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This is all very intimidating I think like you do 90% of people who don't know much about audio
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Your production to come to the studio and see this wall
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Or balls of you know just blinking lights and knobs and all this stuff and get really
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Kind of overwhelmed by the complex look of the thing but
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It's actually really not complex at all did these these all all this s*** is is no.
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Different than a BST
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In fact this is what vsts are built off of except these wires are basically replaced
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With on-off switches or
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Toggle dancer route routing switches or mod matrix's
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That the thing you should
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Take away is this you know this is called a modular synth meaning that its modular everyone
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None of these panels some made by the
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Same manufacturer some made by other manufacturers every one of these small little modules has a very
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Purpose
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So what you have is oscillator Zoar let's just say sound sources and then mod
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Modifiers
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That's
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Basically the two things that are kind of happening here so
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I have one module that outputs
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Vco which is a voltage controlled oscillator
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Voltage plays a huge role in
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Modular synthesis because
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Voltage dictates on the pitch of something or the amplitude of something depending on
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The voltage of going in
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And what I'm doing is I'm coming out of a VCR which is a voltage-controlled oscillator
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I'm coming into a
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I'm just a small mixer here and I'm going directly out
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To a mixer that's
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Going into the input of my computer
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So
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What you're hearing there is just a saw wave from this one module
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And then you know this knobs controlling the pitch
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Now the quality because it's an analog oscillator the quality is inherently just going to be better than a
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Mini digital synth
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So that's
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Not very exciting so that's when you have to get start with your patching so instead of
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Coming out that these wires are basically just controlling the signal flow of what have you
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Whether that's the voltage or the audio
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So I'm going directly into a mixer and will just say this is my computers input because ultimately it is
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So
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Instead of going into that I want to go into a low pass filter so you could take any
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Filter you like
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Let's say
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This one here this isn't it's not going to take the output of that saw wave and then inserted into
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An audio input into that filter I'm going to take the audio output of that filter and then go back to my output
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So now I'm just going from here to there to there
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Wellbutrin
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Follow the wires
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So now I'm controlling the filter cut off so now I've added a little
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More
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Kind of
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Death to that sent Walnut death but I have a parameter now that I can change
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And of course all these modules have
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Different ways of doing things in different outputs
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What we're hearing with the filter open there is just a soft butt
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Just like flicking a switch on a VSC I can change that from a saw to a
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Sine wave or to a pulse
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Or a pulse-width where you can
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Modify things like pulse width
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But just for argument's sake let's say
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I want to use a assign
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Witches
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That kind of resolution between the high and the low
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That range you're getting is an analog sound
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So that you can't really replicate well with a vst2
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So of course you can be more complex than that
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This is a group of three of the same module so I can take another sine wave out of one
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And then go into the frequency modulation input of another one
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One so I'll let's take the mod index of
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This one and cross modded which I believe you
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Sprint so now I have a sine wave modulating another sine wave
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So this is got to be so I can also send it as LFO
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Automation because this is the rate of the low-frequency oscillation and this is the pitch of the
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The destination
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Here's the
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The amount if you want should be
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So this is now the amount of modulation
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With no amount I can now have that as a framing rmsi
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Switch that say if I want to go to vco
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A weird kind of George called frequency modulation so I'm using this oscillator to modulate the frequency
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This one
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And all that is
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Is you hearing that effect for being sped up
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Cross modulation so you can cross modulator
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Instead
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Four but I don't know but I'm always sounds good with signs for
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Every reason
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We're still taking the output of this one and going into this filter here
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Mom mom
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So Tennessee you want to automate something like that then the patch gets a little more
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Harry where you'll take what's known as an adsr attack Decay sub stained
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Release or you can have a VR which is just attack Decay and release without the sustained but
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When I will take the value of that envelope and go into the cutoff parameter
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Which is called control modulation which also runs over voltage
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So what I'm going to do here
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Is I now need something to trigger
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That 80s are so
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I have to take like a gate input to That 80's R come from
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I don't even know why you it could be anything
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Could be there Sky the Tempe
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So now as this
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Channel is blinking here
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You can see that that voltage is being sent here and the gate is being turned on and off
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Now if I increase the amount of that
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Anna just some of these parameters
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Are you getting the filter opening and closing for you
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And of course that's going on the rate of
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Of whatever that you can sync to another clock and all that stuff and that's good and great
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That's just like so many Limitless things you can do with
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Modular system so it's like oh I want I want a copy of that envelope to
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Also trigger the pitch of my carrier wave
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Or
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The sink
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Of the
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Second wave
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It's this one
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So now we have this
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Some outgoing into the
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Computer but sound wanted hit an effect module or something before I do that
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I can take
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This
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Output
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And go into a G'zOne even know
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Maybe
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I got
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I thought I had a river
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Okay I got it
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Echofon these are always fun
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So I can take the output of all that go into the input of a delay type unit
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Actually give it a little more
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Games
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Cuz it's very quiet
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So now what is happening isn't this is cross modding that.
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That's going into unfiltered the filters being triggered by an envelope generator and then it's all going into
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Do a mixer into one channel the mixers coming out going into a delay type unit and then
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And that delayed type units going to my master out which is going to my computer
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Muscle playing around you can do it isn't
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Adjust the dry weather
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Instead of taking that oscillator I could just take a
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They really need to make really long
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I can take a different type of oscillator so this is just a
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Going into the filter now I passed all this and this is an analog controller
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Digital oscillator
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Of course I still have my filter and I can just open that out that's on
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And all these
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Different types of synthesis
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Syncing with another saw
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Well that's kind of a cool cinnamon
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How how do you incorporate that into a sequence wall
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Computers for you would do is say so
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You use a module like this which is a midi
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2
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Voltage
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Converter basically so what it'll do is you could take a midi out of your computer
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Come into this
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And then send it no data and it'll send the corresponding pitch
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Control voltage that you can use to
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The control
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Your
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Your pitch of a
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A bat
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Particular thing so
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You can do it by hand
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Where
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But you really wanted a Ritz out of it now you could use
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An analog sequencer like this
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2
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Shifting
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But you can do that
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I'm actually sending an audio pulse
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To the sequencer
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And then ask that
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Colts reset it sends a gate
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To this song
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Dismal
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Like step sequencer if I make it only like three steps
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Every time that
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Pulses it's going to send a voltage Spike to the sequencer to keep it going
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Now and if I wanted those to be notes on a keyboard with all that have to do is
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Take the voltage output
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Of that
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I mean come into
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And then I'm adjusting the
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But I don't have single which is kind of cool because it says it's producing a kind of sound that's not
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And then it's a matter of you know
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Now that
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Nature of these things is there really hard to tune
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And you're always going to get minor tuning variances if you
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Wire in such a way where it's not going to quantize pitches properly
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So those aren't actual real notes but they're they're approximated they're really close but that's going to give you a
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A kind of sound that you can't replicate go out with Abby St
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Once you kind of done that then you just kind of decide on which affects you want it
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What kind of things you want to modify by hand while you're try
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Trax recording you just hit record on your your workstation and then do a couple takes
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And see what sticks
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I'm very organized patch but
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Kind of explains of
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About what
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How these things work bummer is is this
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I can't say this
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Once I start unplugging these cables I'll never
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You know
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I would never be able to recreate that ever
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No way
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Not exactly like that maybe something close me if something sounds like Abby you'll never be able to recreate it
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And that's why I really like
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Modular synthesis for making
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Even just one shots or like like simple one little sin flip that goes in there because
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Cuz you know you won't care that flipped anywhere in the world
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One song that I actually really extensively used modular system on was My remix of Ice Age
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It which was
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How To Destroy Angels tracks am what I done is I had made
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A hole
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Cacophony of
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1 shots and sequences of Blitz that I recorded into the computer and then
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Cut up inside the computer and then you know made this really long non-repetitive sound
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Sounding like
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Glitchy
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Drum synth
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Type sound
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That was a lot of
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You know I'm just
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Recording small elements from here wasn't all done in one take
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With some monster Padgett was a
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A combination of a whole bunch of likes
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Small
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Simple patches like this where it's not patch
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While I'm explaining if I wasn't explaining it might only take me about two minutes to do but
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You know you do about a hundred a hundred fifty of those and then record all the shots and then create your own alive
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Ferrari of
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Modular bleeps and bloops
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Then you can reference that Library go in grab the audio data while you're sitting down at your dog and then pick and choose what
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Do you want to use that kind of thing so that that was
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Something I used on
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Sometimes I'll go to the modular to recreate a I simply need a top-line or something you know
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With like three or four oscillators running in unison to create a
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Again
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You know Cindy
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Where we saw wave-like
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Filtered thing
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But more often than not it's it's just more for adding you know
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Bells and whistles and cool little
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Things in your track not so much as
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Features
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Feature items Like a Kick Drum
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You could make on a
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On a on a modular synth like a good solid 808 no problem it's just you know what sine wave with the proper
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Modulation in the envelope control and transient design and all that stuff
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It it sounds the same just using it I sample for that
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Kind of things so it's like
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I've more lean towards using like you know
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I need to wait
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Sample
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As opposed to trying to read
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Invent the wheel with a modular
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Same thing I'm trying to get a familiar sound out of a modular kind of
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Defeats the purpose of using a modular
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You could spend
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Hours upon hours of you know just kind of playing around with one of these things and not actually record
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Anyting I I tend to do that a lot
261
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Which is kind of cool cuz then if
262
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If
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There's something you need to do like you'll know how to do it quickly or are you know you'll know the patchwork that you need
264
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Need to do to achieve
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A certain type of a fact but
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These things are
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Like hobby toys really like where you're not even recording any of the iron you just playing around with it making interesting
268
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Found some
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All the better if you're recording them so
270
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But more often than not I find myself you know just making
271
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Crazy goofy patches with these things
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You know your options are literally Limitless when it comes to you know creating really new original pipes
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Sounds and you can buy you know my modular synth about
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That big with maybe about four or five modules in it
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Kind of Essentials
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Panda
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00:21:29,728 --> 00:21:31,776
You can do all sorts of creative things I just
278
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Like having all these options open War
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00:21:36,384 --> 00:21:37,408
Animal hoarder
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00:21:37,664 --> 00:21:38,944
And I like to clacton
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00:21:39,968 --> 00:21:40,736
All that kind of thing
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