Nice rhythm. At first, I did not recognise the Neutron, with its custom faceplate ! 🙂 The trick with the rubber band is awesome, I had missed that tip from Loopop ! Sequencing the rhythms subdivisions in the SubH is a neat patching technique too. I should use it more often myself. Speaking of the limitations of the two 4-steps sequencers of the SubH, I guess you are aware of the patching configuration consisting in sending Seq Out of one sequencer to both VCOs, aren't you ? The SubH is wired in such a way that modulations sent to any VCO In on the patch bay adds up to the modulations already created internally by the sequencers. Therefore, if, for instance, you set Seq 1 to control VCO 1 and Seq 2 to control VCO 2, then by patching Seq 1 Out into VCO 2 In, the sequence played on VCO 2 gets transposed by the changing notes on VCO 1. With different rhythm subdivisions allocated to Seq 1 and Seq 2, this effectively extends the number of steps beyond four. A classical configuration is to play the "transposing" sequence (VCO 1 in this example) four times slower than the "transposed" sequence (VCO 2 in this example). This leads to a global pattern where the latter's four notes get transposed four times in a row, effectively creating a 16-step non-repeating sequence. And this can be extended even beyond if the base sequence itself is not played by one of the SubH's sequencers but by an external device with longer sequences, as in your case here. For instance, combining the 8-step sequencer of my DFAM with the four-step sequences of my SubH patched as explained above, I could easily get the two machines to play a 32-notes non-repeating sequence. Just for fun, I then played a slow, four-notes sequence on a master keyboard piloting the SubH through MIDI, and thus created a 128-notes non-repeating pattern (whose interest, to be frank, was more technical than musical ! 😀). Anyway, since you mentioned the four-steps limitation of the SubH in the video, I thought I would mention this just in case. Sorry for the wasted space if you knew that already ! Keep on sharing your music !
THanks for these excellent suggestions. You're right, it is possible to get longer sequences in this way (are they non-repeating, though, or do they eventually repeat after a long time?)
@@electrummodularmusic, the term "non-repeating" in my note was somewhat ambiguous, I guess. Sorry about that. By that, I meant sequences of a certain number of bars in which each bar is (or can be) different from all the others. Indeed, I sometimes find people online explaining that they created an extended N-bar sequence on their SubH (with N>4), using this or that patching trick. But most of the time, said trick relies on repeating the same bar several times in the cycle. For instance, it is relatively easy to create a sequence of 4 different bars of 4 times each, using the patching configuration I cited in my note above. But by slowing down the slowest sequencer still 4 times slower, you can get a 16-bars sequence in which there are 4 different bars, each of which is repeated 4 times. It can be interesting, but it remains a "repeating" 16-bars loop. By contrast, a 16-bars" non-repeating" loop would contain 16 individually different bars. This is what I meant, here. As I mentioned above, my personal longest non-repeating sequence on the SubH was made of 128 different 4-times bars, based on 16 successive transpositions of an original 8-times bar (I was using the 8-step sequencer of the DFAM for that). If you are interested, you can hear it in the middle bridge of the following piece of mine (around the 2 mn mark): th-cam.com/video/Hx6qE_bsHDE/w-d-xo.html But of course, once these 128 bars are played, the whole sequence starts again and, obviously, repeats itself completely. Then one can also try to extend the number of non-repeating bars, not by using the transposing trick above, but by building long poly-rhythms (that is after all what the SubH is about). In that case, the extension of the 4-step sequencer does not ensue from successive transpositions but from the complex polyrhythms used to play the base 4-notes two loops. The longest possible non-repeating loop would then be based on the periodicity of the longest possible polyrhythm playable by the SubH. My understanding is that this configuration should be obtained by programming two different sequences of 4 different notes on the two sequencers, and then having them play, respectively, at 1/16th and 1/15th of the base clock tempo. If all notes are different in the base sequences, then the whole loop should repeat only after 16*15 beats are played, which should lead to a 240-steps non-repeating loop. I, for one, never tried to push the polyrhythmic interplay that far on the SubH, but it is probably worth doing, if only out of curiosity. I doubt that anything really musical would come out of it, but who knows ... ?
1:02 This is interesting. Do you have any recommendations for books or other resources? I've recently started making more of an active effort to learn music theory.
Oh yeah … great “SubH patching tips” . . . If one happens to have all the other gear. Gees! Why don’t you change the title of the video? Maybe you could call it Look at all the sounds I can make using all this ****.
This is seriously dope, one of the best subharmonicon patches I've seen, congrats.
Really appreciate that, thanks Paul!
I loved the analog rubber band patch for the decay. Genius. 😅
An essential modular accessory - Moog should market them.
nice one!
and thanks for the effort of creating real time patch notes!
Thanks for watching (and reading the patch notes!)
Dope, expanding the sbhrmncn really is the way to go.
Thanks. And I agree - a lot of potential in that patch bay!
Great job!
Cheers!
Bravissimo!
Thanks!
Looking forward to the spice when it drops
hope it didn't disappoint!
Excellent!
Thanks for tuning in!
Nice rhythm. At first, I did not recognise the Neutron, with its custom faceplate ! 🙂 The trick with the rubber band is awesome, I had missed that tip from Loopop !
Sequencing the rhythms subdivisions in the SubH is a neat patching technique too. I should use it more often myself.
Speaking of the limitations of the two 4-steps sequencers of the SubH, I guess you are aware of the patching configuration consisting in sending Seq Out of one sequencer to both VCOs, aren't you ? The SubH is wired in such a way that modulations sent to any VCO In on the patch bay adds up to the modulations already created internally by the sequencers. Therefore, if, for instance, you set Seq 1 to control VCO 1 and Seq 2 to control VCO 2, then by patching Seq 1 Out into VCO 2 In, the sequence played on VCO 2 gets transposed by the changing notes on VCO 1. With different rhythm subdivisions allocated to Seq 1 and Seq 2, this effectively extends the number of steps beyond four. A classical configuration is to play the "transposing" sequence (VCO 1 in this example) four times slower than the "transposed" sequence (VCO 2 in this example). This leads to a global pattern where the latter's four notes get transposed four times in a row, effectively creating a 16-step non-repeating sequence.
And this can be extended even beyond if the base sequence itself is not played by one of the SubH's sequencers but by an external device with longer sequences, as in your case here. For instance, combining the 8-step sequencer of my DFAM with the four-step sequences of my SubH patched as explained above, I could easily get the two machines to play a 32-notes non-repeating sequence. Just for fun, I then played a slow, four-notes sequence on a master keyboard piloting the SubH through MIDI, and thus created a 128-notes non-repeating pattern (whose interest, to be frank, was more technical than musical ! 😀).
Anyway, since you mentioned the four-steps limitation of the SubH in the video, I thought I would mention this just in case. Sorry for the wasted space if you knew that already ! Keep on sharing your music !
THanks for these excellent suggestions. You're right, it is possible to get longer sequences in this way (are they non-repeating, though, or do they eventually repeat after a long time?)
@@electrummodularmusic, the term "non-repeating" in my note was somewhat ambiguous, I guess. Sorry about that. By that, I meant sequences of a certain number of bars in which each bar is (or can be) different from all the others.
Indeed, I sometimes find people online explaining that they created an extended N-bar sequence on their SubH (with N>4), using this or that patching trick. But most of the time, said trick relies on repeating the same bar several times in the cycle. For instance, it is relatively easy to create a sequence of 4 different bars of 4 times each, using the patching configuration I cited in my note above. But by slowing down the slowest sequencer still 4 times slower, you can get a 16-bars sequence in which there are 4 different bars, each of which is repeated 4 times. It can be interesting, but it remains a "repeating" 16-bars loop.
By contrast, a 16-bars" non-repeating" loop would contain 16 individually different bars. This is what I meant, here.
As I mentioned above, my personal longest non-repeating sequence on the SubH was made of 128 different 4-times bars, based on 16 successive transpositions of an original 8-times bar (I was using the 8-step sequencer of the DFAM for that). If you are interested, you can hear it in the middle bridge of the following piece of mine (around the 2 mn mark): th-cam.com/video/Hx6qE_bsHDE/w-d-xo.html
But of course, once these 128 bars are played, the whole sequence starts again and, obviously, repeats itself completely.
Then one can also try to extend the number of non-repeating bars, not by using the transposing trick above, but by building long poly-rhythms (that is after all what the SubH is about). In that case, the extension of the 4-step sequencer does not ensue from successive transpositions but from the complex polyrhythms used to play the base 4-notes two loops.
The longest possible non-repeating loop would then be based on the periodicity of the longest possible polyrhythm playable by the SubH. My understanding is that this configuration should be obtained by programming two different sequences of 4 different notes on the two sequencers, and then having them play, respectively, at 1/16th and 1/15th of the base clock tempo. If all notes are different in the base sequences, then the whole loop should repeat only after 16*15 beats are played, which should lead to a 240-steps non-repeating loop.
I, for one, never tried to push the polyrhythmic interplay that far on the SubH, but it is probably worth doing, if only out of curiosity. I doubt that anything really musical would come out of it, but who knows ... ?
Nice one!🤘
🙏
Incredible ❤
Thanks a lot!
That elastic band!
Yes, also thinking of putting one on my gas BBQ!
So you can open up the gas and filter cutoff simultaneously? Smart.
1:02 This is interesting. Do you have any recommendations for books or other resources? I've recently started making more of an active effort to learn music theory.
I'm a big fan of Milton Mermikides. Check out his youtube channel and www.miltonline.com
That's cool. Nope, very cool! 😁
Cheers Christian!
Oh yeah … great “SubH patching tips” . . . If one happens to have all the other gear. Gees! Why don’t you change the title of the video? Maybe you could call it Look at all the sounds I can make using all this ****.
Thanks for your input, Frank.