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.
This is an ambient patch on the Moog Matriarch inspired by one of composer Todd Barton’s patches on the Buchla Easel.
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 (pack panel) is patched in to OSC 1 pitch in to control pitch for OSC 1&2.
Played a 5 note sequence (ala Buchla Easel) and experimented with Mod Wave shape (mod destination=VCF 1), EG Cv attenuation and EG shape (A/D/S/R)
This is an ambient patch on the Moog Matriarch inspired by one of composer Todd Barton’s patches on the Buchla Easel.
The idea was to split the envelope generators and VCAs on the Matriarch so Oscillator 1 is independent and on the left and Oscillators 2,3&4 are on the right…somewhat like splitting the Mod & Complex Oscillators on an easel.
Then i experimented with Pulse Width, Timber (on the Matriarch i was thinking more about Oscillator Sync), Resonance, Noise, Wave shape, Filter Modulation, EG mod and Mix.