complete walkthrough for Pure Data IDM patch from lecture video @acreil

acreil Download the patch (for Purr Data) here: dropbox.com/s/9ul0t5y2eobeaf4/lecture2.zip?dl=0

This is a follow-up to my previous lecture video (youtu.be/2_P7MVQnmZk) where I started making the patch. It includes lots of details about sound design, sequencing and various abstractions that I used in the patch. A recording of the finished patch is here: youtu.be/aLIqXrJqPqo

0:00 introduction
1:04 cat meow
1:49 harmonic series just intonation scale description
3:22 harmonic_analysis.m Octave script
5:08 arp1 section
7:06 pulse width modulation-like effect with a sigmoid waveshaper
7:42 arp2 section
8:25 envelope and control data smoothing
9:43 digital modulation generation and smoothing in hardware synthesizers
13:03 arp3 section
14:16 comments on waveshaping
16:05 3 phase panning
16:41 signal routing in the arp1/2/3 subpatch
17:00 earlyref~ abstraction used as a multitap delay
17:47 ssb~ frequency shifter abstraction
19:27 grain delay subpatch
20:08 reverb727~ reverb abstraction
20:36 pad subpatch
21:32 pwmbl and pwmbl~ pulse width modulation abstractions (use with pwmblt abstraction)
23:09 chorus330~ chorus abstraction (emulation of Roland VP-330, RS-505 and RS-09 chorus circuits)
23:58 bass subpatch introduction
24:17 Casio CTK-1000 overview
26:21 CTK-1000 sound examples
27:57 cat
29:02 CTK-1000 patents (US5164530, US5103711, US5340938, US5319151)
32:52 ixa~ abstraction based on patent US5164530
34:05 ixa~ abstraction compared to phase modulation
35:50 bass subpatch
38:36 drum subpatch
39:04 bass drum
41:50 comments on drum sequencing
43:32 bass drum sequencer
44:39 hi-hat and tabgen8 randomized table abstraction
46:09 metallic noise generation for drum sounds
48:06 comments on aliasing and sample rate
48:59 snare drum
50:28 drum sequencer counter variations
52:41 chord subpatch, sawbl~ sawtooth oscillator abstraction (use with pwmblt abstraction)
54:45 inharmonic comb filter resonator, phase16a~ phase shifter and fctofb~ coefficient generation abstractions
57:33 earlyref~ abstraction used as a early reflections
58:06 automation subpatch introduction
58:41 qenv2~ envelope generator abstraction and comments on envelope curves
59:51 automation subpatch
1:00:25 comments on downbeats and rhythmic ambiguity
1:01:07 automation subpatch
1:02:01 preventing timing jitter with the blkbpm abstraction
1:06:56 comments on time delay issues with send~, receive~, throw~ and catch~
1:07:52 playrec, player~ and recorder~ abstractions for playing and recording
1:08:42 comments on recording and interactivity
1:09:26 final comments

updated 5 years ago

complete walkthrough for Pure Data IDM patch from lecture video

acreil 2020-11-27 | Download the patch (for Purr Data) here: dropbox.com/s/9ul0t5y2eobeaf4/lecture2.zip?dl=0

This is a follow-up to my previous lecture video (youtu.be/2_P7MVQnmZk) where I started making the patch. It includes lots of details about sound design, sequencing and various abstractions that I used in the patch. A recording of the finished patch is here: youtu.be/aLIqXrJqPqo

0:00 introduction
1:04 cat meow
1:49 harmonic series just intonation scale description
3:22 harmonic_analysis.m Octave script
5:08 arp1 section
7:06 pulse width modulation-like effect with a sigmoid waveshaper
7:42 arp2 section
8:25 envelope and control data smoothing
9:43 digital modulation generation and smoothing in hardware synthesizers
13:03 arp3 section
14:16 comments on waveshaping
16:05 3 phase panning
16:41 signal routing in the arp1/2/3 subpatch
17:00 earlyref~ abstraction used as a multitap delay
17:47 ssb~ frequency shifter abstraction
19:27 grain delay subpatch
20:08 reverb727~ reverb abstraction
20:36 pad subpatch
21:32 pwmbl and pwmbl~ pulse width modulation abstractions (use with pwmblt abstraction)
23:09 chorus330~ chorus abstraction (emulation of Roland VP-330, RS-505 and RS-09 chorus circuits)
23:58 bass subpatch introduction
24:17 Casio CTK-1000 overview
26:21 CTK-1000 sound examples
27:57 cat
29:02 CTK-1000 patents (US5164530, US5103711, US5340938, US5319151)
32:52 ixa~ abstraction based on patent US5164530
34:05 ixa~ abstraction compared to phase modulation
35:50 bass subpatch
38:36 drum subpatch
39:04 bass drum
41:50 comments on drum sequencing
43:32 bass drum sequencer
44:39 hi-hat and tabgen8 randomized table abstraction
46:09 metallic noise generation for drum sounds
48:06 comments on aliasing and sample rate
48:59 snare drum
50:28 drum sequencer counter variations
52:41 chord subpatch, sawbl~ sawtooth oscillator abstraction (use with pwmblt abstraction)
54:45 inharmonic comb filter resonator, phase16a~ phase shifter and fctofb~ coefficient generation abstractions
57:33 earlyref~ abstraction used as a early reflections
58:06 automation subpatch introduction
58:41 qenv2~ envelope generator abstraction and comments on envelope curves
59:51 automation subpatch
1:00:25 comments on downbeats and rhythmic ambiguity
1:01:07 automation subpatch
1:02:01 preventing timing jitter with the blkbpm abstraction
1:06:56 comments on time delay issues with send~, receive~, throw~ and catch~
1:07:52 playrec, player~ and recorder~ abstractions for playing and recording
1:08:42 comments on recording and interactivity
1:09:26 final comments

multitracked Casio CT-670

acreil 2021-03-03 | 18 tracks total, no effects. Recorded 2017/2021.

This class of Casio hardware is from about 1990 and can be identified by the "220 sound tone bank" or "110 sound tone bank" legend on the front panel. It's based around the µPD937 IC, which is very similar to the slightly earlier µPD938 IC used in the MT-540, CT-660 and many other models (these are from about 1988 and are marked "465 sound tone bank" or "210 sound tone bank"). The biggest difference between the two product lines is that the earlier ones permit layering two sounds, while the later ones have a simple "tone editor" synthesizer section with editable detune, delay, attack/decay and release parameters.

It's almost a mature rompler (32 note polyphony, multitimbral, very complex amplitude and pitch envelopes, linear interpolation and a high sample rate), but lacks velocity sensitivity (even over MIDI) and dynamic voice allocation. All models use a very small waveform ROM, even though the hardware supports a much larger one. All sounds consist of two layered voices, hard panned left and right.

The nicest models of this series are the CT-670, MT-750 (same thing but with mini keys), CT-680 (this adds a digital reverb but loses the rhythm volume control) and CT-X1 (rare, nicer effects than the CT-680). Lesser models have fewer sounds, fewer keys and fewer buttons in the tone editor section.

Multitracked Korg 01/WFD

acreil 2021-03-03 | 10 tracks total, no PCM cards, factory presets or external effects. Recorded 2021. I used a just intonation scale, but it's not really that apparent here. In-depth hardware information will follow eventually.

Casiotone CT-6000 multitracked with Alesis Midiverb

acreil 2021-02-10 | Written and recorded in one day, but it's not really my best composition. 9 tracks total. Recorded in Reaper with some mild EQ but no other processing.

The CT-6000 isn't analog or phase distortion as is sometimes reported; it's an enhanced version of the "consonant-vowel" synthesis from earlier Casio models, adding pitch bend, velocity and aftertouch, plus 3 oscillators per voice (up to 6 or 12 with the unison modes) and a stereo 3 BBD string ensemble chorus (similar to the one later used in the CZ-3000, CZ-5000 and CZ-1). The tone generator IC is the µPD932, which was apparently used only in the CT-6000, CPS-201 and CPS-2000. The drums are also digital, based around the the HD61701 IC (also unique to the CT-6000 and CPS-201). I plan to modify mine to unleash the digital filth lurking inside and make high quality samples of the drum sounds.

For reference, the CT-7000 and CT-8000 are similar to the Casio MT-65/MT-68/CT-405, based around the µPD930 and µPD931 ICs (consonant-vowel, 1 oscillator per voice). The CT-5500 and CT-6500 are phase distortion, basically preset versions of a CZ-3000 (µPD933 or µPD933AC) with auto-accompaniment and drums.

Korg PSS-50 chord progression 2 with Alesis Midiverb (avant-prog/free improvisation edition)

acreil 2021-02-08 | You can make unusual time signatures by switching between patterns.

Chord progression:
First part: F m7, B m6, D M7, G# 7, A# m9, E 6, G m6, C# 9
Second part: C# m7, C M7, E m7, G M7, G# m7, B M7, A# m7, F# M7, F m7, E M7, D# m7, A M7
Third part: F M7, A m7, A# M7, B m7, D M7, F# m7, D# M7, D m7, C# M7, C m7, G# M7, G m7

finished Pure Data noise/ambient patch from lecture

acreil 2020-12-03 | Here's the finished noise/ambient patch from the Tulane lecture video: youtube.com/watch?v=2_P7MVQnmZk.

I'll post the patch with a walkthrough video later.

finished Pure Data IDM patch from lecture

acreil 2020-10-30 | I finished the patch I made at the end of the previous video (youtube.com/watch?v=2_P7MVQnmZk).

A full description of the patch is here: youtu.be/Nhy1n8Bxm3M
Download the patch here: dropbox.com/s/9ul0t5y2eobeaf4/lecture2.zip?dl=0

Pure Data guest lecture for Tulane University

acreil 2020-10-28 | 0:00 background and context within electronic music history
9:52 workflow considerations for patch and abstraction development
11:45 random modulator abstraction (bmod and bmod~)
13:37 filter bank abstraction (fbank and fbank~) and lecture1.pd patch
22:11 control laws
25:40 pitch shifters
28:13 pitch shifter abstraction (pitchshift~)
30:55 another pitch shifter abstraction (pitchshift3~)
38:01 delay patch
40:18 lecture2.pd patch
46:35 summary

Thanks to Rick Snow for inviting me to do this. This covers some background information about what I think PD's advantages are and how it can be best used, tips for developing and using abstractions, and two example patches. I tried to throw in a lot of technical and historical information.

Links to music mentioned in this video:
Salvatore Martirano: youtube.com/watch?v=lcDpZ6RJb3I
François Bayle: youtube.com/watch?v=lYSEtGhHLyw

The filter banks at 17:58 are the Albiswerk 502/72 (top, for low and high frequencies) and 502/74 (bottom, for mid-range frequencies)
The pitch shifter at 25:54 is the Publison DHM 89 B 2
Detailed information on the SalMar Construction can be found here: archive.org/details/hardwaredesignof677fran/mode/2up

A full description of the second patch patch is here: youtu.be/Nhy1n8Bxm3M

Download the patch here: dropbox.com/s/9ul0t5y2eobeaf4/lecture2.zip?dl=0
A recording of the finished patch is here: youtu.be/aLIqXrJqPqo

The finished recording from the first patch is here: youtu.be/XjZbp8aQGwA
The patch and description will come later.

Korg PSS-50 Programmable Stupor Section chord progression

acreil 2020-10-02 | This thing isn't as useless as I thought.

Chord progression: G 9, D# M7, C m9, F 7, F 6, G 9, D# M7, C m9, G# 9, B m9, G# 7, G M7, C 6, D# M7, F 9, B m9, G# 7, G M7, C 6, D# M7, F 9, B M7, F# M7, A# m7, C# M7, E 6, B M7, F# M7, A# m9, A 9, E m9, D m6, C# m9, F# m7, F 6, E m9, D m6, C# m9, F# m7, F 6

Pattern: Bass 25 (Hard Rock I), Accomp 14 (16-Beat II), Rhythm 11 (8-Beat I), Fill In 17 (Disco I)

Pure Data frequency domain filter patch

acreil 2020-01-13 | Get it here: acreil.wordpress.com/2020/01/13/pure-data-frequency-domain-filtering-patch

This is part of the patch I used for my last video. It works in both Purr Data and Pure Data Vanilla (although it crashed Vanilla on macOS when I tried it). Now you can make real simulated wood grain spectrograms too!

The audio quality here isn't great, and there are some clumsy edits where I re-ordered some of the parts. I don't really care.

Reference for weighted overlap add: https://ccrma.stanford.edu/~jos/sasp/Weighted_Overlap_Add.html

pure data generative composition with frequency domain filtering

acreil 2020-01-06 | I made a PD patch based around a recording of a leaky toilet. It uses a just intonation scale consisting of harmonics 9 to 17 (the 16th harmonic is used as the root note). I used frequency domain filtering, and the result is one of the wildest spectrograms I've ever seen.

The frequency domain filtering portion of the patch is available here: acreil.wordpress.com/2020/01/13/pure-data-frequency-domain-filtering-patch

Video created using Sonic Visualiser.

multitracked hardware album: panchromatic window

acreil 2019-02-15 | acreil.bandcamp.com/album/panchromatic-window
Streaming link: distrokid.com/hyperfollow/acreil/panchromatic-window

Drum samples from the AX7 can be found here: acreil.wordpress.com/2018/06/20/technics-sx-ax7-drum-samples-and-multitracked-demo

Renoise demo file here: acreil.wordpress.com/2020/01/12/renoise-demos-from-panchromatic-window

This track uses the Technics SX-AX7 with no external effects. 6 tracks total.

Pure Data algorithmic IDM

acreil 2018-11-14 | This is a remix of my previous upload: youtube.com/watch?v=QfagniHgruU

Most of it is atonal, but the background chord part uses a just intonation scale based on harmonics 40, 45, 50, 55, 60, 63 and 70.

The sounds at the beginning and end are derived from external recordings, processed by splicing at zero crossings (after Clavirissima by Rainer Boesch).

continuous microtonal glissando for 8 oscillators, done in Pure Data

acreil 2018-11-04 | More details and simplified PD patch here: acreil.wordpress.com/2018/11/04/continuous-microtonal-glissando-for-8-oscillators
Full album here: acreil.bandcamp.com/album/sample-item-with-diameter-32

8 sawtooth oscillators glide from unison to multiples of +/- 600 cents at multiples of 1 cent per second. You can hear consonant intervals as the partials of different tones coincide, represented in the video as lines intersecting.

Pure Data ambient/glitch album: sample item with diameter 32

acreil 2018-11-01 | available here: acreil.bandcamp.com/album/sample-item-with-diameter-32
and on Spotify: distrokid.com/hyperfollow/acreil/eubb

Everything was done in Pure Data. This track uses harmonics 1-32. Recorded 2018.

Technics SX-KN800 multitracked demo

acreil 2018-10-19 | Full album here: acreil.bandcamp.com/album/panchromatic-window
Streaming link: distrokid.com/hyperfollow/acreil/panchromatic-window

Drum samples (including bird sounds) and description here: acreil.wordpress.com/2018/10/19/technics-sx-kn800-drum-samples-and-multitracked-demo

Renoise demo file here: acreil.wordpress.com/2020/01/12/renoise-demos-from-panchromatic-window

7 tracks total, no external effects used. Recorded 2018.

new Pure Data album: wave and lattice

acreil 2018-06-21 | full album available here: acreil.bandcamp.com/album/wave-and-lattice
and on spotify: acreil.bandcamp.com/album/wave-and-lattice

This track uses 320 sine oscillators with time varying piecewise linear functions controlling their pitch, amplitude and panning.

Technics SX-AX7 multitracked demo

acreil 2018-06-20 | Full album here: acreil.bandcamp.com/album/panchromatic-window
Streaming link: distrokid.com/hyperfollow/acreil/panchromatic-window

Drum samples and description here: acreil.wordpress.com/2018/06/20/technics-sx-ax7-drum-samples-and-multitracked-demo

Renoise demo file here: acreil.wordpress.com/2020/01/12/renoise-demos-from-panchromatic-window

10 tracks, no external effects used. Recorded 2018

new Pure Data microtonal IDM album: aleatoric aubades

acreil 2017-12-04 | available here: acreil.bandcamp.com/album/aleatoric-aubades
and on spotify: distrokid.com/hyperfollow/acreil/cgdW

This track is a remix of an earlier one: youtu.be/dTlqIL-9xaU

8EDO algorithmic techno in Pure Data

acreil 2017-11-07 | Full album here: acreil.bandcamp.com/album/acheiropoietic-ans-tze
and on Spotify: distrokid.com/hyperfollow/acreil/ces1

This is the messiest patch ever.

new album using only Casio/Yamaha keyboards: dissolving sponge reveals wooden duck

acreil 2017-10-20 | available here: acreil.bandcamp.com/album/dissolving-sponge-reveals-wooden-duck
and on Spotify: distrokid.com/hyperfollow/acreil/cfHa

This track was recorded using only a Casio MT-70 (background chord only), Casio SK-8 (all other sounds), Alesis MEQ230, Alesis Quadraverb (on the bass sound only), and a Ross 4x4 Series II 4-track cassette recorder.

Yamaha PS-3 multitracked demo

acreil 2017-10-18 | Full album here: acreil.bandcamp.com/album/panchromatic-window
Streaming link: distrokid.com/hyperfollow/acreil/panchromatic-window

Get the drum samples here: acreil.wordpress.com/2017/10/18/yamaha-ps-3-drum-samples-and-multitracked-demo

This is about 10 tracks, recorded dry, 2016. The album version is remixed with reverb from an Alesis Midiverb.

Alesis Quadraverb Feedback 2

acreil 2017-10-17 | This is basically the same as the other one: just a Quadraverb in a feedback loop with nothing else. Recorded circa 2004.

Alesis Quadraverb Feedback 1

acreil 2017-09-11 | This is actually very easy to do just by putting the Quadraverb in a feedback loop with a mono delay algorithm, then fiddling with the delay time and occasionally muting the output. Recorded circa 2004. I added the switches more recently. They hold the delay memory contents and corrupt the DSP instruction memory.

eisegetic waiver (2017 re-release)

acreil 2017-09-05 | available here: acreil.bandcamp.com/album/eisegetic-waiver
and on Spotify: distrokid.com/hyperfollow/acreil/dtlG

Originally recorded in 2005 and released in 2008 as an edition of 50 CD-Rs. This release expands the original with some additional related material.

Yamaha PSS-380 with Korg KPR-77

acreil 2017-08-03 | Full album here: acreil.bandcamp.com/album/dissolving-sponge-reveals-wooden-duck
and on Spotify: distrokid.com/hyperfollow/acreil/cfHa

Get the PSS-380's drum samples here: acreil.wordpress.com/2017/08/03/yamaha-pss-380-multitracked-recordings-and-drum-samples

Renoise demo file here: acreil.wordpress.com/2020/01/12/renoise-demos-from-panchromatic-window

The KPR-77 was recorded to a found cassette using a modified Ross 4x4 Series II 4-track. The PSS-380 overdubs (15 total) use an Ibanez SDR-1000 reverb.

Yamaha PSS-380 multitracked demo

acreil 2017-08-03 | Full album here: acreil.bandcamp.com/album/panchromatic-window
Streaming link: distrokid.com/hyperfollow/acreil/panchromatic-window

Get the drum samples here: acreil.wordpress.com/2017/08/03/yamaha-pss-380-multitracked-recordings-and-drum-samples

Renoise demo file here: acreil.wordpress.com/2020/01/12/renoise-demos-from-panchromatic-window

I used the auto-accompaniment for this. I think it's mostly useless in the PSS-280/290/380/390 since the patterns are cheesy and overdone. Reverb is Ibanez SDR-1000. 9 tracks total. The album version is remixed with additional overdubs.

Technics SX-K450 multitracked demo

acreil 2017-07-23 | Full album here: acreil.bandcamp.com/album/panchromatic-window
Streaming link: distrokid.com/hyperfollow/acreil/panchromatic-window

Technical description and drum samples are here: acreil.wordpress.com/2017/07/23/technics-sx-k450-multitracked-demo-and-drum-samples

Renoise demo file here: acreil.wordpress.com/2020/01/12/renoise-demos-from-panchromatic-window

The Technics SX-K450 is the flagship home keyboard model from 1986. It's basically similar to an analog divide-down organ with crunchy sampled drums, an unusual sampled solo section and an excellent string ensemble chorus. I recorded it dry with about 7 tracks. The album version is remixed with reverb from an Alesis Midiverb.

Pure Data ambient/glitch album: intangible pavilions

acreil 2017-07-01 | Available here: acreil.bandcamp.com/album/intangible-pavilions
and on Spotify: distrokid.com/hyperfollow/acreil/ceN1

It's almost all previously unreleased material, mostly generative patches using just intonation scales.

11EDO algorithmic IDM in Pure Data

acreil 2017-06-21 | full album here: acreil.bandcamp.com/album/aleatoric-aubades
and on Spotify: distrokid.com/hyperfollow/acreil/cgdW

11EDO/11TET means 11 equal divisions of the octave. As usual, this is a single PD patch with no samples or plugins or anything.

Pure Data microtonal algorithmic techno/IDM album: acheiropoietic ansätze

acreil 2017-05-01 | Get it here: acreil.bandcamp.com/album/acheiropoietic-ans-tze
and on Spotify: distrokid.com/hyperfollow/acreil/ces1

Two tracks were previously released, but everything else is new.

Pure Data algorithmic composition in 5 limit just intonation

acreil 2017-03-17 | Minor and sharp major eleventh chords in 5 limit just intonation modulate in a variety of ways. It doesn't stick to a fixed set of pitches, so it can modulate arbitrarily without intonation problems.

As usual it's all PD with no samples or VSTs or anything.

Basically, I'm constructing minor and sharp major eleventh chords from two chains of fifths (1/1, 3/2, 9/4) separated by a third (major or minor). The size of the major third can be set arbitrarily, and the minor third is derived from that. I can modulate to other chords in a number of ways:

-Transpose the base pitch by 3/2 or 4/3 (dominant/subdominant)
-Transpose the base pitch up or down by the third and toggle between major/minor thirds (diatonic mediant/submediant)
-Transpose the base pitch up or down by the third (chromatic mediant/submediant)
-Toggle between major/minor (parallel transformation)
-Transpose by the interval between the major/minor thirds and toggle between major/minor (slide transformation).

Sometimes several of these are combined (up to 4). This has to be done carefully to keep it from sounding too weird. I tried a couple other things besides that (hexatonic poles, etc.), but I thought they didn't work very well.

Originally the idea was to use some exotic interval for the major third, but I found that most of them sounded too dissonant. For major thirds larger than about 32/25 (427 cents), some of the resulting intervals get too small. And for major thirds smaller than 5/4 (386 cents), the major and minor intervals are too close together. So the useful range is pretty small, and a lot of the ones I wanted to try (9/7, 11/9) don't really work. I thought the only major third sizes that worked well were 14/11, 81/64 (Pythagorean) and 5/4. I went with 5/4. But I want to revisit this idea with more exotic intervals. I'll just have to construct the chord differently so that it works better.

Pure Data based ambient album: agglomeration and homothety

acreil 2017-03-01 | album available here: acreil.bandcamp.com/album/agglomeration-and-homothety
and on Spotify: distrokid.com/hyperfollow/acreil/chm6

Mostly made in Pure Data, 2010-2011.

Yamaha MK-100 multitracked demo

acreil 2017-01-13 | Full album here: acreil.bandcamp.com/album/panchromatic-window
Streaming link: distrokid.com/hyperfollow/acreil/panchromatic-window

Get the drum samples here: acreil.wordpress.com/2017/01/13/yamaha-mk-100-demo-and-drum-samples

Renoise demo file here: acreil.wordpress.com/2020/01/12/renoise-demos-from-panchromatic-window

This was recorded with only the MK-100 and Roland SRV-2000 reverb. 5 tracks total. The MK-100 uses the same tone generator IC (iG10771 GE7) as the PSS-260 and PSS-450, but adds basic synthesizer functionality and the ability to reprogram the drum patterns and auto accompaniment bass. Contrary to what's sometimes reported, it's fully digital except for the chorus. Recorded 2017.

Yamaha PS-55 multitracked demo

acreil 2016-05-20 | Full album here: acreil.bandcamp.com/album/panchromatic-window
Streaming link: distrokid.com/hyperfollow/acreil/panchromatic-window

Renoise demo file here: acreil.wordpress.com/2020/01/12/renoise-demos-from-panchromatic-window

Yamaha PS-55 with Ibanez SDR-1000 reverb, 4 tracks total. The album version is remixed with additional overdubs.

The PS-55 (1983) and related models (PS-25, PS-35, PC-1000, CN-1000, MR-1) were part of the first line of fully digital Portasound keyboards, replacing the semi-analog PS-10, PS-20 and PS-30. I was actually surprised to find that it's completely digital (aside from the chorus), as I'd assumed the solo section used an analog VCF like the PS-30. It turns out that the filter-like effects (mainly on the Fantasy and Funny tones) are actually created by sophisticated wavetable crossfades.

Seiko DS-250 multitracked demo with Rhythm Ace FR-2L

acreil 2015-07-14 | Full album here: acreil.bandcamp.com/album/panchromatic-window
Streaming link: distrokid.com/hyperfollow/acreil/panchromatic-window

Seiko power supply info here: acreil.wordpress.com/2017/06/25/seiko-ds-series-power-supply

All synth parts are Seiko DS-250 through a Yamaha REV5. The drum track is an Ace Tone Rhythm Ace FR-2L (sort of broken) through an Ibanez SDR-1000 and Tapco 4400 (also sort of broken). Recorded 2015.

just intonation generative ambient in Pure Data

acreil 2015-01-11 | Get the patch here: acreil.wordpress.com/2018/05/21/pd-patch-root%e2%80%8b-%e2%80%8bspindle-pinhole

A recording is available here: acreil.bandcamp.com/album/intangible-pavilions
and on Spotify: distrokid.com/hyperfollow/acreil/ceN1

This uses an 8 note just intonation scale. The frequencies are 300, 350, 400, 433.3, 475, 500, 550 and 575 Hz, or 36:42:48:52:57:60:66:69. The main idea was to test a distortion algorithm; I think distortion works much better on just intonation scales. The frequencies were entered more or less arbitrarily, with some minor fiddling, but I was surprised at how consonant it sounded. Primes are 3, 5, 7, 11, 13, 19 and 23.

Pure Data algorithmic techno in just intonation

acreil 2014-05-03 | Now available here: acreil.bandcamp.com/album/acheiropoietic-ans-tze
and on Spotify: distrokid.com/hyperfollow/acreil/ces1

Made from scratch in about 2 days using just Pure Data with no samples or plugins. The initial inspiration was some research I've been doing related to variants of FM synthesis. The bassline's scale is harmonics 8 to 16, with linear detuning.

ambient with Yamaha VSS-200 and Evolver

acreil 2014-04-22 | Everything is multitracked Yamaha VSS-200 (sampling a Bontempi zither) and Dave Smith Instruments Evolver. Effects used (as far as I can remember): Alesis Quadraverb, Yamaha REX50, Digitech RDS 3.6, Tapco 4400, Boss PH-1. Recorded 2005-2006.

KPR-77, CR-8000, TR-77, Evolver with Yamaha PS-55 and Roland VP-70

acreil 2014-04-01 | Second section starts at about 5:00. Album coming soon, when I can manage to finish a few more tracks.

Gear used: Korg KPR-77, Roland CR-8000, Roland TR-77, Dave Smith Instruments Evolver, Yamaha PS-55 (overdubs), BBE MaxCom compressor, Roland VP-70 (overdubs), Roland SRV-2000 (metallic reverb on second part), Yamaha FX900 (overdubs), Ibanez SDR-1000, Marantz PMD-221 tape echo (overdubs), Tapco 4400.

Recorded 2014.

CR-8000, Evolver, Kurzweil K2VX

acreil 2014-02-12 | Dave Smith Instruments Evolver sequencer triggered by Roland CR-8000 (details on the trigger conditioning circuit here: http://acreil.wordpress.com/2014/01/15/syncing-drum-machines), all overdubs are Kurzweil K2VX (no external samples used). Effect processors used: Ibanez SDR-1000, Tapco 4400.

3 synced drum machines (TR-77, KPR-77, CR-8000) with Evolver and Seiko DS-250

acreil 2014-01-15 | Seiko power supply info here: acreil.wordpress.com/2017/06/25/seiko-ds-series-power-supply

I modified the Roland TR-77V and built a circuit for the Dave Smith Instruments Evolver so that they can be clocked by trigger signals. More here: http://acreil.wordpress.com/2014/01/15/syncing-drum-machines ‎

The Roland CR-8000 (hi-hat, handclap) is slaved to the Korg KPR-77 (bass, snare, hi-hat) via DIN sync. One KPR-77 trigger output clocks the TR-77 (miscellaneous patterns with spring reverb) in an irregular pattern, while the other is connected to the "register" input on the CR-8000 (switching between two different patterns). The CR-8000's accent trigger output clocks the Evolver (with Ibanez SDR-1000 reverb). I added two overdubs with the Seiko DS-250, processed by the SDR-1000 and Yamaha FX900. Recorded 2013.

Roland TR-77 speedcore (3600 BPM)

acreil 2014-01-08 | The Roland TR-77 has internal trimpots to adjust the tempo range (low and high). The range is excessive to begin with, but adjusting these trimpots enables extremely fast rhythms. I estimate that this reaches about 3600 BPM. Even faster tempi are possible if the timing capacitors in the master oscillator are replaced with something smaller, but I think this is already sufficiently ridiculous. They should be replaced anyway; I've seen the tantalum capacitors fail, causing an unstable and wildly varying tempo. I replaced the 0.33 µF caps in mine with 0.47 µF film capacitors to get a more reasonable tempo range.

The original recording is mono. Overdubs (hard-panned left and right) are TR-77 with Marantz PMD-221 tape delay and Tapco 4400 spring reverb. Recorded 2013.

Hammond Auto-Vari 64 with Seiko DS-250 and function generators

acreil 2013-12-03 | Seiko power supply info here: acreil.wordpress.com/2017/06/25/seiko-ds-series-power-supply

The drum track uses a Hammond Auto-Vari 64, Boss DS-2 and Garrard GEQ-330 equalizer. Synth overdubs are Seiko DS-250 with DS-310 programmer, Ibanez SDR-1000 reverb and Roland VP-70 (VP-70 only used on the chord part). Noise overdubs are Wavetek 145 and 188-S-1257 function generators with Marantz PMD221 tape echo. 8 tracks total. Recorded 2013.

60 minute harmonic series composition in Pure Data: i4.30.2

acreil 2013-08-03 | available here: http://acreil.bandcamp.com/album/flutter-straight-on-the-nine-miles
and on Spotify: distrokid.com/hyperfollow/acreil/dtA7

Made in Pure Data, 2012. No samples or plugins. 30 Hz harmonic series.

60 minute acousmatic composition in Pure Data: hg iterated glass entering 3e2

acreil 2013-07-27 | Complete composition here: http://acreil.bandcamp.com/album/hg-iterated-glass-entering-3e2
and on Spotify: distrokid.com/hyperfollow/acreil/dtSX

Composed 2011-2013, made in Pure Data using only self-developed algorithms. No plugins used. Mixed in Audacity.

noise album with mixer feedback and ring modulator: airbust parcel

acreil 2013-07-22 | Recorded 2007 using Alesis 1622 mixer, Digitech RDS 3.6 delay, Tapco 4400 spring reverb, passive ring modulator, ruined turntable with obstacles.

Get it here: http://acreil.bandcamp.com/album/airburst-parcel

And on Spotify: distrokid.com/hyperfollow/acreil/ds4a

Wersi MK1 sustained notes with complex envelopes

acreil 2013-04-30 | User and service manuals here: acreil.wordpress.com/2017/05/02/user-and-service-manuals-for-wersi-mk1-ex20-ex10r-dx10
Cartridge ROM dumps here: acreil.wordpress.com/2019/05/17/wersi-mk1-ex20-cartridge-eprom-dumps

The main bell-like tone plays a sustained chord through the entire recording. The looping pitch envelope very slowly speeds up over 8 minutes, producing a rapid arpeggio at the end. The other sounds are retriggered occasionally, but are mostly sustained.

This recording uses the Wersi MK1, but I used the EX20 for the photo because I haven't yet done a proper photo shoot for the MK1. The reverb is the Ibanez SDR-1000. Recorded 2009?

Check the (NiCd) memory backup battery if you own one of these. They can leak and cause damage. The RAM cartridges also contain NiCd batteries.

Keytek CTS-2000 (Jeremy Soule - Menu [Secret of Evermore])

acreil 2013-04-29 | Multitracked and heavily processed Keytek CTS-2000 arrangement of the menu screen music from Secret of Evermore. The idea was to do an elaborate "dub mix" on each track individually. Recorded 2009?

All synths: Keytek CTS-2000
Drums: Yamaha RX5, Yamaha RY30
Processing: Tapco 4400, Digitech RDS 3.6, Ibanez SDR-1000, Roland VP-70, Alesis Quadraverb, Boss PH-1, Peavey T-Max, Dave Smith Instruments Evolver, Alesis 1622

dropbox.com/s/f8fmyerfqmwu8wk/Keytek%20CTS-2000%20Menu.mp3

The CTS-2000 has a very steep lowpass filter (about 7.3 kHz) on both output channels. This is located on the front panel PCB, near where the pitch and mod wheels connect. Removing 5 capacitors per channel (5.6 nF, 10 nF, 820 pF, 15 nF, 330 pF) and retuning the VCF trimpots for a higher cutoff frequency improves the sound considerably.

Keytek CTS-2000 Cross Wave examples

acreil 2013-04-29 | Here are several examples of single oscillator waveform crossfades. The Keytek CTS-2000 can crossfade between 3 waveforms per oscillator, with a 2 stage envelope (two times and an intermediate breakpoint) for each crossfade. The IC responsible for this is the SGS M114S, which was also used in the Cheetah MS800, Amstrad CKX100 and Solton K160, as well as the other Keytek models (CTS-1000G, CTS-400, CTS-5000) and some obscure pinball machines.

Download: dropbox.com/s/y3d30laczonj66y/Keytek%20CTS-2000%20Cross%20Wave%20examples.mp3