The track starts out with a Rhodes loop that I played into the KP3+ with an LFO sweeping a resonant high pass filter. Next I start to bring in Euclidean patterns on each of the four Circuit drum parts. These are generated through individual tracks on the Pyramid. I have it setup with four Euclidean patterns per track bank for a total of sixteen. This way I can mix and match all sixteen patterns on the Pyramid and even swap them or combine them with patterns on the Circuit.
I also use Pyramid to sequence the bass and synth chords on the Circuit. In addition I have a track for the Sub 37 that I mute while soloing, and a track for the PreenFM2. The Sub 37 is in “local off” mode, so whichever track I have selected on Pyramid determines what instrument plays. I find the keybed and flexibility of the Sub 37 perfect as a controller and sound source. Thanks for listening and check out my new album Isosceles for more like it that’s actually mixed and mastered properly. ;-)
The purpose of AudioCookbook is not to promote or review musical instruments, electronic hardware, or audio software. This site is a more personal (perhaps narcissistic) look at music composition and sound design techniques. “Recipes for Sound Design” is one part of that, but experimentation also plays a significant role. I understand that some my experiments are interesting for ACB readers. My approach has been, if it’s interesting to me then I’ll write about it here. In this case I’d like to highlight an extraordinary, boutique, FM synth that has been unfairly overshadowed by the Korg Volca FM. This amazing musical device for sound design and experimentation is the PreenFM2 designed by Xavier Hosxe.
This synth is by no means new. I first heard about it in August of 2013 on CreateDigitalMusic.com. At that time I was fully invested in the Yamaha FS1R and didn’t see a need for another FM synth in my setup. However, more recently I started researching it because I wanted a portable polyphonic synth for live performances. I’ve brought luggable rack synths to shows including the FS1R and Roland MKS-80, but it’s expensive, awkward, and risky to transport them. I love the Korg Volcas for their sound and portability, but both the Volca Keys and Volca FM have a mere three voices available for polyphony.
The low profile and compact PreenFM2 can be purchased pre-built or in kit form with either a sturdy metal case or an elegant plexiglass design that shows off the inner workings. Either option takes up little space and is effortlessly packed up and transported. Its looks belie its broad feature set and massive capacity for sound design and experimentation. But one of the main reasons I recruited it for polyphonic duties is just that: polyphony. Depending on the algorithm the polyphony ranges from eight to fourteen voices. In comparison the Volca FM has a maximum of three voices. Continue reading →