 Hello OscillatorSync here and welcome back to another modular patch from Scratch video. So in the last modular patch from Scratch video we made quite a complex patch with drums and bassline and arp and lots of modulation and lots of movement and I kind of joked towards the end of that video that or I've got patch cables left over and places left patch left over and this isn't a finished patch until every single patch cable is used and which was kind of tongue in cheek obviously but I also think that's sometimes a bit of a trap that you can fall into with modular where every patch that you make has to use everything and I don't think that's always necessarily a useful way to think about things. So I was daydreaming about a patch idea earlier today that I would like to try out. Hopefully a little bit more focused inevitably but in the video I'll end up patching every single thing because I am only human but the idea that I kind of had was making use of stages especially with the alternate firmware that's on it to do a lot of the pitch sequencing to create these nice bleepy bloopy kind of sequences that are probably a little bit cliche in the world of modular but they're cliche for a reason it's because they're kind of lovely. So that's what we're going to go for today something a little bit more mellow bleepy bloopy and making use of stages to do our pitch sequencing and we'll talk about how we'll patch that up very shortly. So I think we'll go with like just one or two voices and I think the first voice that we'll go with it will be really simple and we'll just use the 2HP VCO probably into a low pass gate and that can be basically the entirety of our voice. So let's grab let's just try a short one let's try a triangle wave into low pass gate and we'll take the output of the low pass gate and put it into X pan whether or not we make things pan around or whatever I haven't quite decided yet but just might be nice to be able to place voices in stereo and then we'll need to patch the output of X pan into something as well I guess we'll just go into just into the aux of Stemix and then if we let's just make sure that's all patched okay if we just temporarily just give that a gate from Pam's okay great that's all working as intended. So right let's just for the moment let's just open the CV on the low pass gate up using at end so we can talk about the pitch okay so there is our oscillator so the idea that I had for the pitch sequencing is that on the alternate firmware the orange segments on stages will as well as being able to do something on hold which is kind of one of their main reasons for existing we can now also do something hold which is pitch quantized and we can set the pitch quantization just by holding down the button and sort of sweeping through there and we can show that that's working if we patch in a second reach yeah actually that's a bit tight we use a slightly longer patch cable if we patch the output of this orange channel now into the volts proactive and we can move how we've selected a pentatonic scale there I think and then let's cut over the scales in here so that's no scale there's another scale there but we'll go with the pentatonic because the nice thing with the pentatonic is that it's always going to sound pretty good so obviously we can just move it around using the slider here but if we feed a level into the input of this segment say from a LFO over here perhaps so patching the output of that segment into the input of this one you can probably hear that there's some possibly over here down at the bottom that there's some pitch quantization going on there but it's obviously a really really long swoop there now what we could do is we could attenuate that signal and I've got one of these little friends here which is just a flying attenuator which would be good for showing that this isn't what we're going to do ultimately as it happens but we open that up we have attenuated that signal and if we open it up more we're going to get bigger and bigger sweeps there but one of the nice things that's in this alternate firmware is that if we set this orange segment into looping mode this knob now acts as a attenuator rather than a slew time and what that means is that between these two knobs we can use the level to offset it and we can use the knob at the top to make a bigger range which gives us quite a formal set of tools because we can constrain what we're doing really easily place in different parts of the range but stuff that's always going to be in tune and working nicely so that's really cool now what we probably don't want to have here is this thing just sweeping up and down forever and ever right instead we probably want to hold on pitches as we go so for that if we send a gate into this channel of stages it will act as a proper sample and hold and it will hold each time that it gets a gate so let's um maybe channel one of pams okay so we patch that in so it's stopped moving all together and if we start pams every time it hits that gate it's going to choose a new pitch now if we make the gate pattern on pams a little more interesting so if we if we come into channel one here first things first let's make it a bit faster and if we change the rate of our LFO because of the incoming voltage moving around faster or slower we can get these different patterns and so the relationship between the gates that are coming in our offset and attenuation here and the speed of the LFO now give us like infinite combinations of different patterns which are always in tune always in time but we can be really performative about them and really quickly find new things and of course we could also change the shape of our LFO as well so it's now just descending or more slew skewed towards the top and bottom and I think this is a really nice way to think about um creating these patterns let's make the gate pattern on pams a little bit more interesting than that so maybe let's get some Euclidean stuff going on in there so we'll come into the configuration for this channel the quantized one this isn't perfect incidentally occasionally i'll throw something out but it's it's good enough so let's put like um four into nine Euclidean pattern there and then still we've got this kind of performable patch here now we probably don't want this open all the time now instead we probably just want the gate from pams that's changing the pitch to trigger the um low pass gate so every time a new pitch comes out we get a new gate so let's unpatch that and grab um is that coming into there so for a longer stack cable so i'll grab this stack cable well i want the gate and you want to come out pattern so the gate from pams that can come into our low pass gate and we'll just make the um width of the gate from pams really tight so it does the nice low pass gate ping thing so now we've got this really nice little voice where we can move its range around offset it and as we move this range and offset around we still get the same um contour of pitches so it's always the same contour of pitches and if we want to change the contour of the pitch is we can change the speed of i'll i think that's a really lovely way to work um because it's it's the sort of thing that modules really really sort of suited towards doing okay let's take this patch a little bit further and do some more interesting stuff with it shall we so i think the first thing i want to do to take this patch a little bit further is actually just duplicate this entire thing for another voice so maybe um use beehive which is the plat's clone to do a very similar uh trick basically the same thing but because we'll have different lfo speeds and different gate patterns the two will interact with each other and and be lovely i hope so um so we'll set that channel to be an lfo we'll set this one to be the looping um orange segment switch up to the quantized mode uh then we'll take the the level out of that into the false proactive on beehive we can patch uh where are my smaller cables we can patch um that into the level as we had before and then we'll do the same thing duplicating the gates i think so we'll have channel two be our gates so that can both come up to ping our uh low pass gate and then uh also i swear it's more small you have to switch to a different color very very triggering i'm sorry uh we'll have that also gate our sampler and hold like that then go in there so it's basically duplicating that whole thing so we haven't actually patched the output of uh plat's into the low pass gate yet and we haven't patched the output of the low pass gate into uh we're going to expand again just so that we've got panning control that's what pan one to left a little bit on to the right now we should now have two voices okay uh yeah cool so that's basically happening but the moment our gate on pans is a little bit boring and we'll do the same thing of making that um thinner and give it like a euclidean thing cool uh yeah here's plat's maybe a little bit too cool uh let's make uh this pattern a little bit more sparse maybe a bit faster okay that's yeah that's that's nice isn't it um so um given that's sort of on the go there what else uh can we do okay so i can't help but notice that our VCO here has an FM input and that makes me want to FM things so let's grab um yeah so let's just molt the output of beehive there and let's shove it into the FM just for the moment just to see what that sounds like so listen okay that's a bit much so if we just listen to it's a bit much but it's there's something that i like so perhaps rather than having full on FM all the time we could either attenuate it uh or we could um envelope it but yeah let's rather than go straight into the uh FM input there let's go via uh a VCA shall we um going to the stack cable for that i think have a longer one there we go uh so if we come with the stack cable switch it out for a longer one uh so what are we doing um so that is the output of there so if we send that into a VCA and then from the VCA go into the FM input instead and that gives us a bit more control over how much FM is happening if we turn it up then we get more obviously but perhaps we could like modulate that um just LFO maybe i was thinking maybe like an envelope but i don't think i want it all the time so um perhaps we just take a LFO slow LFO on stages maybe one of the random LFOs instead in the alternate firmware uh like something slower now of course what i would say is that i could use a random LFO for the pitch as well that might be fun not less controlled though uh so we'll take the output of that random LFO go into VCA and because uh these are two like both of these are like sequence to a pentatonic scale the relationships between the notes are always going to be fairly um simple so even when it hits hard like that it's still going to sound pretty um pretty chill all things considered what now um i'd like to get some delay so i've got this thing just sat on a delay before when i was playing before so if we could get everything into that and get some delay happening that might be a really nice thing uh i am out of stack cables i might need to reconfigure some of this to allow me to do the delay uh oh actually no because i'm they're coming out of this which is nearby so i can just use short ones this is about to get like a million times better when i had delay obviously so i'll just break that and same with this one route your cables and then bring that out onto a channel of ST mix i think i've got this set as um wet only output mode is one yes that's wet only look at that i knew that without looking at the manual i'm learning this thing in you i'm forcing myself to use different modes on it because i don't use other modes on it so if i turn this level up we should get see pro pan the main voices closer towards the center now that's nice right of course adding delay is going to make it better hmm do we want to add one more thing uh i have an idea it might not work but let's um let's give it a try because we won't know if we don't give it a try okay so hear me out um what if we fed the output of one of our voices possibly the orcs output of beehive into rings and i've got it on the um alternate red mode which is like strings with reverb and that might sound really nice and i could i guess i'm not using the filter yet so i could take like the output of the orcs on beehive into the filter sweep the filter around when it goes low it won't will basically not go into rings at all okay well let's just give it a go that's um so uh so orcs out of beehive into the input of the filter and then from the end pass output we'll try bandpass might be better with a low pass we'll try bandpass uh bandpass into the inputs of rings so i don't think we're going to pitch rings i've just got it set at the bottom which should put it in tune with everything else because i think everything's in C so i'll just use the rings straight up as a resonator and then we'll take the output left and right or odd and even as it were in reverb mode this gives us stereo so it should give us some more width to the sound as well uh set this in the middle somewhere let's see what you can hear let's just turn down our main source for a second so we just got the delay there and there's rings being rings or calm down rings so we're just kind of using it as a as a reverb really but with like okay let's modulate that then uh it's a dangerous dangerous rings isn't it it's the thing with rings it's always got it's always on the edge of going mad isn't it okay um so we need to modulate some stuff right okay uh okay what we've got that we can modulate stuff with so we're pretty much out of stages other than one there which i might save in case i need like an envelope or something uh so we're gonna start taking some random stuff from pams maybe uh yeah so let's maybe move over to channel three set it going really slowly to a triangle wave and patch that into that position parameter just there turn it turn your filter i think the thing is i don't want this happening like all the excuse me all the time so maybe we uh modulate the cutoff of the filter so it only just catches it now and again so i guess we'll use pams for that as well so if we come to four maybe use the smooth random out there okay we'll need a long cable for that i think uh into the CV input there that's far too fast perhaps we also need um perhaps you just need that not happening all the time as well uh oh so i recently got one of these which is a low pass gate that you can just sort of hang off the edge of your uh your setup uh so we could instead of having the orcs go straight into the filter there we can have it go into the low pass gate have the input of this like that and then we can ping it with like another slow pattern on pams perhaps so we'll go over to five and we'll just i'll just set it as a gate pattern just to make sure everything's working first that's like a tone control there so it loses a bit more volume than the the tack up but it might be okay should we just turn this up uh so let's give that a more interesting pattern now interesting that's now because hard edge triggering rings as well maybe we just set the random skip up nice uh bloops in there just some perfectly pleasant bloops and bloops there's a little bit of menace from from rings there and if we want to as i say if we want to move that most melodies around we can cool okay okay one more thing just to make this a little bit more performable i think so at the moment it's pretty straightforward for us to give ourselves changes to the melody and the sort of the contour of the melody but it's not so easy for us to change on the fly the rhythms so much and also i want to move that to that side of that cable because that was doing my head in so let's just make it so that we have a bit more hands on control maybe these two sliders we can use to help us change the rhythm a little bit and probably the way to do that is to either mess with the steps or the random skip on those first two channels of pams i guess let's try the steps in the euclid so just coming back onto channel one there what it will do is come into the menu and come across to the e-trig parameter which is currently set at four so what's my step set at nine okay um so if i come in to edit this here and rather than have it set at four if i go the way back i can probably set it to cv yes okay cv one okay and offset of zero and we'll set the attenuation in a second so if i patch uh the output of this channel of atten in here to here just come on to this channel here i should see the value go up and down or does that just go between zero and the maximum for the euclid i don't know let's find out shall we so okay so that's currently everything and if i go down to zero it puts it on all of them which is a bit annoying but i guess i can live with that okay and then we can do the same thing with the other channel then i guess and then we have like these hands on controls for how much each of the voices are firing so we can come out of the cv set up there come out of channel one into channel two e-triggers exactly we want to be come in here and set that to cv two now they have control over that i always want to make it so we go we have control over how much how much each of those channels are firing we have control over the offset and the range and then the contour just here so that is nice i think that's that's probably the patch we have rings picking up occasional pings of what's going on on beehive so that's always going nice and controlled we could probably get things a bit more modulating but i think for the sake of brevity we're probably out there i always have control of the tape here i think that's a rather pleasant little patch it's one of those patches that you kind of set up and then you just kind of leave it going don't you oh go on let's just let's make the voices burn about uh i wasn't going to uh but i can't i can't help myself can i clearly uh where we're going uh i want to come out of there uh we'll just have so an eight set of a smooth random moving real slow not like at the full level either and same on this other channel here we go now we're done cool well um well i hope that was interesting uh or relaxing at the very least um and uh let me know in the comments if there are particular types of patches you'd like to try you'd like me to try and tackle um i'm happy to take a look at any suggestions but otherwise i think until next time thank you so much for joining me take care