My stuff

So, if anyone would like to see what I make outside of class/what I think is great at the moment in electronic music, check out my soundcloud:

Also feel free to check out my mixcloud: for my podcast. Updates should become more regular next semester. If anyone is still looking for presets or tutorials, I intend to keep posting them here.

Final PD


My last patch was, simply put, non-functional. As a result, I have had to go back and begin again from scratch, re-learning everything. I will openly admit I am rather lost on how and why certain things work and may need to ask you during class. I am submitting my now functional version of what I have for my poly-synth and sequencer as well as what I have of A5. I will continue to work on A5 and the final synth tomorrow, as it is nearly 4 in the morning and my head is starting to hurt and I have been working on all of this for well over 6 hours now and need to take a step back from it. I hope you can understand.


PD Final Starting Point


A 11

Max Dubstep Bass

So, this patch has one problem, while I followed the steps as best as possible, there does not seem to be a note off trigger. I went looking through his other work and downloads for the subpatch he uses and did not find it. Oh well. This patch works by generating a monophonic waveform that is then fed through a band pass filter. This filter is attached to a modulation engine that effects the cutoff frequency and the rate at which that cutoff filter is opening and closing. In doing this, we are able to cut out certain frequencies and then bring them back in rapidly. This results in the low “wubbing” sound created by the patch.


I would like to work with five other people who I would have come in and speak for five minutes on a random topic of their choosing. I would then cut up their monologues and and make “franken-bytes”. In doing this I hope to take five voices and make them one. I’m not sure yet if I will use voice manipulation to create an ambient backing track or if I will use electronic elements and create a minimal/deep techno backing track using the vocal samples for ornamentation and chops and slices to create a groove line.

By Friday the 4th I will have recorded the five different monologues in Ablton and begun audio manipulation in the form of cutting the monologues into short phrases and single word one shots using Logic Pro X.

By the following Tuesday I will have begun stitching together the phrases and samples to create a coherent piece.

By the following Friday I will have determined whether I am making a techno track or making an ambient electronic track and I will have begun to write and orchestrate the clips that will serve as a backing track.

By the exam date I will have finished recording everything bounced it out as a wav file.

If this takes less time than I was expecting, I will likely also work with the push to orchestrate a live performance focussing on groove elements of tech house.

Max 3

  • zed_hooverbass
  • Fly Organ uses three voices. The most audible is voice 2. Under the voices tab for voice 2 I can see that it is a sawsquare with significant modulation being applied via a resolopass and frequency modulation. It is tuned one octave below the normal frequency. The amplitude envelope has four points and is fairly straightforward, it allows for the swelling of the low end frequency.
  • The next loudest is voice three. This is a triangle wave that is tuned one octave above neutral. It is being effected by the resolopass as well, which steps down, opening the filter for it. The amplitude envelope also has four points but has a much shorter attack and a longer decay. This allows for the sustained blowing noise as well as the fact that it rapidly swells and then slowly diminishes.
  • Finally, there is voice one. It is another saw square with the resonance turned up in it’s resolopass, which rapidly decays. The amplitude is also four points with a short swell to full amplitude and a rapid decay. It is at it’s neutral note.
  • The modulation tab shows me that there is a rapid LFO being applied to voice one on the resonance and frequency of it’s lopass, creating a warbled effect that allows for a wobbling tremolo. There is also an LFO with very little modulation being applied to the pan-position of voice three, allowing it to seem as though it is reverberating.
  • The mixer shows that while voices one and three are sent to the splitter sends and to all the delay sends (voice three) and all except 2 and 4 (voice 1), voice 2 is only sent to delay 4. The effect of this and the panning visible is that it creates a thicker, fuller sound that makes it seem as if the sound is filling the room.

I could not get my preset to export.