Theory of the Patch

My method of composition begins with a control structure with feedback emerging in my mind. Then I draw a patch diagram of it. The top portion of the diagram shown above is the control part.

Details of the control section

Five identical function blocks are linked together in a loop. Each block contains a Sample & Hold, a Comparator, a Polarizer, and an LFO. The output of the LFO is patched to the S&H of the next block. The S&H output goes through a Polarizer for setting the amplitude and offset into the FM input of its block’s LFO. Finally, a Comparator looks at the outputs of two LFOs from other blocks and generates a trigger for the S&H whenever one becomes higher than the other. The control section is ‘tuned’ by playing with the Polarizers and the initial rates of the LFOs.

Control signals available for patching can be taken from several places in the control section: Comparator output for gates, S&H output for stepped voltages, LFO output for sloped voltages (depends on shape of the LFO), and Polarizer output for altered LFO output.

Details of the audio section

Module List:

• Via META used as a digital oscillator
• EN129 Through Zero Oscillator
• 2hp VCA
• Just Friends used as an envelope generator
• Clocked Ping-pong Delay from Disting
• Two Mini Slews as envelope generators
• Two 2hp Envelope Generators
• L-1 Stereo VC Mixer
• Grayscale Microcell Clouds in Parasites Looping Delay mode

The main out of META goes through a VCA to the Linear FM input of the EN129 VCO. The saw output of the EN129 goes to the T2 (attenuated) FM input of the META. Thus, the two oscillators will cross-modulate when the VCA is open.

Triangle out of the EN129 goes to the Ping-pong Delay, which is clocked by the square wave output of the META. The Delay is thus a mix of the two oscillators.

The META, EN129, and the two audio outputs from the Delay are mixed in the VC mixer, with each channel being controlled with one of the four envelope generators.

The VC mixer stereo outs feed the inputs of the Microcell Clouds.

Patch from Control to Audio

Each oscillator’s pitch is controlled by a stepped output. META’s waveform is modulated by a moving CV. The five Comparators supply gates for the five envelope generators. Each envelope generator has its decay time modified by an attenuated, stepped CV. Microcell pitch is controlled with a stepped CV. Microcell position and size parameters are controlled by a moving CV from an LFO.

Some of the sounds had me imagining a magic wand being waved. So that became its name.