Here's the first of my demos for the Synthetic Sound Labs V-Gates module.
This is my first play with the module, and it's a LOT of fun.
This first demo uses the DIGITAL mode, set to RANDOM. The clock is coming from Silent Way:
1 - I set up 4 separate sounds (two z3000 "lead" sounds which are enveloped by ADSRs so that they can hold on if longer gates are present, and two shorter Maths AR envelopes controlling the Piston Honda and E350) - all sequenced by the same pattern
2 - I use the first 4 gate outs (1-4) to trigger envelopes on the 4 sounds' VCAs
3 - I use the later 4 gate outs (5-8) to trigger additional sound-sculpting/ modulation envelopes (wavetable morphing, FM amount, pitch envs, etc..)
4 - I gradually turn up the INITIAL knob so that at first there are 4 simple sounds that never overlap. then gradually they start to overlap, filling out the rhythm more.
5 - Eventually the final 4 gate outputs start coinciding with the VCA env triggers, so that you get both the sound itself AND the modulation envelopes happening simultaneously.
6 - On some of the sounds i've simply used the gate output itself to modulate parameters as I'd run out of envelopes. This works pretty well, allowing you to - for example - jump between two different waveforms on the E350 in a rhythmic fashion.
About 2/3rds of the way through I move the Initial knob past the 12 o'clock mark, and this then turns the gates into short ones that mirror the clock input (as opposed to ones that sometimes hold on for longer, as heard in the preceding section), This gives the rhythm a nice "choppy" feel all of a sudden, that intensifies as the knob is turned further, bringing in more overlapping of the 4 sounds.
The combined effect is a building of the rhythm, along with an increase in modulation. The ONLY jamming done on this recording is slow rotation of the INITIAL knob, so every new bit of rhythmic variation or modulation is as a result of this one movement. Nice!
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