What I find so compelling about this synth is that it is constantly leading me to music. I wasn’t composing or in the creative flow or anything, in fact I was just about to go to bed (oh well!) I simply wanted to try something out with the new sequencer so I switched it on, did up a basic sawtooth patch, nothing special, and started tweaking a bit. I recorded a repeating four not sequence, again nothing special, and then over-dubbed a few notes. The I decided to add some Duo ‘chords’, again on overdub and this little thing started taking shape. Eventually, I recorded a single pass of the sequence, triggering the start point from the keyboard. It almost sounds over-dubbed to me…
Brilliant! Very cool - So this was created using several layers blended together then? Surely it’s not possible to achieve this straight from a single take with the sequencer?
It was in fact a single pass which is why it was so exciting to me. It’s really full isn’t it? And harmonically interesting. The echo (MF Delay) and the chorus (also MF) help the illusion but the real trick is to put the sequencer in Record as it is playing back the sequence and adding two-note Duo mode chords here and there. A semi accident, I did this with intent but got an unexpectedly good result. Also, I’m using the Sub oscillator AND the Werkstatt as a third oscillator.
There was a time when Moog was giving them away at events.
I have two (one that I’m going to wear out, and another that I’ll wear in the old age home;-)
And, yeah, I’m gonna try the trick again and document it better. I do this a lot, find something cool and for whatever reason consciously don’t save it. Weird.
Fortunate happenstances - I know exactly what you mean!
Wow - I can’t get over this being one take. I have to try this out later - so run the sequencer, put it into record , switch on duo mode and add in some extra notes to make chords? It really did like more than a single pass.
Not to beat this one to death, but I did try to reproduce the patch last night with some success. Another thing that is important for the effect is to play with the Range and Back&Forth settings. Just FYI… Just FYI… Just FYI…
Hey all you Sub 37 sequencers. This might be a well known fact but I just made a cool sequencing discovery with my Sub 37. I know that you can alter the sonic capabilities of notes in a sequences by simply playing with the sound parameters while a given sequence is playing back or cycling through a passage you’ve recorded. But I didn’t know that by holding down notes, when building a sequence (take a basic 16 note sequence of 1/16th notes) from note to note, that you can actually record or capture the phrasing of the modulation of sounds ontop of the notes in your sequence as well (to create actual sound phrasing). Up until now I have only been making sequences (ex. rhythmic patterns of 16th notes - great). Now I seemed to have stumbled onto this possibility of creating not only rhythmic phrases but musical or sonic phrasing as well. Why with swing time added… this is going to draw out some major compositional innovations. Thanks again, Amos and all at Moog!
Please can you elaborate a little Tyler? This sounds very interesting but i’m not sure I quite understand what you are describing when you say holding down notes while bulding a sequence to record the modulations on top! Sounds fascinating though
… Sure, I’ll try my best to explain. To date I’ve been entering sequences on the Sub 37 just as described in the manual. Recently, I was entering sequences with a particular ADSR setting (short attack longish sustain/release) so for example, if I strike a note (then let go) you hear the attack and short sustain release and that’s it.
When entering 16, 1/16 notes… on playback (apart from the pitches changing) each note sounds (for the most part) sonically the same… just a bunch of 16th notes
But if I hold a note down and then (legato style) press another note to skip the attack due to the first note being held down and so on, then based on the modulation & waveform settings of the oscillators (I’m not in front of my synth right now to provide detailed settings) I’m getting a sweeping of wave modulation caring over from note to note to note like the swell of detuned beats with some amplitude modulation. So in other words… not just plunk, plunk, plunk. Well, when you (in a similar fashion) hold the notes down from note to note or say, hold down the the first note of your 16th notes sequence and keep it down while pressing not 2 and keep those 2 down while pressing note 3 et cetera. When you play back the sequence… you get these sonic or musical phrases unlike the original plunk, plunk, plunk (step, step, step) of the original 16th note sequence. (There’s got to be a better way to describe this phenomenon). It has a lot more potential. Anyone else tried this? Or are more able to describe what I’m trying to say.
After entering a note, pressing the TIE button will tie (connect) your previous note to the next note you play. If you play a different note from the previous one using a tie, you will hear the new pitch without triggering the envelopes.
If you play the same note as the previous one using a tie, you will effectively double the length of the note.
You can also create a tie between two different notes by pressing a second note before releasing the previous note. This shortcut will not work if you are in DUO MODE.
{These instructions will change somewhat for v. 1.1, but this is how it works right now.}
- So this was created using several layers blended together then? Surely it’s not possible to achieve this straight from a single take with the sequencer?
