Our final RPM performance patch is here, and it is a doozy. To close out the series, I wanted to do a patch based in my version of the Make Noise Tape & Microsound Music Machine, so that’s what I did.
Basically, we have two voices here. Both are ultimately driven by/begin with the Morphagene. I made a short tape recording of me talking some nonsense, then sampled it into the Morphagene as a single reel. That went into QPAS, and for the first/main voice (in green) I took the Smile Pass outputs into the Mimeophon (for delayish effects), which then goes to the Desmodus Versio (for reverb), then to the mixer/output.
The second/accompaniment voice (in pink) is pulled from two different QPAS outputs, the left lowpass output and the right bandpass output. These are run through distortion (Klavis Waveshaper on one; top section of Terci Ruina for the other) to add additional harmonics, then fed into the Panharmonium. The two are fed into the Panharmonium then output using the mode that splits the L/R outputs into a dry channel and a wet channel. Both go into a mixer and are mixed manually throughout the performance.
The mixed dry/wet output goes to a Disting mk4 running as a clocked delay. The output of that feeds the C4RBN filter, which goes into the FX Aid XL running a vowel filter into reverb program, then to the mixer and outputs.
Modulation comes from the Triple Sloth (all the Sloths modulation is in black cabling, BTW), which gives us wiggles on the pitch, gene size and start point of the Morphagene. Those are all running through a switch, controlled by my custom gate controller (the box with the blue buttons), so that I can let it get real far out, then hit a button and bring it back to some semblance of intelligibility/where it started. Fun.
Sloths also gives us wiggles on the QPAS frequency, resonance and radiate controls and changes the vowel selection on the FX Aid program.
The remaining modulation (yellow cabling) comes from the Function, which is slewing a clock signal (all clocks from Mimeophon, BTW) to get some envelopes, positive and negative. Those envelopes control the C4RBN filter cutoff, modulate the waveshape of the Klavis Waveshaper, and the other QPAS radiate control.
You can see it, and hear how it sounds, in this video.
You can also hear the finished track, along with the others, on the album, which is out now. Hear it here:
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