||[Aug. 29th, 2006|04:29 pm]
Another little jam, this one built solely with the Moog CP-251, TR-606, and the DotCom, live to tape improv style. I was kind of going for a "what if Morton Subotnick did a dub track?" or something along those lines, kind of in the tradition of what Excepter is trying to do with their latest "noise dub" stuff.
Here's a picture of the setup:
Basically what you're hearing is the TR-606 running through the DotCom's filter via the instrument interface, and one of the DotCom's oscillators generating a pulse wave which is run through the same filter. The 606's two trigger outputs are firing off each of the DotCom's envelopes, which go into multiples and are routed to the DotCom's amp, to control the oscillator's pitch, etc. The Moog CP-251's two LFO shapes (square and triangle) are routed into its mixer, with the combined output going to the DotCom's oscillator. I can "play" the knobs that control the Mooger's master LFO speed, and then the amount of each LFO applied to the DotCom's osc, as well as the offset of that combined signal (making it higher or lower in pitch), so the end result is a random melody generator that I can sort of "play" or at least direct by tweaking the knobs. Finally, the second DotCom LFO's sine wave is sloooooooowly sweeping the filter cutoff, which accounts for the long, slow high pass filter sweep over the entire mix to give it some extra spaciness. There's some more complicated stuff going on in there, like the Mooger's Sample and Hold modulating the pulse width of the pulse wave that you hear, but I don't wnat to get too complicated.
Kind of a boring actual end product, but the process involved was fascinating and can lead to more practical applications in the future, esp. once I get a DIN-sync box and can start laying down sync'ed parts like this on individual tracks to build a more complicated song out of it.