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.
Was playing with my spring reverb. This happened. Analog synths are capable of some sick sounds too. . . Sound straight from the synth. No editing or post fx anything.
The engine to the hysterical "melody" is formed by a two lfos and a looping envelope performing an ever changing dance of random or maybe chaos. Zooming in and study waveforms in this sound is interesting. The sound is unedited, straight from the analog modular synth. Quantization of the pitch - nope. . .
