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Odd/Even Crossfade

By setting a QSC channel to Crossfade, we can blend the ODD and EVEN bands with a single CV, opening up new sonic routes!

2021-04-21

techniques
Sidechain #2

Today we created this percussive patch with FUMANA and mixed it with a BRENSO bassline. To give every sound the space it deserves, we used the ALL EF out to duck the bassline. It is a simple but very natural sidechain effect!

2021-04-21

techniques
USTA as a Quantizer

Did you know that you can use USTA as a quantizer?⁠

2021-04-21

techniques
Reverb Feedback

Who said that the effect send should be patched back to the return? What if we patch it to another channel?⁠ Well, that works, but what if we route this channel as well back to the effect send? That’s right, a feedback loop!⁠

2021-04-21

techniques
One-Shot Sequence

This time we had USTA controlled by ONE envelope of the FALISTRI! The attenuated envelope controls the clock speed, while the EOR gate plays and stops the sequence.

2021-04-20

techniques
Usta Envelopes #2

Here’s another example of USTA’s CV B used to create some funky envelopes to spice up this acid sequence!

2021-04-20

techniques
Usta Polymeter #1

Thanks to USTA, we could create an evolving rhythmic structure with just two BRENSO sine waves playing in unison.⁠ The key, here, is removing just one stage from one of the sequences.⁠

2021-04-20

techniques
Timbre Modulation Bus #2

BRENSO is all about access. Here’s why we separated the Timbre Modulation Bus from the actual Timbre section.⁠

2021-04-20

techniques
Amplitude Modulation #1

Use the AM/RM Crossfade to bring in your FINAL output an amplitude-modulated copy of the sound coming out of the Wavefolder.⁠

2021-04-20

techniques
Timbre Modulation Bus #1

This is another thing that we absolutely wanted in our BRENSO: an “open” modulation bus for the timbre section.⁠

2021-04-20

techniques