Generative Grid Patch with Feedback
Tutorial | Mar 17, 2022
I created a generative grid patch using a ramp signal and a Wavetable to generate sound. I used a sample and hold, a filter, a reverb, a unison, a dice, and a step mod to modulate the sound and add some randomness. I used a mixer and added a feedback loop and a delay to create more interesting textures. I also used a pitch quantizer to make sure all the notes were in tune. Finally, I added a piano and kick drum to bring the patch to life.
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Questions & Answers #
Maybe you dont watch the video, here are some important takeaways:
How do I create a generative grid patch using feedback? #
To create a generative grid patch using feedback, you need to use a mono-voice mono device and generate a signal using an oscilloscope, wavetable, LFO, or oscillator. You can then scale down the signal to 10% to get a more flat output. After that, you can use a second wavetable to generate a sound and trigger it with a gate. You can then add reverb and a filter for further effects. You can then add a sample and hold module and a dice module to create random values each time it is triggered. You can also add a step modulator to change the scaling and the notes over time. Finally, you can add a long delay and blend it into the feedback loop.
How do I create a bass line using just intonation? #
To create a bass line using just intonation, you can use a ratio setting module instead of the native one. You can then send the signal through a quantize module to ensure that it is in the right pitch, and then use the sub-ratios to generate the bass line. You can modulate the triggers with a dice
This is what im talking about in this video. The text is transcribed by AI, so it might not be perfect. If you find any mistakes, please let me know.
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[00:00.000] So I try to do something with feedback.
[00:10.840] So a nice little generative grid patch, um, yeah, with feedback.
[00:17.440] So let's click the device.
[00:19.040] We are on mono voices mono, that's what we need to make a self running patch.
[00:25.880] And then we take some kind of signal we can use.
[00:30.040] We can use the face in here, those oscilloscope.
[00:35.120] So this gives us here some kind of ramp signal.
[00:39.800] It could be something we can modify the signal to get something, um, or we can use an LFO.
[00:48.920] Or maybe we can also use an oscillator.
[00:55.280] Let's see, maybe you take the Wavetable.
[01:00.160] Take this off and we use, yeah, let's actually use your zero and go with this into that and
[01:11.920] see what comes out at this signal, switch this to a Wavetable.
[01:20.040] And we may be using an interesting Wavetable.
[01:23.080] Let's see, strings, we could choose strings, not this.
[01:30.680] Give us your nice little piggy here, piggy signal, can you use this for melodies?
[01:40.840] So what we need to do is maybe we need to scale this because when we use this as a node
[01:45.120] signal, here we have obviously some very high nodes and very low nodes.
[01:51.520] When we scale this down here to 10%, maybe, so we get a nice flat little change here.
[02:03.080] And maybe, maybe, maybe, we go here to, so this gives us here ramp signal that is exactly
[02:11.680] one bar long, so we go maybe two bars or four bars.
[02:17.320] So the ramp signal gets longer, more stretched out, we go here to, really, percent, okay.
[02:29.560] So now that we have this, we take a second Wavetable, which generates then our sound
[02:35.080] here, maybe an AD envelope.
[02:40.640] We need to trigger this here for the gates, and we go into the pitch here.
[02:48.320] But let's start with trigger first here, triggers, or, and let's see how it sounds.
[03:12.440] We get some random leaves, okay, this is nice, I probably also need a sample and hold here.
[03:20.760] Get this over here.
[03:26.080] And what else, maybe we use some supermassive reverb here on the output.
[03:36.760] And maybe also a filter, low pass here.
[03:45.720] Let's see how this sounds.
[03:54.720] Let me put this over here, maybe use a second one here for the modulation.
[04:17.280] And a unison could be interesting.
[04:36.240] And put also here this one, and we don't need this.
[04:59.680] So maybe we should use a scale here to make this a bit more, so use the quantize.
[05:05.800] Or maybe we use a minor, this time around, and suppose minus 3 because from C to A it's
[05:26.440] maybe semi-tone sound.
[05:37.080] Yeah, bring, make this even slow here.
[05:56.000] Okay, this is nice, maybe we do a second line here, but here we use maybe here the
[06:25.000] ratios, but I use a ratio setting or module instead of here the native one, we can
[06:36.600] sample and hold this this value. I use the second trigger which has different
[06:43.760] trigger speed, of course, and maybe a mixer. Maybe this one here gets one
[07:01.480] octave higher and for this we use some sub ratios. So this is more like a bass
[07:20.740] sound. So this is basically what I do with the sub harmonic on here with my
[07:27.220] MOOC modular synth. So maybe I use a dice. Dice produces some kind of random
[07:41.620] value every time we trigger it. We get your random values on each trigger and
[07:47.620] we use a modulator to change the setting here. Maybe go to 5. So every time this
[07:58.980] triggers we get a different sub division bass sound here. Maybe we also reduce
[08:05.860] here the unison setting is off, okay? And we can change the melody basically by
[08:30.100] scanning it through the Wavetable. Which can be interesting later on, but now we
[08:37.660] concentrate you a bit more on. This makes no sense here because we trigger this
[08:45.400] only with this one here, with this trigger module. Maybe do a second one here.
[09:02.660] So we kind of have here a melody and this melody or the
[09:32.580] current node played by this oscillator here has a counter bass on here produced
[09:42.620] by the ratios which is just intonation. So here we play basically equal
[09:47.820] temperament and this one down here is the bass generated by just intonation to
[09:53.540] get a perfect ratio for the bass. I don't know if this makes sense but for now
[10:00.580] it sounds kind of okay. I kind of want to have this in here somewhere so make this
[10:27.820] set up here a bit more compact.
[10:52.540] So maybe we bring in some feedback here with a long delay. We get the output of these
[10:59.860] two oscillators here, delay it by 4 beats. This is 16 notes, okay? We get in here, let's
[11:08.740] see how this sounds.
[11:28.060] So we need to modulate this here. And this should be also nice to modulate so we need
[11:53.020] the clock quantize, duplicate this here, use 16. Here we also use the clock quantize
[12:10.100] down here and use also 16 notes. It's down 40 beats maybe a bit too loud. Yeah maybe
[12:35.740] do here a step mod. So we can just press your randomize, get different settings, play
[12:49.700] maybe do here 8 notes and then modulate your triggers.
[13:07.900] So let's call this melody one rhythm. And you maybe modulate here the second trick
[13:30.220] I got to hold this down. This melody to rhythm. Okay. What we also can do is of course
[13:55.980] use a step mod here to change the scaling to randomize. And maybe also this one here.
[14:24.940] So we get the nice change up of notes over time.
[14:52.620] So maybe we modulate also a bit the loudness of the individual notes.
[15:04.220] We can use attenuate or just modulate this here. And we go to minus 10, minus 10, do
[15:24.460] here. And should be nice. Ah, let's select your different Wavetable, maybe something
[15:50.780] with science, Simon Monix. So let's modulate this here a little bit. Let's do it.
[16:19.180] Let's modulate this here a bit differently. And maybe you change the spec here to instead
[16:30.860] of 4 we go to ## So let's get this over here.
[17:00.460] Maybe you can mix in also here a bit of feedback into the melody line generator. We can use
[17:22.140] a blend. Blend here and then use the feedback. Let's bring in a lot of noise here.
[17:33.500] Let's do that. I want to modulate this here also with the random mod.
[18:03.340] Be also nice to have your different envelope settings. And maybe a trigger here also with
[18:31.180] dice. The dice we trigger this here on each time we trigger the gate. And we use modulate
[18:42.380] out. Go to the lowest setting and then trigger here.
[19:10.700] Sounds okay, right? So far, at least.
[19:40.300] Maybe also instead of just using your feedback of this. Maybe also use your second oscillator
[20:01.500] and mix it into the first oscillator. Let's see. Blend. Blend and then brings over here.
[20:29.820] Oh, this doesn't work, okay? Oh, it doesn't make sense because we also already here mix
[20:42.940] in two of these. Okay, I see. The delay could be nice here at the end.
[21:10.780] Let's see if we're actually in if this is harmonizing with the synthesizer here. Go for
[21:25.260] a policeman. Yeah, let's paint in A.
[21:55.260] Oh, it's really, huh? It's a bit off.
[22:22.700] I think we made it a bit slower.
[22:49.660] Let's take it to the dominant.
[23:07.500] Oh, it kind of works.
[23:25.340] You probably have to put the ratios here also through a pitch quantizer.
[23:52.780] Just to make sure.
[24:14.140] Yeah, I'm still thinking this is too fast. Maybe go to A here. What do I have it really
[24:49.780] The more parameters you introduce and add your modules, the harder it gets to actually
[25:15.020] find the right values for every module to get what you want.
[26:02.820] I really need some bit more modulation here on the pads.
[26:32.820] That's also a bucket with a pull down up there.
[26:46.820] Maybe put the text down here, text up preset.
[27:02.820] Oh, it crashed nice.
[27:32.820] Maybe we need to get rid of some harmonics.
[27:46.820] I'm going for a cool voice.
[28:16.820] Maybe the bass is too much because we have the pad sound already.
[28:36.820] Maybe minus 8.
[28:48.820] Some interesting sounds in there sometimes.
[29:08.820] Maybe we can also introduce you some chance.
[29:24.820] Maybe 50% chance.
[29:44.820] Maybe 50% chance.
[30:04.820] Maybe 50% chance.
[30:24.820] Okay, sounds good so far.
[30:54.820] Try some piano here on top just as a test.
[31:22.820] It brings a bit down here.
[31:42.820] We can do something quick and generate for the piano.
[32:02.820] We also randomize the rhythm or the note type.
[32:18.820] Randomize for the velocity and we need some notes here.
[32:36.820] And we paint in all the notes we want to have.
[32:48.820] And we need to use humanized here and dial down the chance.
[33:12.820] Maybe we also don't need 16th notes here.
[33:32.820] Maybe some lower notes here.
[33:52.820] Maybe a bass sound.
[34:16.820] Let's use polymer.
[34:32.820] Maybe use a rhythmic approach.
[34:48.820] Maybe use a rhythmic approach.
[35:04.820] Maybe use a rhythmic approach.
[35:20.820] Bring this up to 1 on 24.
[35:38.820] Maybe use a kick drum.
[35:58.820] Maybe use a rhythmic approach.
[36:18.820] Sounds kind of nice.
[36:38.820] Maybe use a rhythmic approach.
[36:58.820] Maybe use a rhythmic approach.
[37:24.820] Maybe use a rhythmic approach.
[37:48.820] Maybe use a rhythmic approach.
[38:04.820] Maybe use a rhythmic approach.
[38:30.820] Maybe use a rhythmic approach.
[38:50.820] Maybe change the bass.
[39:10.820] Bring in some groove.
[39:30.820] Maybe use a rhythmic approach.
[39:48.820] Maybe put this all into the music group because there's a sidechain on it.
[40:08.820] Maybe use a rhythmic approach.
[40:36.820] Maybe use a rhythmic approach.
[40:56.820] Maybe use a rhythmic approach.
[41:16.820] Maybe use a rhythmic approach.
[41:36.820] Maybe use a rhythmic approach.
[41:56.820] Maybe use a rhythmic approach.
[42:16.820] Maybe use a rhythmic approach.