I've been trying to check out the different ‪@instruo‬ modules in the last couple of releases, and this patch is no different. It ended up using Instruo for four of the voices.
It started with the Instruo Saïch module: an oscillator that accepts multiple note inputs and combines them in its output. It receives the root, third and fifth notes of the active chord from the Harmonaìg module. Using Ochd as a modulation source, both the chord inversions and voicings are constantly being changed. The result is sent through the high-pass section of a I-ō47 filter and then into a wet-only reverb. This results in a wide luscious sound that gets either brighter or more muffled over time because the frequency of the I-ō47 is modulated by a Bogaudio Walk2 module.
This lucious pad voice is supported by an Instruo Cruïnn module that's playing the root note in a bass register. Its outputs are sent into two separate I-ō47 filter modules that get different modulations applied to them so that the left and right sides of the bass are constantly moving separate from each other.
The next voice is intended to bring some foreground movement. One of the LFO outputs of an Ochd module gets sampled by a Tágh module, so this voice moves in an up-and-down motion .The frequency of this Tágh is modulated by another one, so the rate of this movement is constantly changing. The resulting frequency gets quantized by a harmonàig module and played using a Neóni module. A combination of the Cèis ADSR and an I-ō47 filter is used to separate the notes and these get sent at random to either the left channel or the right channel by the Cnōc and Càrn modules. A delay effect with cross feedback is applied to this by the FLAG Prince of Perception module, and both the original signal and the delay signal are mixed together before sending them to the main mixer.
And that's where I got stuck. Originally, my plan was to make this a fully sequenced patch instead of a generative one by bringing different voices in and out of the mix, changing filter frequencies and using a couple of predefined melody lines. But although I had an interesting melody line set up, I couldn't get it all to a point where it felt right. Nothing I did seemed to work correctly. Until I used the Turing Machine (by Music Thing Modular / Stellare Modular) to add a secondary random voice (at a lower volume) to the fully sequenced one. And that just clicked. So much so that I eventually had to decide that the sequenced melody was getting in the way, and only the random one was kept. In the end, the output of the Turing Machine is sent into two Bogaudio Offset modules, where it gets combined with an LFO signal. Each of the Offset modules combines the signals in a different way, resulting in two different melodies coming from the same source. And by switching between these two melody lines at random, it sounds a bit like a conversation between them is going on. A pair of FM-OP modules is used to play this voice and the result is sent through a Tap Dancer delay before being sent to the main mixer.
Some additional background movement is provided by sending arpeggiated chords (using a faster clock) into another Neóni module. Some of the notes are dropped (by using a Bernoulli Gate in front of the ADSR that triggers the VCA), and this gets sent into Chronoblob2 module that is set to a ping-pong delay. The filter frequency that is part of this voice moves up and down at random, so this voice moves in and out of the overall sound a bit, adding some varying background chatter.
To round out the overall ambience, some filtered noise and a Macro Oscillator get triggered every now and again to provide some wind- and rain-like sound at a low volume.
__ Setup __
- VCV Rack 2.4.1 on Windows
- All audio generated internally within VCV Rack (no external connections)
- Video is captured by OBS
- RAW FLAC Audio output from VCV Rack
- Audio recording synced to OBS, and fade added at the end with Reaper
- OBS video and Reaper audio are merged and cut to length using Shutter Encoder.
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