This episode is VERY relaxing! We used SAPÈL’s blue noise to modulate BRENSO’s frequency and add a very soothing lo-fi vibe to our sequence. Then, we blended it with some gates to create a gentle polyrhythm.

We improvised a patch where we used USTA as a quantizer to transform a complex envelope into a rollercoaster of ascending and descending swirls of notes!

This time we came up with a nice glitchy drum sound and an eerie pad! We patched the reverb through FUMANA back into the Stereo Channel to create a dissonant feedback that we further tamed with FALISTRI and 321’s combined side chain capabilities.

This live improvisation incorporates FALISTRI as a sub-harmonic generator (or formant oscillator, as you prefer).

Making some kind of “music” without a sequencer wasn’t an easy task. But it was fun indeed! We managed to make two flip sync sounds and create a resonant drone, shaped by FUMANA and SAPÈL.

Today we stumbled upon a classic of our patch archive, the Complex Envelope Technique with FALISTRI. We mixed it with a polymetric patch on the USTA sequencer, as well as some ratcheting gates sent straight into BRENSO’s ping circuit.

By combining USTA’s ratcheting effect, BRENSO’s LFO, and FALISTRI’s Force Loop input, we created this unpredictable patch where each pattern repetition bears different rhythms.

Today we’re going to do an experiment! We try to recreate a popular reel we uploaded on IG. We patched as many Techno staples as we could with just FUMANA, USTA, and BRENSO (ok, also a little bit of FALISTRI): kick drums, acid lines, squelchy filters, and some ambient layers in the background.

This patch uses BRENSO, FUMANA, and the USTA sequencer to create a dreamy soundscape with a gentle creaking background.

IDEA A formant filter usually has three resonant bandpass filters with adjustable frequencies. FUMANA does not resonate and its filters have fixed frequencies. But it doesn’t know! Let’s try to see where we can push it. INGREDIENTS FALISTRI FUMANA BRENSO CGM

IDEA Today we'll create a patch from scratch according to these three Techniques picked at random: 1. Octave Blends; 2. USTA Polymeter 1; 3. Fake Analog AND. INGREDIENTS USTA FALISTRI FUMANA BRENSO CGM SAPÈL

IDEA During one of our last Workshops, a participant asked for a patch with a deep interconnection of BRENSO and FALISTRI. This is what we came up with during a free, interactive improvisation! We chose to split in half BRENSO and FALISTRI and use their yellow sections as oscillators and their green sections as LFO.…

IDEA A feedback loop is something beautiful and dangerous. It is a delicate ecosystem that is always on the verge of collapse. Once we can keep it balanced, it becomes an excellent tool for making music. Fumana is a non-resonant filterbank. However, we can create a feedback loop with a couple of extra modules and…

IDEA The sixteen filters of FUMANA are well laid out on the front panel. What may not be obvious at first glance, however, is that sixteen more filters are laying under the hood, right at the heart of the module. These other filters do not output any sound. Instead, their job is to process another…

IDEA There are many ways in which a musician can combine two audio sources to get new sounds that are widely different than the original ones. FALISTRI wasn’t born as an oscillator; nonetheless, it allows this kind of experiment, and much more. In this patch, we cross-modulate the two generators to achieve rich timbres that…

IDEA ‘Why two gates per track?’ We’ve been asked this question quite often, and here’s one of the possible answers! In this patch, Gate A is in ‘Blue’ mode and trigs the main VCA envelope. Gate B, on the other hand, is in ‘Green’ mode, and, through its ratchets, it trigs a second envelope, which…

IDEA This industrial groove is created with distorted sounds, metallic noises and massive rhythms coming from the interactions of two Falistri. A cycling envelope is gated by its own division by 16 and then controls the (only) oscillator’s amplitude: for this purpose, both four-quadrant multipliers are used in series as VCA. The main voice is…

IDEA One of the best ways to foster creativity is to constrain yourself into a small environment and try to get the most out of it: in this case, we show you how to get arpeggios without having an arpeggiator. We used just two FALISTRI and we took advantage of the selectable behavior of the…

IDEA Sometimes it is nice to have control over your sound; some others, it is better to just let the instrument follow its own path. In this patch, we wanted to do both. We set up a simple FM drone sound with FALISTRI and we filtered it with the extremely precise filter array of FUMANA.…