Petrichor - LYRA 8 + Pulsar 23 + Ornament 8 + Microfreak

The goal of this session was to experiment with using the SHAOS module to generate an infinite random pattern for drums while trying out analog sync between different devices.

—PULSAR—
pushing the shaos module switch to the right unlocks the drum pattern to pure randomness, keeping it in the center maintains a small slice of the random pattern

BD
Bass Drum Module is being used as a traditional bass drum, tuned to C with a small amount of drive. Receives trigger input from two separate sources that can be combined to create complex rhythms. The first trigger input is the 1 clock output pin from the pulsar clock divider converted to a pulse via one of the ornament 8’s pulse converters, and controlled with the bottom right attenuator. The second trigger is the 1-bit S/H output of the SHAOS module converted to a pulse via one of the pulsar’s pulse converters, and controlled with the bottom left attenuator. No FX or processing on this voice.

BASS
The Bass Module wasn’t used in this video, I forgot to use it during this performance.

SD
Snare Drum Module is being used as a traditional snare drum, with pitch modulated via CV by the triangle LFO. Receives a similar style of combined trigger inputs as the BD to create complex rhythms, but this time utilizing the pressure sensitive CV pads as a momentary switch to toggle between patterns. The first trigger input is the pulse converted 1-bit DIR output of the SHAOS module controlled by the top left attenuator. The second trigger input is the pulse converted 2 clock output pin from the pulsar clock divider passed through one of the CV controlled switch circuits which is opened and closed via the pressure sensitive CV pads. With this routing the SD module plays a random pattern when the attenuator is open, and then can be constrained to a traditional fatback 2 and 4 pattern by pressing on the pads and closing the circuits. Controlled with the top left attenuator and passing directly into the reverb FX.

HHT
Hi Hat Module is also set up with momentary performance controls via the pressure sensitive CV pad. The first trigger input is CV from the 2-bit output of the SHAOS module directly. The second trigger input is the pulse converted 16 clock output pin from the pulsar clock divider passed through one of the CV controlled switch circuits which is opened and closed via the pressure sensitive CV pads. With this routing the HHT module plays a random pattern using an ‘open’ hi hat sound when the attenuator is open, and then can be constrained to a traditional 16th note pattern by pressing on the pads and closing the circuits, allowing for manual rhythmic triggering. Controlled by the top right attenuator.

FX
FX Module in delay bandpass mode with triangle LFO modulation on the tune parameter. Snare passing through reverb 100% wet.

—LYRA—
Tuned to C minor scale chords Cm7 and A♭m7 [C G E♭ B♭] [A♭ C E♭ G] Voice 1 is in long decay mode and plays the root note drone and is triggered by the 1 pin of the pulsar directly. Voices 5-8 are in long decay mode and triggered using the HOLD GATE CV input coming from ornament cell 3 in a pattern that follows the root trigger. Small amount of reverb and drive was added during performance.

—ORNAMENT— 
Pulsar clock pin 0.25 drives the entire sequence as the master clock, triggering the bass root drone on lyra voice 1 and the chord on lyra voices 5-8. There's also a completely separate loop driving the locking/unlocking of the the chord trigger.

Pulsar 0.25 Clock pin → Cell 1   (Root and Chord Triggers)

Cell 1  → Cell 4 → Cell 5 → Cell 6 → Cell 3  (Chord Delay Triggers)
CV outputs from Cells 7 and 8 are connected to the CV inputs of cells 4 and 5, so that when voltage is applied the cell's normal trigger flow is temporarily disrupted to create a shifting unpredictable relationship between the root drone and chord trigger There are some additional connections to the 2x input as well.

Cell 8 → Cell 7 → Cell 8 (Chord Delay timing)
This is an infinite loop that goes back and forth between two cells to control the timing of the 2x inputs of the Chord Delay Trigger cells=

—MICROFREAK—
Microfreak is using one of the new noise engineering oscillator modes, the bass one specifically. Simple modulation of LFO and cycling envelope on oscillator parameters, as well as keyboard pressure controlling distortion level. Running through eventide space reverb and source audio nemesis delay for stereo conversion and lots of dimension.

—EURORACK—The Mordax DATA is being used heavily in this patch as a clock monitor / divider synced to the Pulsar. The 16 pin from the pulsar is converted to a TS cable on the ornament and then used as a sync source for the DATA. The case is a 4MS Pod 34x.

Audio recorded directly into iPhone XR via iConnectAudio4+ interface.

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