ithoughthecamewithyou.comAT&T MicroCell Woes #etc #at&t #microcell #geolocation How AT&T's MicroCell cure is worse than the disease (the disease in this case being AT&T's regular network).
https://fed.brid.gy/r/https://ithoughthecamewithyou.com/post/att-microcell
SamæDancing to celebrate new case, and the fact that I can mount all my modules again. #BIA is back, #Microcell too, all is house, and all is happiness.
#RandomLoop
#RandomLoop
Say hello to “Screaming filter in a dark and empty world, with acid rain”
A new #RandomLoop with reverb… Looots of it.
In this example, I'm trying out the algorithms of the #FXAid (a very nifty multi-effect module). This is probably a shimmer-type reverb. I'm feeding it a self-patched and overdriven #Filter8 (the screaming filter). In parallel, the #sv1b is providing a wobly sound source, going through #Microcell in Resonestor (a resonator) mode, providing all the plinks.
Don't close your eyes.
A new #RandomLoop with reverb… Looots of it.
In this example, I'm trying out the algorithms of the #FXAid (a very nifty multi-effect module). This is probably a shimmer-type reverb. I'm feeding it a self-patched and overdriven #Filter8 (the screaming filter). In parallel, the #sv1b is providing a wobly sound source, going through #Microcell in Resonestor (a resonator) mode, providing all the plinks.
Don't close your eyes.
I somehow completely forgot to mention the great soundgoodizer, aka #Microcell (a micro clone of #Clouds for the connoisseur), doing what it does best: granulize and reverb like a champ'. All of the background madness comes from it!
I'm just dropping a new #RandomLoop while no one is watching.
This one is in the same vein as my previous BIG sound. This time I'm using the Harrington1200 mode of the #OrnamentAndCrime properly, so we get nice movements of chords, instead of plain root note shifting.
I've used different techniques: Pinging filter to get snappy and stringy sounds, going through a massive reverb of #Microcell for space, taking 2 output for the #sv1b first oscillator to go through #PlasmaDrive for some crisp, and some more bass, and then a cool arpeggio built from the chord triad voltages, going through #Stages, in mini-sequencer mode.
I realized I forgot to mention my main clock is #PNW, giving me funky 9 over 20 euclidean beats.
Have a very nice weekend everyone, here everything is melty and it's a bit sad, but we'll get through it.
This one is in the same vein as my previous BIG sound. This time I'm using the Harrington1200 mode of the #OrnamentAndCrime properly, so we get nice movements of chords, instead of plain root note shifting.
I've used different techniques: Pinging filter to get snappy and stringy sounds, going through a massive reverb of #Microcell for space, taking 2 output for the #sv1b first oscillator to go through #PlasmaDrive for some crisp, and some more bass, and then a cool arpeggio built from the chord triad voltages, going through #Stages, in mini-sequencer mode.
I realized I forgot to mention my main clock is #PNW, giving me funky 9 over 20 euclidean beats.
Have a very nice weekend everyone, here everything is melty and it's a bit sad, but we'll get through it.
Do you like BIG sounds? Something that you can immerse yourself into? Do you like… drone? And maybe something a little dirty?
This #RandomLoop is exactly for you (minus the xruns during recording, let's say it was on purpose).
In this track (13' !) I have 3 voices: A drone from oscillator 1 of the #sv1b mixing a pulse wave, a one octave down sub, a slow arpeggio from oscillator 2 of the #sv1b and a ping of my #filter8.
The melodic programing is done through the Harrinton1200 algorithm of the #OrnamentAndCrime, doing Riemann transformations on a major triad, for those who know what that means.
The pinged filter is going through the #PicoBBD delay, and then through the #PlasmaDrive for some high freq crunch.
The drones are going through #Microcell in granular mode, seeding at high speed, so you don't really hear the individual seeds from the audio buffer, plus some fair amount of reverb.
I'm also using #Stages quite a bit, for a few LFOs (deciding when to reverse the triade for example) and for a couple of sample and hold.
#Maths is drawing a slow log function deciding on the transposition of the whole triad, hence the pitches going down slowly.
Have a nice evening everyone, and don't listen to this in the dark! Although it's a major scale, it's a bit anxiety inducing.
This #RandomLoop is exactly for you (minus the xruns during recording, let's say it was on purpose).
In this track (13' !) I have 3 voices: A drone from oscillator 1 of the #sv1b mixing a pulse wave, a one octave down sub, a slow arpeggio from oscillator 2 of the #sv1b and a ping of my #filter8.
The melodic programing is done through the Harrinton1200 algorithm of the #OrnamentAndCrime, doing Riemann transformations on a major triad, for those who know what that means.
The pinged filter is going through the #PicoBBD delay, and then through the #PlasmaDrive for some high freq crunch.
The drones are going through #Microcell in granular mode, seeding at high speed, so you don't really hear the individual seeds from the audio buffer, plus some fair amount of reverb.
I'm also using #Stages quite a bit, for a few LFOs (deciding when to reverse the triade for example) and for a couple of sample and hold.
#Maths is drawing a slow log function deciding on the transposition of the whole triad, hence the pitches going down slowly.
Have a nice evening everyone, and don't listen to this in the dark! Although it's a major scale, it's a bit anxiety inducing.
But, but, but, that's not all for today! I've also done some *sound design* session, putting the sound of a seagull (this one: https://freesound.org/people/Vurca/sounds/318092/) through granular synthesis with #Microcell.
The whole recorded thing was around 20 minutes, but here's an excerpt, less musical #RandomLoop, but definitely interesting.
I call it laughing seagull.
Kwak, kwak, kwak.
The whole recorded thing was around 20 minutes, but here's an excerpt, less musical #RandomLoop, but definitely interesting.
I call it laughing seagull.
Kwak, kwak, kwak.
Time for distorted bass… and a clock. Let's call this #RandomLoop Clock&Bass.
I'm using #Microcell in granulator mode to slow down a clock sample. #PNW is sequencing the #sv1b going to #PlasmaDrive for some nice distortion. Nothing really special, it's just growly :)
Have a great weekend!
I'm using #Microcell in granulator mode to slow down a clock sample. #PNW is sequencing the #sv1b going to #PlasmaDrive for some nice distortion. Nothing really special, it's just growly :)
Have a great weekend!
On the menu this morning, we have a longer non-repeating (while repeating) melodic loop from the blip machine. Yes it's #RandomLoop time!
Patch notes:
Note CV path: #Stages is used as a 6 step sequencer, and is clocked by #PNW. Pitches are sent to #OrnamentAndCrime for quantizing, they are turned into 2 (!) pitch series, one according to Dorian scale, and a second also to Dorian scale, but with a root note 3 semitones up.
Pitches are sent to #select2 which switches back and forth between every 32 clock ticks (hence the tonal movement). Output of #select2 is fed to #Maths for some juicy slew limiting (pitch-bend like), but only for rising pitches. Processed pitches then control oscillator 1 pitch input on the #sv1b.
Audio path: Output of oscillator 1 is fed to the #LxD low-pass gate, gated by #PNW at twice the clock speed, and its output is going to the filter of the #sv1b, in high-pass mode. Filter output goes to the #Microcell in Looping Delay mode (still not over this phase of my life :)), which is finally going to the mono output for recording.
Side CV path: The #Microcell “hold” parameter is modulated by a random gate from the #PNW, for some glitchy effect.
Other side CV path: The voltage range of the Note CV sequence is modulated over time by an LFO from #Maths, whose range is in turn modulated manually over the time of recording, allowing to move from single note sequence, to a wider range sequence (check out the intro).
Have a listen!
Patch notes:
Note CV path: #Stages is used as a 6 step sequencer, and is clocked by #PNW. Pitches are sent to #OrnamentAndCrime for quantizing, they are turned into 2 (!) pitch series, one according to Dorian scale, and a second also to Dorian scale, but with a root note 3 semitones up.
Pitches are sent to #select2 which switches back and forth between every 32 clock ticks (hence the tonal movement). Output of #select2 is fed to #Maths for some juicy slew limiting (pitch-bend like), but only for rising pitches. Processed pitches then control oscillator 1 pitch input on the #sv1b.
Audio path: Output of oscillator 1 is fed to the #LxD low-pass gate, gated by #PNW at twice the clock speed, and its output is going to the filter of the #sv1b, in high-pass mode. Filter output goes to the #Microcell in Looping Delay mode (still not over this phase of my life :)), which is finally going to the mono output for recording.
Side CV path: The #Microcell “hold” parameter is modulated by a random gate from the #PNW, for some glitchy effect.
Other side CV path: The voltage range of the Note CV sequence is modulated over time by an LFO from #Maths, whose range is in turn modulated manually over the time of recording, allowing to move from single note sequence, to a wider range sequence (check out the intro).
Have a listen!
Someone said Lead #Synth?
This is a #RandomLoop with some filter sweeps and a chorus effect. Overall, not a very technical piece, focusing more on the “big” sound with uplifting arpeggios.
Some patch notes: #LxD, our low-pass gate is driven by our first newcomer #Stages, used as a decay envelope, our second newcomer #Filter8 is on high-pass duty, #Microcell is doing some reverb and chorus (very short delay). First oscillator one of the #sv1b is providing us with a nice saw wave, #Renoise is sending MIDI for pitch and gate.
Stay tuned for weirder stuff in the future, stay safe, and don't forget to make your life fun!
This is a #RandomLoop with some filter sweeps and a chorus effect. Overall, not a very technical piece, focusing more on the “big” sound with uplifting arpeggios.
Some patch notes: #LxD, our low-pass gate is driven by our first newcomer #Stages, used as a decay envelope, our second newcomer #Filter8 is on high-pass duty, #Microcell is doing some reverb and chorus (very short delay). First oscillator one of the #sv1b is providing us with a nice saw wave, #Renoise is sending MIDI for pitch and gate.
Stay tuned for weirder stuff in the future, stay safe, and don't forget to make your life fun!