I wouldn’t say random, Just longer phrasing probability. More specifically because of the amount of notes in the sequence (5 triggers across a 16 step note sequencer – Tiptop Circadian Rhythms and Z8000) and durations of those notes in the lead line, that lead melody would start and end at different points of the chord sequence which is a sequence of 8 at a different division. I do this a lot actually. Can create an interesting feel.
Sticking with the opening track 'In The Field With Brain' how are the chords generated? Are they layers of single notes or a chord mode on a digital oscillator?
The chords on that one are the Modcan Triple VCO with Modcan Multimode LPF sequenced by the Tiptop Audio Circadian Rhythms and Make Noise Pressure Points. (Unquantized) though it’s really fun to create chords with layers as well. Love doing that with pressure points as you can sequence three note chords that have varying note composition quality across the steps.
Across the album we hear various reverb and modulated textures, what are you using for FX?
Oh, so many FX! I collect them all like Garbage Pail Kids. Lets see off the top of my head, Tiptop ZDSP, MI clouds and rings, mungo D0, mungo G0, qu-bit RT 60, synth tech e560, e580, modcan dual delay, audio damage dub junior and spectre, ladik R-330, intellijel rainmaker, flame FX-6, Make Noise Erbe Verb and Echophon and problaby others I’m forgetting :)
A question that comes up with lots of modular related content is - how are you handling pitch information across multiple layers? Is it several quantizers or pre quantized sequencers with oscillators tuned in prior to recording?
It’s all over the map. To this day I have not tuned an osc with a tuner! haha. I like how when sequences appear slightly detuned from one another they can feel more human and honest almost. It’s also a cool way to discover microtonal scales. Most often ill start with a chord structure or melodic sequence and layer on top of that other sequences and find the notes I like by ear. It’s also really fun to use unquantized and quantized sequences together. Can lead to interesting
results. I also often create multiple layers of simpler sequences instead of fewer more complex ones as the separate parts lends the patch to have more variation options while performing.
The album has elements of more standard "drum machine" like percussion sounds but on the third track 'Synthetic Metals' (and others) we also get more synth heavy clicks, pops and low-end thumpy kicks. So on that note, what are you using to create the drum sounds across the album?