Patch Notes: 0-CTRL top row cv out >> 0-COAST 1v/oct (tuning: A#2 , A#2, A#2, D#3, D#3, D#3, G2, D#3) 0-CTRL middle row cv out >> 0-COAST Slope Time (tuning: A#4, A#3, F4, F4, D4, A#4, A#4, A#4) 0-CTRL bottom row cv out >> STREGA 1v/oct (tuning: D5, D5, D5, A#4, A#4, A#4, F5, D#5) 0-CTRL touch cv out >> STREGA Tones 0-CTRL step #7 gate out >> STREGA Envelope Trigger 0-COAST Slope out >> 0-COAST Math section (left input) 0-COAST Slope EOC >> 0-COAST Math section (right input - I start without this connection, and plug it in later to distort/waveshape the slope voice) 0-COAST Math sum out >> 0-COAST VCA (overriding the normalization of the fundamental to the Balance mixer) 0-COAST Math sum out >> STREGA external input 0-COAST Multiplier input has a cable plugged in, just to break the normalization from the slope out to the multiplier STREGA External input's envelope follower (CV out bottom left) >> 0-COAST Contour Gate (just to keep the contour envelope on continuous sustain, since math out was already used for something else) STREGA Saw wave out >> 0-COAST Lin FM (just a little bit of FM to add some grit) STREGA Suboscillator out >> 0-COAST Overtones STREGA Envelope out >> STREGA Activation STREGA Envelope out >> STREGA Filter (since the connection above breaks the existing normalization path) The distortion pedal is the Praise the Sunn by AV Pedals from Vienna. It's basically an EQD Acapulco Gold clone (which emulates an overdriven Sunn Model T amplifier) Added saturation and spring reverb in Reaper + EQ, Limiter, etc.
Thanks for the kind comment… true, the fact that there is very little delay and reverb to hide behind made it challenging to dial in and balance the timbres.
Well done!!! You really knocked that one out of the park! I liked the little bit of variance from the original you played towards the end, sounded like an old sampler w/a chorus for a second or so. It was unexpected, but it fit. A.C. would be pleased!
No, it sounded like human vocal cords singing in harmony, like a choir? Maybe it was something the Strega was doing, I’m not familiar with the synth, I think that was it watching it again. Around the 5:15 or so mark.
@@jacobclayton4828 yeah the Strega does all kind of funny feedback stuff, you can get it into choir territory, plus there are two other voices in harmony coming from the 0-coast. I love this effect where you start hearing stuff that in fact may or may not be there, I find this a lot in AC‘s recordings. Makes for a great repeated listening experience.
@@malwida1022 Oh man, the Strega is awesome, (As you’ve aptly demonstrated:)) I have almost purchased one a few times, but Tiptop Audio and Buchla had to come out with those 200 series modules! But I have the 0 Coast and 0 Control, which pair well with just about anything modular, VERY grateful to have them! You’ve inspired me and given me an idea I will try tonight, thank you! :)
@@jacobclayton4828 Since you mention it, how do the tiptop buchla modules compare to the original buchla 200? Would you recommend them for a less expensive buchla setup? Have you also looked at the buchla commander?
Haha thanks, that's a very nice way to point out that the tuning is a bit off ;-) The 0-coast slope circuit is not easy to tune - it's not really designed for the way it's used here, but I needed a second voice out of the 0-coast and this seems the only way to do it. Thanks for your comment!
In the case of the 0-coast & 0-ctrl I agree… the Strega is a bit more on the Synthi side from what I understand. One thing I do really miss compared to a Buchla system is the ability to transpose sequences, and to have a sequence and another melody playing at the same time. A second 0-ctrl would solve that, I‘m really tempted…
@@malwida1022 I see. Yeah you really have me thinking about the Make Noise gear here. I think I just haven’t seen a lot of people really using it for anything more than random bleeps and bloops. You are making music that is more emotive which I what I am after.
@@michaelkonomos Well, it‘s just following AC‘s composition and aesthetics… I think he also said this about the Buchla, that it‘s mostly used for weird sounds but he forced himself into composing melodic stuff on it (to justify spending 13k or so on it). I feel like this about my bastl boxes, they are quite whacky but I‘m sure great original stuff can be made with them. Doing these covers is a good practice to focus on one element at a time, because there is a safety net in the sense that you don‘t have to take creative decisions on rhythm or melody. It’s more like solving a puzzle, you know what the final picture should look like, and the fun part is to figure out how to get there.
One of my favourite pieces. Lovely cover.
Patch Notes:
0-CTRL top row cv out >> 0-COAST 1v/oct (tuning: A#2 , A#2, A#2, D#3, D#3, D#3, G2, D#3)
0-CTRL middle row cv out >> 0-COAST Slope Time (tuning: A#4, A#3, F4, F4, D4, A#4, A#4, A#4)
0-CTRL bottom row cv out >> STREGA 1v/oct (tuning: D5, D5, D5, A#4, A#4, A#4, F5, D#5)
0-CTRL touch cv out >> STREGA Tones
0-CTRL step #7 gate out >> STREGA Envelope Trigger
0-COAST Slope out >> 0-COAST Math section (left input)
0-COAST Slope EOC >> 0-COAST Math section (right input - I start without this connection, and plug it in later to distort/waveshape the slope voice)
0-COAST Math sum out >> 0-COAST VCA (overriding the normalization of the fundamental to the Balance mixer)
0-COAST Math sum out >> STREGA external input
0-COAST Multiplier input has a cable plugged in, just to break the normalization from the slope out to the multiplier
STREGA External input's envelope follower (CV out bottom left) >> 0-COAST Contour Gate (just to keep the contour envelope on continuous sustain, since math out was already used for something else)
STREGA Saw wave out >> 0-COAST Lin FM (just a little bit of FM to add some grit)
STREGA Suboscillator out >> 0-COAST Overtones
STREGA Envelope out >> STREGA Activation
STREGA Envelope out >> STREGA Filter (since the connection above breaks the existing normalization path)
The distortion pedal is the Praise the Sunn by AV Pedals from Vienna. It's basically an EQD Acapulco Gold clone (which emulates an overdriven Sunn Model T amplifier)
Added saturation and spring reverb in Reaper + EQ, Limiter, etc.
Well done!
I just cannot imagine how much thought and effort went into making something this sonically complex and nuanced. Really great work.
Thanks for the kind comment… true, the fact that there is very little delay and reverb to hide behind made it challenging to dial in and balance the timbres.
The more detailed answer is now also in the patch notes (pinned comment on top) ;-)
@@malwida1022 thank you!!!
Wow! Beautiful and well done👌👌
Nicely done mate 🙂
Thanks for pointing me to it!
Great cover man🖤! Sounds great! Greetings 🖖☺️
Well done!!! You really knocked that one out of the park! I liked the little bit of variance from the original you played towards the end, sounded like an old sampler w/a chorus for a second or so. It was unexpected, but it fit. A.C. would be pleased!
Thanks for your comment - I'm curious, which variance do you mean exactly? Do you mean the distortion pedal in general?
No, it sounded like human vocal cords singing in harmony, like a choir? Maybe it was something the Strega was doing, I’m not familiar with the synth, I think that was it watching it again. Around the 5:15 or so mark.
@@jacobclayton4828 yeah the Strega does all kind of funny feedback stuff, you can get it into choir territory, plus there are two other voices in harmony coming from the 0-coast. I love this effect where you start hearing stuff that in fact may or may not be there, I find this a lot in AC‘s recordings. Makes for a great repeated listening experience.
@@malwida1022 Oh man, the Strega is awesome, (As you’ve aptly demonstrated:)) I have almost purchased one a few times, but Tiptop Audio and Buchla had to come out with those 200 series modules! But I have the 0 Coast and 0 Control, which pair well with just about anything modular, VERY grateful to have them! You’ve inspired me and given me an idea I will try tonight, thank you! :)
@@jacobclayton4828 Since you mention it, how do the tiptop buchla modules compare to the original buchla 200? Would you recommend them for a less expensive buchla setup? Have you also looked at the buchla commander?
also covered this amazing piece recently, amazing job!!
Here is the link: ua-cam.com/video/RFkhmj2npOI/v-deo.html
Great! I appreciate you technique of using different CV/gate outputs of 0-ctrl for different instruments&
Thanks! yeah it's pretty much maxing out the 0-ctrl ;-)
@@malwida1022 Surely, I should learn it! :)
splendid, great attention to detail with those slightly off notes, like in the original
Haha thanks, that's a very nice way to point out that the tuning is a bit off ;-) The 0-coast slope circuit is not easy to tune - it's not really designed for the way it's used here, but I needed a second voice out of the 0-coast and this seems the only way to do it. Thanks for your comment!
@@malwida1022 yeah but it sound right, it sounds exactly as it should!
I kind of think that this very setup was kind of what Make Noise had in mind when they made these instruments. Like a modern Buchla in a way.
In the case of the 0-coast & 0-ctrl I agree… the Strega is a bit more on the Synthi side from what I understand. One thing I do really miss compared to a Buchla system is the ability to transpose sequences, and to have a sequence and another melody playing at the same time. A second 0-ctrl would solve that, I‘m really tempted…
@@malwida1022 I see. Yeah you really have me thinking about the Make Noise gear here. I think I just haven’t seen a lot of people really using it for anything more than random bleeps and bloops. You are making music that is more emotive which I what I am after.
@@michaelkonomos Well, it‘s just following AC‘s composition and aesthetics… I think he also said this about the Buchla, that it‘s mostly used for weird sounds but he forced himself into composing melodic stuff on it (to justify spending 13k or so on it). I feel like this about my bastl boxes, they are quite whacky but I‘m sure great original stuff can be made with them. Doing these covers is a good practice to focus on one element at a time, because there is a safety net in the sense that you don‘t have to take creative decisions on rhythm or melody. It’s more like solving a puzzle, you know what the final picture should look like, and the fun part is to figure out how to get there.
❤👏🏻👏🏻👏🏻🫶🏻