Category / techniques

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  • Stage Shift Probability #1

    This time we want to use a pattern as a probability-based random sequence – and it’s possible through USTA’s Stage Shift parameter!⁠
    By routing an external random signal to USTA’s Stage Shift (like SAPÈL’s S&H out), we can randomly scramble our stages’ values. This means that the more a note is present in the sequence, the more likely it will be picked!⁠

  • USTA Polyrhythm #2

    Did you know you can get polyrhythms with USTA even if you don’t mess with Time Ratios?
    You just have to set both your Gates tracks to the green color, and play with different ratcheting combinations.⁠
    For example, you can set Gate A to output three gates, and Gate B to output 2 gates during the same stage, thus getting a 3:4 polyrhythm.⁠
    The cool thing about this trick is that you can have a different polyrhythm for each stage!

  • Phase Shift #2

    Let’s play with phase and do some extreme cross-patching!⁠

  • USTA Polyrhythm #1

    It is nice to see how much of a difference can a small number make.⁠
    In this patch, we had two tracks playing the exact same melody. What we did was just change the Clock Ratio of one track, to achieve a nice 3:2 polyrhythm.
    There’s at least another way to get polyrhythms out of USTA, but we’ll see that in another video!

  • BRENSO’S Fake VCA

    If we run out of VCAs (and we do…) we like to push BRENSO a little bit further and use its red section! By using all the four quadrants and a unipolar envelope, we can obtain quite a realistic VCA (even if it’s technically a four-quadrant multiplier).⁠

  • Snappppy Expo FM

    Let’s get some clicky percussive sounds through BRENSO’s exponential FM input – it’s DC coupled, so we can patch envelopes to it!⁠

  • USTA Multitempo #1

    This is a patch that could play for HOURS! USTA’s four tracks can play at different BPM values, and sometimes it can be really nice to shift everything by one BPM only.

  • Unbalanced Wavefolding

    Today we played with the Symmetry parameter of BRENSO’s wavefolder section!⁠

  • FM With Non-Sine Waves

    BRENSO’s Through-Zero FM circuit is built on semi-normalizations, but we can break them at any time and combine FM with waveshapers and wavefolders. Here’s a brief example!⁠

  • Amplitude Modulation #2

    Another use of #BRENSO’s red section! Patch any CV to its input and use it as a sort of VCA (just like FALISTRI’s four-quadrant multiplier)⁠.