285 Royalty-Free Audio Tracks for "Lfo"

110 bpm, c notes, middle c, with a 1/4 wobble, half as sine, half as sawtooth descending, with random sounds and filters. Compressed a bit to give ti the full sound. Useful for games or music.

110 bpm, c notes, middle c, with a 1/4 wobble, half as sine, half as sawtooth descending, with random sounds and filters. Compressed a bit to give ti the full sound. Useful for games or music.

This acid loop was created in cubase 10 years ago at 112 bpm with a free vsti called rubber duck. I've added lfo filters to move the sound across the eq ranges, together with reverb and an 80s ballad amplitube effect. Compressed to equalize the output.

Some experimental beat that i made today. Kick drum panning with a lpf lfo on it. Some percussion loop also with a similar effect done in ableton live as opposed to fl studio. Then some hi fi hats done in fl studio. Please enjoy and use and let me know what you use it in.

Boring sound. . . Neuron patch (?). . . Inspired by nlc squid axon (i have saved some hp for that one!) i have patched up a simple 2 stage asr with 2 s/h. Most of the time it plays its atonal melody, but when the patch is stimulated (by a sloth lfo) feedback opens up. I can adjust the sensitivity in different ways (so i can simulate the intake of drugs. . . ). The sound from the oscs goes though vcfs with some resonance. The vcfs are controlled by the same sloth lfo. My neuron patch. . . No hands during recording. My favourite part is when nothing happens - for almost 1 min?! but you can hear the filter working via the vcfs. The cv must be in some strange area.

Testing/documenting my bartonmusicalcircuits (bmc21) full wave dual rectifier. "this is an all analog synthesizer module used to alter the timbre and create new harmonic content. " using the fact that it's a dual. 2 sinus waves through both of the rectifiers, through a filter and a little spring reverb.

This is a sample of a classic (diy) dubsiren build by me. Its a squarewave synth modulated with a squarewave lfo. The sample is dry. Add delay and some chorus, reverb, (resonant) (auto) filter or so to get the typical dubby soundsystem style.

Test of how uoki-toki polivoks vcf handles sin-wave (ca 270hz) when the filter is self-oscillating. I bring the uoki-toki polivoks vcf to self-oscillation and tune the vcf to ca 270hz too. I let the lfo sweep the frequency. Cv1 pot at ca 100%. Hmmm interesting. . . .

A re_edit of this sound::. Https://freesound. Org/people/mattc90/sounds/203532/. Put it in the sample machine of caustic 3. Pitched it to match 133 (for this break beat track im doing). Added a type of volume lfo, then also pitch-preserved it so it wouldnt be so high pitched.

Are you tired of using the same recycled, renamed, repackaged, resold bass sounds?if you are dl this sample pack for you daw. This package gives you 10 sounds for free. Text "subwoofers nyghtmare" to 940. 268. 0033 for information on how to purchase the whole package which contains an additional 102 original bass sounds. For only $35.

Are you tired of using the same recycled, renamed, repackaged, resold bass sounds?if you are dl this sample pack for you daw. This package gives you 10 sounds for free. Text "subwoofers nyghtmare" to 940. 268. 0033 for information on how to purchase the whole package which contains an additional 102 original bass sounds. For only $35.

Are you tired of using the same recycled, renamed, repackaged, resold bass sounds?if you are dl this sample pack for you daw. This package gives you 10 sounds for free. Text "subwoofers nyghtmare" to 940. 268. 0033 for information on how to purchase the whole package which contains an additional 102 original bass sounds. For only $35.

Are you tired of using the same recycled, renamed, repackaged, resold bass sounds?if you are dl this sample pack for you daw. This package gives you 10 sounds for free. Text "subwoofers nyghtmare" to 940. 268. 0033 for information on how to purchase the whole package which contains an additional 102 original bass sounds. For only $35.

Korg monotribe processed by a doepfer a-100. (bbd and a-199 spring reverb)the clock source is semi-randomized by an lfo and korg sq-1. Recorded with a zoom h-5 and transcoded with ocenaudio.

Remix of this::. Http://www. Freesound. Org/people/bronxio/sounds/239080/. Pitched it up an octave, gave it a saw hpf lfo, and a saw vol gate (cleans up the rhythm) then added the original octave lower in the mix. Made it sound more digitized. Good sound for starting off a track. 고맙습니다.

Basically i connected one lfo to the polivoks in. Now when i think of it. Wonder if that added something…. And how much. And to cv1 i connected a square wave and to cv2 a wide frequency sine wave. Resonance at max. Think i have to reanalyse this patch later… i’ll be back!.

Sloth (lfo) to vclfo is the "engine". Triggers chain reacting function generators"boom/booiing" trigered "by" logic - nor i thinkjupiter storm is one voicejupiter storm also modulates the other voice that goes through wave rectifyingjerkoff modulates jupiter storm, a trigger goes back to jerkoff and jupiter is modulating it self. . . Noiseno hands. . .

Sounds expressing tension - hence the name. All makenoise / soundhack modules. Rene 2 sequencing telharmonic h output. Into mimeophon output into optomix. Maths envelope triggered by gate from rene 2. Maths lfo provides flange in mimeophon. Recorded using reaper. Rendering 48khz 32 bit stereo. Thanks to all from makenoise. A real source of inspiration.

Created from ableton's stock instrument "light key". Created a midi, freezed and flattened, added automation effects added some lfo, some eq re arranged the echo effect to fit what i thought, and just saved it as this.

Some goa synth i created in fl studio a while ago using the pro 53 vst synth. Basically a saw wave form with glide or portamento, this nice lfo lpf in fl studio called fruity love synth, slight hpf, slight distorition (blood overdrive), a little compression, a little pannomatic, the right amount of delay and reverb. Presto!.

Don’t know if my english is correct. . . Butt i guess you get it, dear reader. Test of how uoki-toki polivoks vcf handles sin-wave (ca 270hz) when the filter is self-oscillating. I bring the uoki-toki polivoks vcf to self-oscillation and tune the vcf to ca 270hz too. I let the lfo sweep the frequency. Cv1 pot at ca 70%. What happens. . .

A synth chord i placed in fl studio. C a f c. Using a saw square and pulse pwm wave for combo. Then put a sweeping band pass filter from top frequency to bottom frequency. Then i put a panner with the speed lfo sweeping from fast to slow. Next the right amount of reverb. Finally some copmression and normalizing. Using sound to reach out to angels.

An lfo set to 1hz connected to doepfer a-160 clock divider and hexinverter électronique jupiter storm "cv all". Before recording i reset the clock divider. Low tone triggered by /2middle tone by /16highest tone triggered by upiter storm output xi. I can't reset jupiter storm. Ok, what do we hear/see. Low tone every 2 secondmiddle tone every 16 secondhigh tone every 19 second!.

I have made a patch that generates drones. Lets call this generative. . . I use feedback on my spring reverb. I only use one filter. The drone is structured by a triangle lfo and 2 comparators. It's tricky to balance the patch to give varying and interesting results. The drone is made with a 100% analog modular synth.

. Wav created from a "save us" image in a frame. . Added and lowered some frequences with some eq. Simple in and out automation low pass filter. Fade with volume. And a bunch of compression. When you use this noise. Just remember, this was created from an image that said, save us.

Are you tired of using the same recycled, renamed, repackaged, resold bass sounds?if you are dl this sample pack for you daw. This package gives you 10 sounds for free. Text "subwoofers nyghtmare" to 940. 268. 0033 for information on how to purchase the whole package which contains an additional 102 original bass sounds. For only $35.

Patch consiting of- jupiter storm- jerkoff- filter- 2 x lfo- mixer- (spring reverb). Jupiter storm and jerkoff is in a "weak feedback loop". . . Purpose with patch is to evaluate the quality of the generative sounds/musicit will never repeat it self but there is some cyclic repetitionone cycle is about 50 sec - goodonly short sounds - badamplitude variation - badpitch variation - goodtimbre variation - okaymusical value - low to mediumentertaining - medium.

Are you tired of using the same recycled, renamed, repackaged, resold bass sounds?if you are dl this sample pack for you daw. This package gives you 10 sounds for free. Text "subwoofers nyghtmare" to 940. 268. 0033 for information on how to purchase the whole package which contains an additional 102 original bass sounds. For only $35.

This sample was created solely from instruments downloaded on freesound. Org. Having experimented more, i created another break with lfo band frequencies adjusted to create a white noise type break. I then played them simultaneously and mixed one into the other to create the effect of moving the eq in real time. To fully appreciate this, you need to download and play it seemlessly looped. This is recorded at 90 bpm for the continuum 4 project. You can visit the thread here:. Http://www. Freesound. Org/forum/dare-the-community/32704/. Here are the sounds used in the break:. Snare: http://www. Freesound. Org/people/ltibbits/sounds/16306/kick boom: http://www. Freesound. Org/people/jobro/sounds/33523/short kick: http://www. Freesound. Org/people/crescendo/sounds/16709/closed hat: http://www. Freesound. Org/people/atomwrath/sounds/11394/rim: http://www. Freesound. Org/people/opm/sounds/2095/open hat: http://www. Freesound. Org/people/tictacshutup/sounds/423/static: http://www. Freesound. Org/people/hello_flowers/sounds/30974/rev crash: http://www. Freesound. Org/people/halleck/sounds/30938/.

This sample was created solely from instruments downloaded on freesound. Org. Having experimented more, i created another break with lfo band frequencies adjusted to create a white noise type break. I then played them simultaneously and mixed one into the other to create the effect of moving the eq in real time. To fully appreciate this, you need to download and play it seemlessly looped. This is recorded at 90 bpm for the continuum 4 project. You can visit the thread here:. Http://www. Freesound. Org/forum/dare-the-community/32704/. Here are the sounds used in the break:. Snare: http://www. Freesound. Org/people/ltibbits/sounds/16306/kick boom: http://www. Freesound. Org/people/jobro/sounds/33523/short kick: http://www. Freesound. Org/people/crescendo/sounds/16709/closed hat: http://www. Freesound. Org/people/atomwrath/sounds/11394/rim: http://www. Freesound. Org/people/opm/sounds/2095/open hat: http://www. Freesound. Org/people/tictacshutup/sounds/423/static: http://www. Freesound. Org/people/hello_flowers/sounds/30974/rev crash: http://www. Freesound. Org/people/halleck/sounds/30938/.

An experimental soundscape from space. This is my first texture sound, let me your feedbackand and share your usage with me!. File :- duration : 43 sec- type : wav- size : 7. 26 mo- resolution : hd 16bit 44,1khz stereo. Sound specification :- origin : sample recorded. - sujet of sample : electric switch. Production tools :- daw : fl studio 20- effects : experimental reverb, phaser, lfo filters, modulation, equalizer, compressor. For more information please, contact me by private message or by mail at : alayan@orchestral. Be.

Testing/documening my nonlinearcircuits timbre!. "this is basically a clone of the buchla timbre found in the easel. ". Sound:1. Sine wave not going throught wave folder2. Sine wave though wave folder3. Triangle though wave folder4. Square through wave folder5. Saw through wave folder. An lfo is modulating the bias. No, when going through the folder the there is never a sinus wave. . . Next time. . . Also it is a matter of calibration. I should check it out.

I use a screenreader, nvda. I decided to set it to the eti eloquence speech synthesizer and put the voice on the french voice. I then set the inflection to 50 and typed the letters "r" and "h" over and over to make it sound funny when it tries to read it. The first part is the normal voice, the second part i applied ring modulation with lots of lfo effect.

I have built a nonlinearcircuits sloth lfo, the regular version. Sloth is a chaotic lfo. The output is based on the lorenz system. It is a system of ordinary differential equations. It is notable for having chaotic solutions for certain parameter values and initial conditions. In particular, the lorenz attractor is a set of chaotic solutions of the lorenz system which, when plotted, resemble a butterfly or figure eight (very much from wikipedia). The sloth has two outputs x and y. Think of them as coordinate pairs. The output will probably never repeat itself but there is a pattern. I have built the regular sloth it usually takes approx 15 seconds to make a rough figure 8, one cycle in the “butterly”. The knob changes the chaotic pattern. At some settings the signals will spend more time in one strange attractor than the other. Now i’m testing the module in different ways. In this sound i have connected white noise to a filter. The filter frequency is controlled by sloth (x output). In this patch i have set the initial frequency at 12 o'clock. . . The output sound from filter goes to reverb.

Some kind of tardis-esque machinery humming away, ready to project the adventurer into outer space. Would be useful as a sound effect for a video involving strange futuristic machinery. No effects have been put on it to aid this. This was created with my eurorack, the main component is a waldorf wavetable oscillator nw-1 module, put through an a-127 triple voltage controlled resonance filter and a a-188-2 tapped bdd delay. The filter and oscillator are modulated in sync by an a-145 lfo.

I used 2 low frequency operators (lfo) on a low pass filter (24db) on a generic pink noise sound with medium resonance settings, one of these lfo's was manipulating the other one with a random ramp, to make it sound more diverse and realistic. I put an aditional long envelope on the q (resonance) also, not to mention some chorus at a low tempo to make it kinda binaural with a stereo delay at a short time setting. . . I hope you enjoy it!.

This is a sequence of bass notes created using vst instrument alchemy on preset dancetrance/ leads/ higher states. Run through ohm boys lfo delay and sequenced at 102bpm at a#3. Works well with my 'break away 102' breaks. The best way to loop this is to take the last two breaks of the sequence and loop those as the effects roll nicely into each other. I've left the ending part in if you want to let it fade out smoothly into your sequence as the bassline ends.

The different creation steps. - creation of a sinusoidal sound of 3s with a frequency of 440hz (la)- creation of an other sinusoidal sound of 1s at the end of the first one, with a frequency of 493,9hz (si)- fade-out effect to gradually decrease the sound volume between 3,80 and 4,00s- modification of the envelope at the end of the sound- wahwah effect with the following parameters :lfo frequency - 1,5hzstart-up phase - 0 degdepth - 30%resonance - 4. 0wha frequency lag - 30%- modification of the sound's envelope to obtain a crescendo effect.

A third version of https://www. Freesound. Org/people/gis_sweden/sounds/352940/. Now i let the alm pip slope affect a filter. I play a little sequence made with cvlfo , clock divider, attenuverter, quantiziser. The way i usually do…. But the interesting thing is the cvad (?) voltage controllable envelope generator. But in the case of alm pip slope you just control attack and decay. Seems to be enough. As in the other versions of this sound i connect one lfo to attack and a second lfo to decay. But this time i connect the vcad to control the frequency of a filter. Interesting. I wish i had two more cvlfos… should open up for rhythmical usage. I use no vca or adsr. I have connected the vco straight to the vcf and the vcf to mixer. In the beginning i have the frequency pot at 2 a clock then i gradually move it clock wise and let the vcad take control. 1 minute in the pot is fully clock wise. The vco is playing a sawtooth wave. If you dl and inspect the wave you can see that in the beginning and the end it is a sawtooth wave, but in the middle part the filter affects the wave form.

Acid bass: 110 bpm c2 note, not your typical saw/square basslines. High sweeping filters in parallel with lfo routed to certin parts sampled in ableton using massive, compression using psp compressor2 and psp warmer. Random presets, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down. Check out my songs on soundcloud :d.

1 looping envelope and 2 vclfos in a dance (chain connected). I think its harder for this combination to find a nice pattern - equilibrium. It happens sometimes. Maybe the mixture between positive and negative cv confuses the modules. Makes it harder. I start the recording with one of the vclfos in vco-mode. After about 17 sec i swith to lfo-mode. Records and hope that a pattern should emerge. I have been listening, and looking at the wave form, in different modes, but i'm not sure if there is a pattern in this recording. . . Maybe to advanced for me. There is - some -sort of pattern repeating every 22 sec. Or?.

Just a basic single wave form sample from a real roland jp-8080 saw wave in the key of g. Used in making an epic super saw and super arp for these youtube tutorials and project:. Part 1: https://www. Youtube. Com/watch?v=byd_yirefiipart 2: https://www. Youtube. Com/watch?v=wruzgwtmvuqfull ableton project here: http://blnd. Io/1aodggb. The sample is tuned to the key of g, you will have to make sure that the sample is set to the key of c or transpose up 5 semitones. I correct this in the new template update; so that all chords and arps are in sync w/ the correct key.

Yep this is a crazy sound. What have i done. . . I have build a nonlinearcircuits sloth lfo. Https://www. Modulargrid. Net/e/nonlinearcircuits-sloth-4hpedited info:i have built the regular version. The sloth has two outputs x and y. I connected x to control frequency on one oscillator and y to control amplitude on another oscillator. Frequency experiment on left channel. Amplitude experiment on the right. The file starts as the amplitude is 0. Next time the amplitude is 0 (almost) is at about 48 sec. Then 48 sec later, at 1:37 the amplitude is 0 again. The two cycles are not identical. The tones are harder to analyze. . . X and y outputs. I guess those corresponds to x and y in a coordinate system. You can find video clips watching the sloth “drawing” butterfly wings. For example:https://www. Youtube. Com/watch?v=0ku6npz1s4gand maybe check this:https://www. Youtube. Com/watch?v=occhcm5oxp8http://nonlinearcircuits. Blogspot. Se/2014/09/sloth-chaos. Htmlthis later link is the developers page. The constructor (andrew) of this module says that my version completes “1 cycle every 15 seconds”. What does that mean? is one cycle one lap in the butterfly pattern? will the pattern repeat itself? yep, i’m going to ask him…. Edit:andrew answers my questions: “it is a very approximate description of the frequency, cycle is not the proper term to use. . . . Nor is frequency really, but they are descriptions that people can relate to easily. Depending upon the pot settings and whatever other initial conditions that happen to be in place, the signal may traverse the typical double strange attractor path. It may stay in one attractor for several loops before crossing over to the other one. The pattern will never repeats itself, it might come close but won't do it. ”my question: so, one “loop” is one cycle?andrew answers: typically it takes approx 15 seconds to make a rough figure 8, but depending upon the pot and other factors, it may take longer, much longer, sometimes it even pauses whilst deciding which way to go next.

Algorithmic modular music program (man2_2019). The computer is my analog modular synth. 01 to 08 are clock sequencer steps. 00 rem -------------- man2_2019 --------------00 rem vco_1 sin through wave folder00 rem vco_2 tri00 rem vco_3 sqr through vcf00 rem (vco_1, vco_2, vco_3) tuned to 130 hz00 rem rnd pitch cv from attenuated tri lfo00 rem rnd cv from tri lfo00 rem main clock (lfo_1) start frq 10 hz00 rem reset is tricky, trg -> short env -> reset00 rem (noise) is noise through a lfo sweeped vcf00 rem ---------------------------------------01 rnd -> vca cv in (vco_1)02 if (lfo_2 = high) then goto 01 [= reset]03 rnd frq lfo_1 (run speed)04 rnd fm mod (vco_1) with audio from (vco_2)05 rnd -> vca cv in (vco_1, vco_2, vco_3): invert cv -> vca cv in (noise)06 trg long env (vco_2): rnd pitch @ eoc (vco_2)07 trg long env (vco_3): rnd pitch @ eoc (vco_3)08 rnd -> wave folder (vco_1): rnd -> vcf (vco_3)10 goto 01.

Algorithmic modular music program (man2_2019). The computer is my analog modular synth. 01 to 08 are clock sequencer steps. 00 rem -------------- man2_2019 --------------00 rem vco_1 sin through wave folder00 rem vco_2 tri00 rem vco_3 sqr through vcf00 rem (vco_1, vco_2, vco_3) tuned to 130 hz00 rem rnd pitch cv from attenuated tri lfo00 rem rnd cv from tri lfo00 rem main clock (lfo_1) start frq 10 hz00 rem reset is tricky, trg -> short env -> reset00 rem (noise) is noise through a lfo sweeped vcf00 rem ---------------------------------------01 rnd -> vca cv in (vco_1)02 if (lfo_2 = high) then goto 01 [= reset]03 rnd frq lfo_1 (run speed)04 rnd fm mod (vco_1) with audio from (vco_2)05 rnd -> vca cv in (vco_1, vco_2, vco_3): invert cv -> vca cv in (noise)06 trg long env (vco_2): rnd pitch @ eoc (vco_2)07 trg long env (vco_3): rnd pitch @ eoc (vco_3)08 rnd -> wave folder (vco_1): rnd -> vcf (vco_3)10 goto 01.

Synthesized sound of a flying helicopter. The patter is as follows:. Sound 1 || sound 2 || sound 3 || sound 4 || sounds 1+2 || sounds 2+3 || sounds 3+4 || sounds 1+3 || sounds 2+4 || sounds 1+2+3 || sounds 1+3+4 || sounds 2+3+4 || sounds 1+2+4 || sounds 1+2+3+4 || sounds 1+2 again || sounds 1+2 with phaser effect (pitch up and down). Each sound above is exactly 2 seconds long except the second-to-last sound (4 seconds long) and the last sound (8 seconds long). All sounds synthesized in propellerheads reason's thor polyphonic synthesizer. Here's how i did it: used two oscillators (one noise oscillator and another multiple-wave oscillator), and then passed them through two different filters. In each filter, i lfo'd the frequency knob at 2. 0hz (120bpm), and the pattern you see above is each oscillator-filter combination muted in different ways. For the last sound, i applied a phaser effect and automated the frequency knob or some other knob to give that pitch-up pitch-down effect.

Short fm syntesis tweaking filters band lfos.

Cat sound wavetable in xfer serum with filters and lfos.

Created by divkid for use in the make noise soundhack morphagene. There are dry-only, fx-only, and mix versions of this reel in the pack. See it in action at https://youtu. Be/rk4ufmfcouc. Patch walkthrough. The patch starts with the qu-bit chance providing discrete random values (sample and hold) going into an instruo harmonaig. This takes the stepped random voltages and quantizing them to a given scale. I put in the notes c d eb f g ab bb which is a c natural minor scale, the relative minor of eb major (for anyone that's curious). However like most of my modular work i didn't actually tune the oscillators to anything specific. So treat the scale as a pattern of intervals not a set of specific notes. The quantized notes then form 4 voice chords giving us a root, third, fifth and seventh cv output that will be diatonic following the scale pattern, meaning the third will be major or minor, the seventh major, minor or dominant and the fifth natural or diminshed to suit the scale. With the 4 quantized outputs on the harmonaig these all go into the four oscillators on the synthesis technology e370 quad morphing vco. Each of the e370 oscillators are in the basic morph xy mode using the built in rom b set of wavetables. Wavetables are modulating by various mixes of the befaco rampage, mutable instruments tides, wmd multimode envelopes and music thing modular turing machine. The modulation sources are mixed and split with multiples and mixers. These modulating wavetables then go into a bubblesound vca4p where i'm using 4 mk1 intellijel dixie oscillators all un-synced and free running with sine wave lfos. Each lfo freely fades the voice in and out of the vca4p. As this is unsynced there's no regard to pitch changes linked to changes in amplitude and the swells. I find splitting the gate/rhythm from pitch regarding sequencing to be a freeing and interesting way to work that's not available on traditional instruments. This is just a simple application of that idea with the lfos fading freely unrelated to the other modulation or sequencing of pitch. The sound then goes from the vca4p mix out into a befaco mixer and praxis snake charmer which the output section of the larger case and i'm sending a 'pre' auxiliary out into my fx case. The dry sound first goes into the erica synths fusion delay / flanger vintage ensemble which is giving me short modulated delays giving vibrato like sounds and pushing the input level and overdrive gives us some warmth and grit that thickens up the sound and also fills in the gaps left by the free running lfos pulling quieter sounds and compressing in the on board tube. This then outputs to the feedback 1 bit multitap delay module which has it's delay chip pushed to longer times for some added crackle and noise. I'm using the two delay taps for a shorter and longer delay with little feedback to mix the dry sound for a generally noisier and smeared version of the input. This then goes into the xaoc devices kamieniec with it's on board lfo as slow as possibly for a mildly resonant phase shifting. This goes into mutable instruments clouds set to sew random grains slowly and randomly which are pitch shifted up 2 octaves to fill out some high end flourishes against the closed chord voicings at the core of the patch. Finally this goes into a long lush reverb from the halls of valhalla card in the tiptop audio z-dsp. The stereo fx chain and the mono dry signal are mixed in the befaco hexmix and recorded as a mixed stereo file. I'd consider this to be the main 'reel'. However i split the dry signal and the fx only wet stereo signal and recorded those at the same time so you can choose which reel to use and experiment with dry/wet or blended sounds from this patch.

Algorithmic modular music program ver. 2 (man2v2_2019). The computer is my analog modular synth. 01 to 08 are clock sequencer steps. Admit, the spring reverb makes a nice job!. 00 rem -------------- man2_2019 --------------00 rem ------------------ v2 -----------------00 rem vco_1 sin through wave folder00 rem vco_2 tri00 rem vco_3 sqr through vcf00 rem (vco_1, vco_2, vco_3) tuned to 130 hz00 rem rnd pitch cv from attenuated tri lfo00 rem rnd cv from tri lfo00 rem main clock (lfo_1) start frq 10 hz00 rem reset is tricky, trg -> short env -> reset00 rem (noise) is noise through a lfo sweeped vcf00 rem ---------------------------------------01 rnd -> vca cv in (vco_1)02 rnd -> wave folder (vco_1): rnd -> vcf (vco_3)00 rem line 08 in ver. 103 rnd frq lfo_1 (run speed)00 rem [less secitive for cv change]04 rnd fm mod (vco_1) with audio from (vco_2)05 rnd -> vca cv in (vco_1, vco_2, vco_3): invert cv -> vca cv in (noise)00 rem [added some offset with attenuverter]06 trg short env (vco_2): rnd pitch @ eoc (vco_2)00 rem [long env in ver. 1 - with long env i seldom reach eoc]07 if (lfo_2 = high) then goto 01 [= reset]00 rem line 02 in ver. 108 [07] trg short env (vco_3): rnd pitch @ eoc (vco_3)00 rem line 07 in ver. 100 rem [long env in ver. 1 - with long env i seldom reach eoc]10 goto 01.