This is the first patch in a series of generative patches I’ll be posting in the next few weeks inspired by the infamous Krell patch.
Looping Envelopes drive the ARP/SEQuencer, MODULATION wave, VCFs and VCAs….and it’s a simple patch!
The Moog Matriarch does not have CV control over the ATTACK or RELEASE of it’s Envelope Generators…so manually altering the ATTACK and RELEASE will create different rhythms.
This is a quick and easy patch, good for live or a “patch-on-the-fly” situation.
The pitch in for oscillators on the Matriarch are normalled…so patching a CV signal into an OSC will affect the pitch of the oscillators to the right. This patch takes advantage of that by attenuating a pitch CV signal from the ARP therefore “freezing” the oscillators at a stagnant pitch. Tune the oscillators to whatever intervals you want and use the ARP to control the pitch of OSC 1.
There’s tons of variations that can be done with this…after setting up basic basic, i patch OSC 1 WAV out to an ATTENUATOR (acts as volume control) then in to VCF 1 in and MIXER out to VCF 2 in. Then the ARP voice and Drone voices have their own filters. I then patch LFO 2 into the cutoff for VCF 2 to modulate the Drone filter. By patching VCF 1&2 out to VCA 1&2 IN respectively,Setting VCA mode to Split you can then have separate EGs for both voices as well.
Exploring the Moog Matriarch and getting ready for an upcoming jam. This is a simple but cool patch….lots of options to play with. Kind of reminds me of some of the patches used by the Who.
– LFO 1 sine wave at audio rate, tuned octave higher than oscillators, patched to NOISE in on Mixer.
– LFO 2 (multed, attenuated & inverted) to CUTOFF 1&2 & FB CV IN on DELAY.
– LFO 2 rate is “tuned” to dotted quarters. Played/Recorded simple Cadd9 and Fmin7 Sequence (later used arpeggiator to play same chords)
Experiment with…just about everything!….Sequencer Ratchet, OCT range on Arpeggiator, both ADSR Generators, Oscillator Mix, PM Modulation.
Another simple Todd Barton inspired patch on the Moog Matriarch. Sequencer controls OSCs 3/4. OSCs 1/2 are a drone (or if you patch KB CV OUT from back panel to OSC 1 you will be able to play along)
VCAs are split to stereo and OSC 1&2 and 3&4 are grouped together respectively. For this patch i used an external passive summing attenuator (Splix is the brand i believe). Local Keyboard Control, Local Arp/SEQ Control, ARP mirrors Keyboard CV and KB/ARP mirror are all set to off in the GLOBAL SETTINGS.
SEQ CV out controls OSC 3&4. KB CV out (back panel) is patched in to OSC 1 pitch in to control pitch for OSC 1&2. For “full independence” for OSC 1&2, instead of a drone, you can patch KB GATE CV OUT (back panel) to VCA 1 CV IN.
Play a 5 note sequence (ala Buchla Easel) and experiment!
Here’s a fun an easy patch using a DFAM and STAGES.
In this patch I’m using Stages as a Subharmonic Generator, A Sequencer and Clock Divider. The DFAM is the sound source and I’m using it’s sequencer to control the pitches of the subharmonics.
This is a quick breakdown of the patch from the previous video, looking more at how stages can work as a subharmonic generator….how DFAM’s sequencer can make it easier to control stages and how inverting and offsetting the pitch CV in a sequence can yield interesting results.