|
Stock Class Hardware |
|
myteeGTi |
Elektron
Machinedrum |
Its not super crazy, but it shows
how far beyond "just drums" the Machinedrum can get. |
myteeGTi - machineDrum.mp3 |
|
sizzlemeister |
JD800 |
This is just three chords. Kind
of long for three chords. |
sizzlemeister - oddest_pad.mp3 |
|
pix |
Waldorf Q |
I have the first Q weird thingy
here. Just cross modulations all over the place and live tweaking and
playing. It's a bit too harsh for my taste but it was his mood at the time. |
pix - weird Q.mp3 |
|
tbert |
DW8000 |
Unfortunately, this is VERY old, and I don't remember exactly
how I made it. This is a DW8000, but since I no longer have the 8000, I cut
this from an old piece of music of mine ostentatiously called "Mystic
Episodes on a Desert Night". The one thing I remember about creating this
sound is that I slid the data slider during the note, and the parameter
being changed was (I think) delay time. |
tbert - sea sirens.mp3 |
|
c3400 |
Monoevolver |
An extremely simple progression
played on a monoevolver, fed out to an
Alesis bitrman pedal and back into the evolver inputs, then recorded,
some internal feedback loops on top of an external feedback loop that is
hacked on the input to the evolver so it isn't just an annoying resonant
thing... tweaked both devices upon recording, enjoy. |
c3400 -
bitrEVO.mp3 |
|
DocT |
Poly Evolver |
Poly Evolver in Multimode. |
DocT -
diesel.mp3 |
|
sizzlemeister |
SCI Prophet 600 |
This is about as weird as I can
get the SCI Prophet 600 at the moment.
Straight out the audio jack with no processsssing. I think I can get
it a little more frightening, I have before, but tonight wasn't the
night. |
sizzlemeister - p600_1.mp3
sizzlemeister - p600_2.mp3 |
|
grumphh |
Oberheim Matrix 6r |
Most of the sounds derive
their primary characteristics from multiple LFO's and envelopes being routed
to basically anywhere, including each other - which amongst other things
accounts for the variation in the LFO speeds. Filter FM is a large part of
the sound as well, and for most of the examples the osc's were in one of the
sync modes. I just played around with the parameters, so the sounds are pure
chance creations.
I did not really play the synth, what you hear are mostly drones ( mostly C
in 2 or 3 octaves), with the modulation handling the motion. In a few places
i play a few notes (start and end), which should be quite obvious.
The sounds were recorded though an SB Audigy (i need a better soundcard ;-)
) into CubaseSX and not processed at all. |
grumphh -
weirdOB_M6r_1.mp3
grumphh -
weirdOB_M6r_2.mp3
grumphh -
weirdOB_M6r_3.mp3
grumphh -
weirdOB_M6r_4.mp3
grumphh -
weirdOB_M6r_5.mp3
grumphh - weirdOB_M6r_4low_filt.mp3 |
|
John B NYC |
Xpander |
If I were cooler, I'd write a
description! |
John B NYC
- scifi.mp3 |
|
pighood |
Alesis Andromeda A6 |
Frothy spittle skittle
piggy-in-the-middle illin' medulla mucus. |
pighood -
Xanadoom.mp3 |
|
pighood |
Waldorf Q |
Here are two Qexpositions of
Waldorfian wrongitude....named "Qish" and "Qash." |
pighood - Qish.mp3
pighood - Qash.mp3 |
|
pighood |
Waldorf Q |
A bonobo and a mockingbird debate
the week's top news stories on a cable access channel you're not qualified
to watch without a security
clearance...aww, too bad. |
pighood - Paris Tall Isis.mp3 |
|
Barlow |
Yamaha DX7II |
Attached is mp3 titled "piano_tuning".
It mutates from strange to
normal, which would be very difficult to do realtime on a DX7II, except for
the real-time control panel I use. Other than the touch-control panel (which
sends ordinary DX7 sysex commands to the synth), it's a totally stock synth.
No external effects, overdubbing, or sequencing was used. All parameter
tinkering was also realtime. This one was sort of like an exercise in taming
the FM beast.
A little extra twist on how to drive neighbors nuts: occasionally throw in
something that sounds normal. Makes them think that you might have actually
had real potential at one time, before whatever it was that trashed your
sensibilities happened. |
barlow - piano_tuning.mp3 |
|
sizzlemeister |
AX60 |
Here is my humble AX60
submission. First time I sat
down to intentionally get weird with it. Wow! I'm
impressed. This is in split mode with some arp
handling the bottom end. |
sizzlemeister - AX60_1.mp3 |
|
Greaseenvelope |
Novation K-station |
Live performance of Novation
K-station with volume
pedal into mediocre sound card into cool edit pro.
Makes use of several of my favorite patches,
highlighting in this case the ability of the k to
produce low-fi bit-reduced apocalyptic squonks and
squiggles. Onboard distortion and delay are used as
central features of certain timbres. I have to say
unfortunately the .wav file sounded much better. I
hate listening to mp3's of noise music. Loses a lot of
the more subtle harmonics. |
greaseKweirdness.mp3 |
|
Synthesist |
Yamaha FS1R |
Here's a strange voice from my
Yamaha FS1R. One key held in performance mode using onboard FX, lots
of manual twiddling going on. |
Synthesist - When planets go bad.MP3 |
|
urbanscallywag |
Alesis Andromeda |
There are 4 notes played as heard
at the beginning. It made me think of a traffic jam in Hitchhiker's Guide,
hence the title. Other things it made me think of were those charity coin
funnels and a subway train slowing.
Letric metric has VCO 2 getting exponential FM from VCO 1. VCO 2 then FMs
filter 1 (SEM). There is some filter feedback but no effects, noise, or
distortion. The only variation in playing is length keys are held and
pitchbend (near the end), as well as a release tweak for fadeout. I
particularly liked the rhythmic aspect to this patch.
Nebular SOS is an Andromeda patch that has only squares for oscillators,
including VCOs and LFOs! This is how I pulled out some particularly weird
sounds from the Ensoniq ESQ-1. There's some filter FM and maybe VCO 2 FM
going on. I was tweaking the VCO 1 and VCO 2 frequencies every couple "bars"
or so. I also touched both filter 1 and filter 2 cutoffs and toggled between
hard, soft, and no VCO 2 sync. LFO 3 modulates LFO 2's frequency which
modulates LFO 1's frequency. I quite like the digital noises coming out of
this patch.
I was trying to recreate the Boards of Canada Apparatus piece..."Hey dad,
look at the TV"...but I came up with bubbledrum instead. Its an Andromeda
only piece. The Moog filter with cutoff assigned to ribbon and resonance all
the way up makes the sine at the beginning. After playing the ribbon I
toggle each of the waveforms of the VCO, negative sawtooth and square
completely change the timbre from the original sine wave. The rest of the
time I tweak LFO 2 and LFO 3 speeds along with the SEM filter cutoff. The
SEM filter also has its resonance all the way up and is in HPF mode. |
urbanscallywag - hitchhikersjam.mp3
urbanscallywag - lectric_metric.mp3
urbanscallywag - nebular_SOS.mp3
urbanscallywag - bubbledrum.mp3 |
|
Scott Kilpatrick |
Korg MS50 |
This was done entirely on a Korg
MS50 expander module. There are no real "FX" like reverb and actually no
keyboard used (though there was a trigger switch used to trigger envelopes)
so this piece, as you will hear, is not based upon pitch or chord
progression. It is simply a small sampling of the weirdness that can
be derived from this modular synth. enjoy. |
Scott Kilpatrick - The_Motor.mp3 |
|
J3RK |
Waldorf Pulse |
This one is from my newly
acquired Waldorf Pulse. Basically, everything is overdriven. Oscillators
are all detuned to various levels. I’m using the arpeggiator in hold mode
to keep the sound going. (which is where the short tonal bursts are coming
from) The filter is at maximum resonance, and is being modulated by an
audio-rate LFO, modulated by a slow-rate LFO. Noise is not being used. The
noise is all coming from modulation and overdriven filter etc. |
J3RK - Crazy-Pulse.mp3 |
|
Greaseenvelope |
G2x |
This was made 5 hours after my
G2x arrived by FedEx this morning. My roomate and I figured out how to
program it by making this patch.
It features two cross modulating LFO modules, and two osc (one a noise
generator), modulating one audio osc, sometime effected by a stereo pair of
digitizer-wavewrapper modules hooked up to the lfos. Included gooseneck mike
is sometimes turned up on the audio osc's fm imput and vocalized through.
No delay, no filters, no envelopes.
This is a live performance my both my roomate and myself shortly after we
finished programming the patch (take 3). |
greaseenvelope - 5hrswG2X.mp3 |
|
Amos |
Minimoog Voyager |
A very rude 6-minute drone/tweak
workout on the Minimoog Voyager. This is a "stock class" demo, meaning that
no external efects, layers, or any other trickery were used.... just a dry
recording of the instrument's output. The only modification to this track
was editing it down from 21 minutes, and final normalization before
converting to mp3.
Description:performance controllers used include two mod wheels, a CV pedal
and the Voyager's 3-axis touch surface. 3 oscillators cross-modulating each
other with independent control over each oscillator's (continuously
variable) wave shape, and frequency... oscillator waveforms also used as a
shaper on the modulation busses, which were doing things i can't even
remember.
I may have try another take or two, as this is only one flavor of potential
Voyager weirdness. I didn't even get into vocal formants or analog feedback
(patching an output back into the filter input) - there's a lot more madness
there to be unleashed. |
amos - kss_extreme_voyager_edit_211.mp3 |
|
urbanscallywag |
Arp Odyssey |
REALLY need to replace the pots
on my Odyssey, tweaking is not fun in the least. They are the opposite of
smooth and I'm afraid to break one. Its too bad, its quickly becoming my
favorite synthesizer. The VCOs are quality, the filter is sweet, and the
modulation is enough to keep it interesting but not complex. |
urbanscallywag - my_tea_is_boiling.mp3 |
|
urbanscallywag |
Arp Odyssey |
This Odyssey weirdness is called
slave barge. Its just the 2 oscillators ringmodulated (VCO 1 in "low
frequency mode") with filter cutoff modulated by the LFO. LFO is later added
to VCO 1 as a square and VCO 2 as a sine. The beginning is created with the
envelope weirdness I haven't figured out yet and the end slows down the LFO.
The little pop bugs me, its when the VCA slider is at the top position. I
can't record it again as the patch has changed itself!
Its not extremely weird, I just thought it sounded cool. Makes me think of a
huge spaceship carrying the imperial forces through space...or something. |
urbanscallywag - slave_barge.mp3 |
|
nico |
Macbeth M5 |
It's purely M5. Osc1&2 ringmodded,
RM output in both Filter1&2 (LP). Output of Filter1 into the reverb
(Rev gain&mix on max) which goes into the Left VC Panning input, Filter2
goed into the Right VC Panning input. The Panning is VC-ed by OSC3. During
the sequence I play with pitch and modulation of the 3 oscillators to make
crazy almost unbearable noise :) |
nico - smm.mp3 |
|
astrokid555 |
Roland JXP3 |
random waveform lfo ... super
short envelope... sequenced onboard...playing with the rate slider.. so i
named the blip rate seven. Took lots of pg200 goodness to find this
and then with one tweak it was gone! Thank god i had cool edit
pro up just incase |
astrokid555 - dsp555+rateseven.mp3 |
|
Greaseenvelope |
G2 |
Here's an example of what can
happen when you
cross-modulate LFO's within the wacky architecture of
the G2. It crosses the line between LFO and FM, with
abrupt percussive jumps made by inverting the signal
in the mixers cross-modulating the two LFOs, as well
as changing the gain levels on these mixers and
outtype. The LFO restart imput and sync output. If
your interested you can see the patch I used to make
this called LFOmachine.pch2 on the electro-music.com
G2 experimental patch archive. It uses some very nice
ladder-filter and distortion designs by Rob Hordijk, a
guru in the G2 user community. A lot of the clicks in
the beginning and end of the sample are an example of
what happens when the osc pitch is tweaked below audio
range, a distinctive sound characteristic of different
DSP based synths imho. I am having trouble replicating
the "beefy"ness of similarly produced clicks in the
novation track I posted previously, although they have
much more variety. |
LFOcrossmod.mp3 |
|
urbanscallywag |
SH-101 |
OK, this is from my SH-101
session from the first night I had it. I don't remember too much about what
I was doing but I'll try my best to explain. The arpeggio is the same
throughout the clip. Arp
and noise modulation of the filter I think.
sh101-1.mp3
More noise modulation and resonance adjustment.
sh101-2.mp3
Changing between oscillator waveforms, change from noise to "random"/sample
and hold modulation.
sh101-3.mp3
Glitcherific.
sh101-4.mp3
Sample and hold madness.
sh101-5.mp3
A really creepy melody. I really like this clip. Reminds me of the Odyssey.
sh101-6.mp3
General madness with sample and hold rates.
sh101-7.mp3
Noise oscillator plus "randomized" filter cutoff with varying rates.
sh101-8.mp3
Wobbly arp. I think I was using the Roland bender to LFO -> VCO pitch
switch.
sh101-9.mp3
This almost works as a track on its own. I like its rhythmic nature.
sh101-10.mp3
Some speaker damaging material here.
sh101-11.mp3
Famous subsonics from the IR3109 resonance. Moves air.
sh101-12.mp3 |
|
|
simulacreant |
Nord G2 |
Improvised with an expanded Nord
G2 KB loaded with half a dozen homebrewed patches. Some
post-production tidying. |
G2-Propoxyphene.mp3 |
|
syncretism |
Monomachine / Machinedrum |
the monomachine sounds come
largely from extensive use of the joystick, slide tracks and
parameter-locked LFO modulations {everything about the three LFOs can be
parameter-locked, which means you can reassign LFO destinations, triggers,
shapes, depths and anything else per step - something i've never seen
anywhere else}. |
syncretism - wtf is that
sound a jam.mp3 |
|
|
|
|
|
Open
Class Hardware |
|
BillyWa |
Compilation |
And now for something
completely different, the KSS Weirdness Mix. I believe this will fall into
the "open" class and if it does not get your blood pressure up, you must
be a deaf marathon runner. I hope ya'll don't mind that I have done this,
but I took the liberty of downloading all the Weirdness entries so far and
compiling a Mix version. I may be able use this as the monthly mission too,
it is pretty monster cheesy! I took all the clips into Sonar and bumped,
trimmed, compressed, stretched and whacked a little bit off the top to come
up with this spooky compilation of noise. It started out that I wanted to
hear a layer of grumphh's weirdOB tracks and I decided to build it up from
there. I am working on my own Q, K5000S, and MS2000 entries that will fit
right into this mess. So far, my dogs love it! I assume some of you may
have had a similar idea, and would certainly do a more worthy job than I
have, but I did it first!" |
BillyWa - KSS Weirdness
Mix.mp3 |
|
Warpsmasher |
Yamaha DGX-200 into Alesis Air FX |
This was done with my old Yamaha
DGX-200, mostly on the first setting, plain old "piano"...with distortion
and delay in the loop, mixed out to the ring mod setting (06) of an Alesis
Air FX. |
warpsmasher-ringmodsounds.mp3 |
|
Warpsmasher |
Various |
Alesis Micron, Roland SH32, KP2
Kaoss Pad, Alesis AirSynth, and a Jackson RR3 guitar (through a Danelectro
Fab Overdrive and a Digitech Digidelay), into a Yamaha MG 10/2 mixer(Yamaha
Magicstomp in the fx loop), mixed out to 3 Alesis Air FX in a row, then
processed through a Behringer Ultramizer Pro (rack compressor/exciter/gate),
which goes into a second Yamaha mixer, where it mixes with clean samples
from the computer (in the first half of the first track anyway, the second
track is just the chain with no computer samples). These are both direct
live recordings with no mixing anything in after...and I didn't really even
get into exploring the sounds of the respective units too much on these
tracks, but it's the odd mixes of basic layers from all the different
sources that gives these tracks their, uh...Extreme Weirdness©. Or something
like that. 
This other one was made with a Behringer Virtualizer Pro (guitar rack multi-fx
unit). The 11th preset is a ring mod knobtweakasaurus noise toy thing...it's
not bad, for what it is. I bought the unit for the effects, and this setting
was a nice little bonus I discovered while flipping through them. Here's a
sample, with some Soundforge reverb... |
warpsmasher-scape1.mp3
warpsmasher-scape2.mp3
warpsmasher-virtualizerpro.mp3 |
|
sizzlemeister |
SCI Prophet P600, Akai AX60
and Roland JD800 |
This is an bite from a
little sound-searching session this evening using a P600, AX60 and the
JD800. The P600 and AX60 had their arps going (but I didn't sync them;
don't know if I can yet with the AX60). The JD800 doing its thing in
pad production. All were going into a mixer, then out into a Lexicon
LXP5, into a compressor and then into the computer in mono.
Perhaps not all that odd except in the middle where the CEM synths'
starting merging into one rhythm marked by swept VCOs in various
states of sync. |
sizzlemeister - cem_interaction.mp3 |
|
Nico |
MacBeth M5 with Kurzweil KSP8 fx |
I use all 3 osc's as sinus, All
3 osc's in the mixer of filter one (24dB
LPF, very low frequency, very high resonance), the output of that mixer in
filter 2 (12dB SVF on LPF, very high resonance), together wih the ouput of
the ringmod. Filter 2 is modulated by EG2 and random source. The ouput
of filter 2 goes into the mixer of filter 1 again. Filter 1 is modulated by
both EG1 and random source. I start playing with the pitch of the osc's, I
sync osc2 to osc1 and modulate it with EG1 at the same time. I modulate osc1
with osc2 and osc3 with osc1.
The main output goes into a customized Soundcraft 6000 and I simply feed
AUX1-4 into my Kurzweil KSP8, which is on 4 stereo in, 4 stereo out setting.
I use a reversed reverb and some sort of crazy random chain patch for the
metallic noises in the background. |
nico -
ivsowtwahtew.mp3 |
|
dJ dAb |
TI Speak & Read |
Hopefully this will show
the true power of a Speak & Spell when used strictly as a sample source.
All samples taken from my circuit bent Speak & Read... even the scratch /
transform sounds, then compiled and sequenced in Logic.
Other bends / Mods...
|
dj
dAb - SpeakReadSampSong.mp3 |
|
J3RK |
Waldorf Pulse with Modular III |
I ran a simple arpeggiated tone
out of the Pulse, into the audio inputs of Modular III. The Pulse signal is
used as a modulation source. The change in frequency you hear is the cutoff
being changed on the Pulse. The Mod III patch is one of my standard
feedback loop drone patches that I've been making lately. |
J3RK -
PulseThroughModIII.mp3 |
|
grumphh |
Jupiter 4 |
This is a Jupiter 4
arpeggio improvisation that has been chopped up into small chunks and has
been extensively treated with native Cubase effects. The basic sound is a
square wave where various controls were modulated manually during recording
and and occasional high frequency LFO dirties things up. This is then
pumped through a Tranceformer, Double delay, Reverb A and a Mod delay,
before it goes through yet another Reverb A!
The effects remain static throughout the entire piece. |
Jupiter_permutation.mp3 |
We have all heard the
typical synth demos. A milky pad, a cutting lead, a bass sound. What
do we really learn about the potential of the synthesizer itself? Little
at best.