To make chords sound mo better - tune according to the OVERTONES of the root (4:50 ff). My two cents (pun intended) - being a choir director, I just can't help it: When building a chord from the four oscillators we can make it sound much better in tune than the equal tempered chord we play on the keyboard. Note: The following tuning tips apply to harmony, for melody there are other rules. Tune the FIFTH (OSC 2) a little bit sharp (+2 cents in relation to the root). The beating should change to a slow phasing or even disappear. Tune the MAJOR THIRD (OSC 3) a staggeringly flat (-14 cents in relation to the root) while also listening to the already fine-tuned fifth. The major triad chord should sound incredibly nice when tuned. We are so used to detuned thirds, so open your ears and slow down that beating till it sounds pure and bright. (Surprisingly, a MINOR THIRD would have to be slightly sharp - bringing it dangerously close to the super flat major third. Maybe that's the reason for the existence of blue notes? But I digress…) Tune the ninth (OSC 4) which is the fifth of the fifth even more sharp (+4 cents in relation to the root). The chord from 5:20 could sound more consonant if the ninth was tuned just a little more sharp. Listen only to the fifth interval between the fifth and the ninth of the chord on its own while doing this by ear. It will sound truly beautiful when in tune. Now, listen to the whole chord - and ain't that real ear candy? Numbers based on the book "Choral Intonation" by Per-Gunnar Alldahl
Thank you again for sharing your knowledge and vision by starting another fascinating and inspiring series. Literally sitting on the edge of my chair waiting for the next part! After all those neat little ideas that work together so incredibly well like that cross-modulation of both LFOs, a truly mesmerizing moment for me happened when you turned on that awesome analogue DELAY. I dig all the ways of modulating the delay, be it mix, feedback, time, you name it. Personally, as a source I just love the random LFO waveform. Here's to the magic sauce… I feel profoundly grateful for having a chance to learn this way.
Great video. Look forward to the next one. One of my favourite things to do with my synths is have my Matriach droning with a generative patch, along with my Wavestate doing the same and to leave them for hours on end as I potter around the house.
I’ve never seen cables with attenuators build in…they probably do exist though. The attenuators I use are splix by boredbrain. They are passive 2 channel mixers. If you only plug in one input it will act as an attenuator. Here’s the link to manufacturer…but depending on where you live you can probably get them at most music stores. boredbrainmusic.com/product/splix/
Let's make drones that kill time but not people. Very helpful video.
To make chords sound mo better - tune according to the OVERTONES of the root (4:50 ff).
My two cents (pun intended) - being a choir director, I just can't help it:
When building a chord from the four oscillators we can make it sound much better in tune than the equal tempered chord we play on the keyboard. Note: The following tuning tips apply to harmony, for melody there are other rules.
Tune the FIFTH (OSC 2) a little bit sharp (+2 cents in relation to the root). The beating should change to a slow phasing or even disappear.
Tune the MAJOR THIRD (OSC 3) a staggeringly flat (-14 cents in relation to the root) while also listening to the already fine-tuned fifth. The major triad chord should sound incredibly nice when tuned. We are so used to detuned thirds, so open your ears and slow down that beating till it sounds pure and bright.
(Surprisingly, a MINOR THIRD would have to be slightly sharp - bringing it dangerously close to the super flat major third. Maybe that's the reason for the existence of blue notes? But I digress…)
Tune the ninth (OSC 4) which is the fifth of the fifth even more sharp (+4 cents in relation to the root). The chord from 5:20 could sound more consonant if the ninth was tuned just a little more sharp.
Listen only to the fifth interval between the fifth and the ninth of the chord on its own while doing this by ear. It will sound truly beautiful when in tune.
Now, listen to the whole chord - and ain't that real ear candy?
Numbers based on the book "Choral Intonation" by Per-Gunnar Alldahl
I just got a Matriarch, sold a Lyra 8 and my GM to pay for it and this is such a better drone method than the Lyra, thanks for posting.
Thanks for this! I’ve had my Matriarch for a year now and I haven’t even scratched the surface!
I have a matriarch coming in a couple days. This video's timing couldn't have been better! Fantastic job with the patch and explanation.
Have fun!
Your knowledge of the Matriarch and the creativity of your patches are amazing. Thank you for sharing your experience with us.
My pleasure!
Seconded!
Sooo true!
Awesome video! Thank you for that one! Pure gold 🔥
Glad you liked it!
Thank you again for sharing your knowledge and vision by starting another fascinating and inspiring series. Literally sitting on the edge of my chair waiting for the next part!
After all those neat little ideas that work together so incredibly well like that cross-modulation of both LFOs, a truly mesmerizing moment for me happened when you turned on that awesome analogue DELAY. I dig all the ways of modulating the delay, be it mix, feedback, time, you name it. Personally, as a source I just love the random LFO waveform. Here's to the magic sauce…
I feel profoundly grateful for having a chance to learn this way.
Great video. Look forward to the next one.
One of my favourite things to do with my synths is have my Matriach droning with a generative patch, along with my Wavestate doing the same and to leave them for hours on end as I potter around the house.
i do that while vacuuming
If drones aren't music I don't wanna be a musician.
thanks for another useful + informative Matriarch exploration
Glad you enjoyed it
Awesome. This should be pretty helpful. Ill definitely incorporate this into my next upload.
Excellent work
Thank you! Cheers!
very nice, thank you
Does anyone know where I can get attenuated patch cables? Are they called something else?
I’ve never seen cables with attenuators build in…they probably do exist though. The attenuators I use are splix by boredbrain. They are passive 2 channel mixers. If you only plug in one input it will act as an attenuator. Here’s the link to manufacturer…but depending on where you live you can probably get them at most music stores. boredbrainmusic.com/product/splix/
@RobeMusic Exactly what I needed, thanks!
Moar matriarch!!!