Sunday Synth Jam: This performance, Supermoon Preparation by Bryan Noll, explores the dreamy, sensual side of Eurorack modular synthesizers.
Here’s a high-quality Soundcloud version of the performance:
https://soundcloud.com/fourhexagons/supermoon-preparation
Here’s what Noll has to say about the piece:
“This piece emerged from the patch I was working on in preparation for a Supermoon music/camping party this weekend at my home in the Catskills. Other artists performing include two snake plants and a handful of people the likes of Gen Ken Montgomery, G Lucas Crane, Joe and Jon from Data Garden, Lampeo, et al.
The patch is intended to facilitate a 30-minute live set, while the recorded piece is one movement of the entire set. Tides is set up to be played either by René (as we hear in this movement) or by Yarns’ arpeggiator and/or directly from the QuNexus. Ableton Live provides additional reverb, delay, filtering, mixing, mutes, and looper, all controlled without the need to see the computer screen using an iPhone 6 running a custom Lemur template.
Variation in the patch is created by changing time using Yarns tempo and clock divisions and the steps and fills of ADDAC402, while changing pitch/tonality with René, QuNexus, Disting, and of course shaping envelopes, wiggling of knobs, and jamming out the effects with the Lemur interface.”
Technical Details:
PATCH NOTES
VOICES
1. Peaks Kick triggered by ADDAC402 Voice 1.
2. Peaks Snare triggered by ADDAC402 Voice 2.
3. Tides played by René, bussed to Ableton Filter Delay & Reverb. René is triggered by ADDAC402 Voice 4.
4. Elements played by URA Sample Out-B into Disting Quantizer (Root-5th), triggered by ADDAC402 Voice 3.
YARNS
Tempo 83bpm, Ableton in slave mode (EXT).
Output clock div = /3, multed to ADDAC402, Batumi Ch1.
LFO out to René Y-CLK
ADDAC402
Gates (Steps | Fills)
Voice 1 – 12 | 03 / gate out to Peaks Trig 1
Voice 2 – 16 | variable / gate out to Peaks Trig 2
Voice 3 – 16 | 09 / gate out multed to Elements gate & URA Ext clock. INV gate out multed to Tangle Quartet Ch 3 (scale) modulating Elements position & grandPA TRIG A on factory patch PY.
Voice 4 – 16 | 13 / gate out to René X-CLK
BATUMI
DIV mode
Ch1 – master clock
Sine > Maths Ch 2, out of Maths Ch 3 (Offset/scale) multed to ADDAC402 Fills CV in 1 & 3
Ch2 – 32
Sine multed to Clouds Trig & Shades Ch 2 (offset/scale) to Elements Space.
Saw to Tangle Quartet Ch 1 (scale) to Clouds Blend (Reverb mix)
Square to Tangle Quartet Ch 2 (scale) to Elements Mallet timbre
Ch3 – 8
Saw muted (stackable) to Maths Ch 4 fall & ADDAC402 Fills CV In 3
Ch4 – 4
Sine to Elements Blow Timbre (not used in this version)
Saw to Maths Ch 4 rise
MATHS
Ch 1 cycling, even rise & fall about 2:00 with Log/Lin at mark.
Rise modulated by URA R-Flux Out. Fall modulated by URA R-Pulse Out.
Unity out modulates Elements Damping.
EOR modulates Elements Geometry.
Ch 4 envelope shapes Tides. Rise at 0, Fall at 1:00 with Log/Lin fully at Log.
Rise & Fall modulated by Batumi (see above).
Unity out modulates Tides Level.
OR modulates Tides Slope
SUM modulates ADDAC402 Fills CV in 4
INV modulates Tides Shape
URA
Sample Out-A to Clouds Trig
Toggle A-B Out to Clouds Size
DISTING
Quantizer plays Elements via Batumi Sine LFO, trigger out sent to Clouds Freeze.
TIDES
UNI & BI outs multed to Clouds L & R for parallel processing (separate channels in Ableton)
BI out to Tangle Quartet Ch 4, CV adjusted with ADDAC301 expression pedal for handsfree volume control (not used in this version)
Beautiful!
Sounds good. However, what would our impression be if we didn’t have a technological extravagance, an enormous matrix of wires before our eyes. I think, if we saw this bring created on an iPad , it would have no kudos. Hence we are worshiping technology rather than truly original creativity here
Pretty elitist comment! Do you judge people by the car they drive, too?
People save to get modulars because they are fun and inspirational instruments, in ways that iPads and desktop synths cannot duplicate. iPads can’t duplicate the sound of analog instruments and they can’t duplicate the immediacy of working with hardware. They can do some thing very well (see animoog or Holderness Media’s effects), but anyone can see and hear their limitations!
Way to reinforce his point exactly.
well if we take this modular synth in particular, most of the modulaes are digital actually (not that it’s bad or anything…mutable instrument modules are great!). But i understand “Self” point, and i do understand your point.
Except that most of the modules used aren’t analog. Might help to be more aware first.
And it does seem like you are reinforcing the point you are trying to argue against.
I mostly agree with you. The instrument is a means to an end, not the end itself
BUT!
… there’s also something about the process of creating. I for example build huge patches in a Nord Modular G2, stuff that could probably be made much more efficiently in Ableton or an iPad. Sometimes I spend the whole day on a drone that is made with unorthodox means. Simulated flip-flops, for example.
It doesn’t always sound like much, but I always have a good time doing it. 🙂
I guess playing with modulars is in the same realm.
“Hence we are worshiping technology rather than truly original creativity” – as if the modules simply came into being on their own… Eurorack right now is one of the most creative scenes in the whole music equipment industry.
First time I hear a modular sound teuly beautiful 🙂
The only thing that matters is the sound and if the piece creates an emotional response. This was was lovely. Great job.
How would Apple design the interface to this spaghetti machine ? Let me think now…
why oh why always those discussions about analog digital modular ipad whatever? i dont care how it was made as long as its good, original and creative. get a life and do something yourself instead of commenting others, splitting hairs, critizising and knowing everthing better.
I knew what some of those words meant.
Software still falls a bit short sound wise compared to hardware. There are a few exceptions of course (sh101 vst), but overall hardware is still king. I love both. I have a ton of ipad apps that sound damn good! (especially considering their price!!) Zmors modular sounds incredible, so does animoog, seekbeats, gadget, z3ta, ipolysix. If you’re a synth whore like I am, there’s no question about grabbing apps to play with. That being said my Analog four, and minibrute sound way better than any of my apps. Why chose sides?! Slut it up with everything and anything. If it moves you, who cares what the pragmatic music police, or analog purists think about it? It’s all about making music and having fun. If you’re arguing about it, you’re doing it wrong!!