Here’s a technique that I stumbled across while experimenting. Sometimes I like to put a micro sample (a sample that is a fraction of a second in length) through a massive reverb. This particular sample is perhaps a tenth of a second of music from an old television commerical. When I do this it’s usually on its own track with lots of other stuff going on around it.
This example is the micro sample through the reverb alone so you can hear the texture that it creates. Most of the time I will run it through a high pass filter before it gets to the reverb, and in this case I’m also running it through a slowly modulating auto filter so that it has a slightly different timbre each time it occurs. Hearing this alone makes evident a high frequency overtone that starts to ring throughout the recording. You can hear the same sample in context in the track Electric Sheep that I linked in this post.
Micro Sample With Massive Reverb
Once again, today I set out to experiment for a few minutes and make a new sound using some processing I had yet to use. But like it is prone to happen, as I tweaked and played around a musical piece started to emerge. I sequenced a series of vocal samples then applied a real-time randomizer to the sequence. Second in the chain was a vocoder plugin programmed to produce a Csus chord, followed by a stereo delay. Underneath it I layered a low melody and automated the waveform setting for one of the oscillators to get a digitized static effect. I titled it Cuba, Illinois after a town of about fifteen hundred people in Illinois called Cuba. I’ve never been there, but I like the juxtaposition of the town and state names. 
This segment of percussion is from a new piece I started on today. To get this sound I used a similar filtering technique that I described in 
Having been asked on more than one occasion, it is about time that I posted a sound from one of my favorite synthesizers, the 
This segment of Ultraviolet Amphibian was recorded during a live performance at the