This little freakout on the Korg Volca Keys was played using the poly ring modulation mode. Modes include poly (up to three notes), unison, octave, fifth, unison ring, and poly ring. I also laid on several motion sequences that were tracking the cutoff, LFO rate, delay feedback, and EG decay.
I must admit that I am curious about the Elektron Analog 4 (A4), but not in the market for new gear while I am still on my honeymoon with the DSI Tempest. So, I thought to myself that as complex and sophisticated as the Tempest is there must be some way to simulate something like the A4 parameter lock (a sequencer feature that allows for real-time manipulation of synthesizer parameters on a per-step basis). So, I tried a few experiments using an unorthodox method that requires adjusting the system settings while simultaneously playing in a sequence with a MIDI keyboard. Not an ideal alternative to the workflow of the A4, but useful for me none-the-less. Distraction Surplus Syndrome was produced using this technique. The bass and sustained melodies were played on the SCI Pro-One. Let me know what you think, share your experiences using parameter-lock-like techniques, or read on for recipe details. Continue reading
This is the latest piece from a group of microtracks that feature the Korg Monotribe synchronized in various ways with the Sequential Circuits Pro-One. In this case, to create the swing on the Pro-One, I ran it’s sync track through an eighth note triplet groove setting. In post I took the liberty of adding some delay during the outro and reverb in a couple of places.
For this experiment I recorded the Monotribe sync signal into Ableton Live, then I made two separate tracks of warped sync output – one to drive the Monotribe and one to drive the Pro-One. Not only does this give me the capability to set the tempo in Live, but I can also manipulate the sync signal independently for each device.
Notice the galloping shuffle on the Pro-One bass line? This was created by adding a delay to the sync signal that is going to the Pro-One. Using this technique I can instantly add groove, double-time, or triplet feel to either or both of the instruments. Who knew these instruments, 30 years apart, would pair so well together.
Here’s one more from a group of microtracks that feature the Korg Monotribe synchronized in various ways with the Sequential Circuits Pro-One.