self-disorganizing patch in my repetoire that uses 
a single envelator as an audio source:
   
   patch cords:
   DMOD1 to OUT-2
   SQR1 to GATE2
   GATE1 to SQR2
   OUT+1 to MIX1
   OUT-1 to MIXMOD
   DMOD2 to MIX OUT
   OUT+2 to MIX2
   OUT+2 to audio input of amplifier path

knobs:
(given as clock hour-hand positions)
(approximate - but it's the best I can do with text)
attack1 - 11:00         attack2 - 1:00
                        decay2  - 11:00
Amod1-doesn't matter    Amod2   - doesn't matter
                        Mix - 5:00 (maximum)
------------------------
Decay1, Dmod1, MixMod & Dmod2 become interactive, You just play with 
them until the sound makes you happy (or disturbed)

switches:
1-AD  2-cycle

thats it... have fun!

-doc


PS: your music is beautiful & astonishing, and I know that I'm not 
alone in that opinion.
    Also, I understand that you are Swiss. May I say that I think you 
communicate very well in english... certainly better than I could in 
French or German.



 


--- In wiardgroup@y..., googol@g... wrote:
> 
> if anyone have some ideas whats possible with the envelator I'll be 
> glad to try. Until now I used the envelator in a more traditional 
> way. But I had great fun to feedback the envelopes (especially the 
> decay-phase) to get them superexponetial. I also did that with my 
> Blacet EG-1 (at first I turned a internal pot on the EG-1 to exp.) 
> and worked well, but with a very diffrent character and not as fast 
> as Grant's envelopes. 
> 
> So: what kind of other crazy stuff can the envelator do (or other 
> wiard-modules)?
> 
> Olivier
> 
> (I forgot my craziest patch, but once I had a VERY chaotic sounding 
> patch with the sequantizer). It was a sound like a big broken engine 
> (I recorded a few minutes!)