joeSeggiola | Stereolab - Les Yper-Sound - 100% MiniBrute 2 cover @joeSeggiola | Uploaded October 2020 | Updated October 2024, 8 minutes ago.
From the album Emperor Tomato Ketchup (1996, Duophonic Records) . Made in autumn 2020 with Arturia MiniBrute 2 as the only sound source.
Modular synth videos: youtube.com/playlist?list=PLTO4U6Krpw9AOiDr5spZCOG2mXkkTfxxy
The drums patch mixes the sine from OSC2, whose frequency is controlled with the AD envelope, with some tuned and metalized OSC1 and noise. The cutoff of band-pass filter follows the keyboard, so that the sound goes from kick-drum, to share, to hi-hat by going up the keyboard. A couple of additional percussive sounds are made using simpler metalizer patches, and used throughout the song (the first one should be the quick strums of the guitar in the original recording, if I'm not wrong).
The bass is a simple ultra-sawtooth OSC1 mixed with a sub-octave sine from OSC2. The ADSR envelope lightly modulates the resonant low-pass filter.
The chords have been simplified to a fixed perfect-fourth by tuning OSC1 and OSC2 accordingly. The band-pass filter is modulated with an inverted slow ADSR envelope. There's a very fast tremolo effect on the volume, achieved by mixing LFO1 with the AD envelope.
The main synth melody is played using the arpeggiator over two notes at a time. The highly-resonant low-pass filter is modulated with multiple sources in different quantities: the basic ADSR envelope, a fast stepped-random LFO1 triggered on every note, and a slow sawtooth LFO2 that cycles every 16 notes. The same patch is used for the fixed-note effect played later on, but with more modulation from LFO1 and none from LFO2.
The echo and reverse-echo effects in the ending of the original recording have been re-created at a later time, by sending the final mix into the Digitech Obscura delay pedal.
From the album Emperor Tomato Ketchup (1996, Duophonic Records) . Made in autumn 2020 with Arturia MiniBrute 2 as the only sound source.
Modular synth videos: youtube.com/playlist?list=PLTO4U6Krpw9AOiDr5spZCOG2mXkkTfxxy
The drums patch mixes the sine from OSC2, whose frequency is controlled with the AD envelope, with some tuned and metalized OSC1 and noise. The cutoff of band-pass filter follows the keyboard, so that the sound goes from kick-drum, to share, to hi-hat by going up the keyboard. A couple of additional percussive sounds are made using simpler metalizer patches, and used throughout the song (the first one should be the quick strums of the guitar in the original recording, if I'm not wrong).
The bass is a simple ultra-sawtooth OSC1 mixed with a sub-octave sine from OSC2. The ADSR envelope lightly modulates the resonant low-pass filter.
The chords have been simplified to a fixed perfect-fourth by tuning OSC1 and OSC2 accordingly. The band-pass filter is modulated with an inverted slow ADSR envelope. There's a very fast tremolo effect on the volume, achieved by mixing LFO1 with the AD envelope.
The main synth melody is played using the arpeggiator over two notes at a time. The highly-resonant low-pass filter is modulated with multiple sources in different quantities: the basic ADSR envelope, a fast stepped-random LFO1 triggered on every note, and a slow sawtooth LFO2 that cycles every 16 notes. The same patch is used for the fixed-note effect played later on, but with more modulation from LFO1 and none from LFO2.
The echo and reverse-echo effects in the ending of the original recording have been re-created at a later time, by sending the final mix into the Digitech Obscura delay pedal.
