#dreadbox utopia

[drmlab]

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I've been tinkering with this patch for a week or two. I recorded it because I'd like to start a new patch, so I can have this as a reference.

I'm still pinging the Doepfer Wasp filter, which is one reason it's time for me to try something different. In this patch:

Arturia BeatStep sends clock and a gate sequence to the NiftyCase via MIDI

NiftyCase MIDI adapter sends:

Clock signal to the Doepfer Clock Divider

Gate to the input of the Doepfer Wasp Filter

Doepfer Clock Divider sends gates to:

C4RBN filter ping input

Pique bass drum input

Pique tap LFO input

Dreadbox Utopia LFO reset input

Pique tap LFO modulates:

Doepfer Wasp CV2 frequency cutoff input

C4RBN resonance input (this signal is first inverted in Dreadbox Utopia)

Dreadbox Utopia LFO modulates C4RBN frequency cutoff

Mixer inputs

Wasp filter low-pass output

C4RBN low-pass output

Pique bass drum

[drmlab]

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I kept this patched too long before deciding to make a recording and move on. I experimented with two things, first combining the low-pass and high-pass outputs of the WMD C4RBN filter for a phasing effect and secondly running an LFO into the Disting with the pitch quantizer algorithm to feed pitch CV into the Wasp Filter, which is pinged each time the pitch changes.

Using the C4RBN as a phaser did not work for me, but I began to enjoy the sounds it produced. I used one side of my Michigan Synth Works Pique as a bass-drum sound, which I fed into the C4RBN. The frequency cut off of the filter is modulated by the other side of Pique using a tap LFO with the randomness set to high. Later in the recording, a clock signal pings the C4RBN filter.

I used the LFO in the Dreadbox Utopia to feed the Disting's quantizer and used the bitcrushed output from Utopia as the tap signal for the tap LFO in Pique. About halfway through the recording, I set up a feedback loop where the bitcrushed output is plugged into the LFO sync input, which led to an arpeggish sequence from the quantizer.

[drmlab]

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Here’s another recording of playing with the Takaab dual low-pass gate. In this recording, I am playing a sequence from an Arturia Beatstep connected by MIDI to the NiftyCase’s input. 

The pitch CV is multed into the pitch input of my 2HP VCO and the cutoff input of the Wasp filter. I’m sending the square wave into the Wasp filter. The low-pass output is then multed and sent to each of the low-pass gates. 

The gate from the Beastep is also multed. One is input to the CV of the top low-pass gate, while the other goes into the LFO input of the Dreadbox Utopia. (I’m not really sure what that actually does.) I’ve sent an offset LFO output to the CV2 input of the Wasp filter. That LFO signal is normaled to the “Pulserizer” function on the Utopia, and I am using the Pulserizer output to gate the lower low-pass gate. 

The recording starts with just the top low-pass gate and the pitch CV controlling the filter cutoff. Then I fade in the second low-pass gate controlled by the LFO and Pulserizer. Eventually I start modulating the Wasp filter with the LFO signal and things get a little weird. I had come across stranger patterns while freeform tinkering with this patch, but, as is likely often the case, I couldn’t quite reconstruct them while recording.