Drone experimenti want sideband frequency 1 (s1) to be 110hzas fc (carrier) i use 164hzthen fm (modulator) must be 54hzcreated s2 will be 218hzslowly an lfo brings in the carrier frequency. This is mono. No fx. All analog. Listen to the electronics.
Warning: harsh noise with resonant malefactors. Bad q ! bad q!. Noise sound through analog phase shifter and steiner parker filter through a holtech-based delay. I imagine this as a soundtrack to an ultraviolent horror movie scene.
It's fun to patch up a kind of analog shift register (3 stages). Doepfer a-160 controls the stages. On a-160 i use /2, /4 and /8. I sample slewed noise. No quantizer.
Samples from my behringer rd-6 sr analog drum machine, which is a clone of the legendary roland tr-606. Bd, sd, clap, chh, ohh, cymbal, lt, ht. Format: wav, 24 bit, normalized. Recorded with a behringer umc 404 hd.
Nlc jerk off without any input is the engine for this simple patch. In my little world i see nlcs chaos modules as a helping hand. I find the though of chaos very pleasing. . . Spring reverb and analog delay are used.
Self modulating a standard doepfer a-110 vco. We are listening to a square wave. I'm modulating with a sinus. I'm wiggling pwm and the degree of self modulation (and attack and decay). Spring reverb and analog delay from stomp box.
No fuss 3 stage asr (analog shift register) patch. I sample from a quantizer but still its not exact pitch. The sound start with a short decay. I will gradually increase the decay time of the three sounds.
Using an analog "buttset" or test-set telephone, clipping the leads from an exfomaxtester device and hearing the tones from testing a line, at a terminal/crossbox location (roadside). Cut some low frequencies and added 2s, 5s, then 3s digital-delay effects automated and a reverb effect.
This is the companion audio to the article "modify your monitor audio" appearing on w1zy's substack account. In it, we hear what happens when you mix through a soundboard the audio from a ham radio transmitter's "monitor" output and a second receiver dialed onto the transmitter's output frequency. When the two are mixed, we hear a heterodyning between the external receiver and the transmitter monitor audio sources. By adjusting the receiver's frequency to that of the transmitted signal, we can zero-beat the two audio sources together producing a "flange" effect derived from analog devices. Non-ham audio enthusiasts might find this clip interesting since it is producing this artifact not through some plug-in, but through use of "legacy" analog equipment.
Long techno loop in 131 bpm meant as background music for video. Made with drum machine, analog modular synth and a hardware sound module. Mastered in audacity.
Short excerpt from jam session. Analog synthesizers, digital fx, no computer. Instruments and flow:(drums, funky pattern, fx) korg monotribe -> korg kaosspad kp3(deep pad, chorus, distortion) arturia microbrute -> korg ax3000gmixed with behringer q502, recorded with zoom h2n.
I was fiddling around with an analog synth that went into a peavey km50 keyboard amp and i made this soundit has loads of pitch editing giving it the house-ey feel to it and i think it was an fmaj5/9 chord with extra 6ths and 4ths.
