Sure! Dig the Radiohead “Kid A” kind of aesthetic here…really liked the gritty nature of the high end sounds, was that OP-1 by itself or alternate side effects of the Ableton vocal transformations?
While i had stumbled on the DSynth patch that had a LFO sweeping the lower left “2” “M” control that i tweaked and found that having the o-oo and Trig settings in the Arpeggio sequencer and playing 4 notes made some notes sustain longer than others in an interesting way about a couple weeks ago, i came up with & sequenced the chords, drums, and played the bass live into a loop then added lead live while recording to the album all in a little less than the 2 hours i was on the train!
the drums are SK-1 samples being warped by the “hidden” filter effect modulated by the random LFO; Endless sequencer started by key-press to transpose the slowed down “cymbal” hit and bass drum to be “in-key” with the root of the chord each time it changed. Bass was made by loading a patch with the hidden filter then pressing Shift-1 (change engine) to Sampler and picking the “punchsub” preset but then having the Element LFO set to Envelope and modulating the filter cutoff. Lead was a sample of the Moog MG-1 “poly” section (basically a square wave) played live again through…the hidden filter…can you tell i love that effect? (To me it seems more musical than Nitro and the Drive control can add some nice grit.) - all through the Spring reverb in the master section with a bit of EQ boost on lows and highs, Drive 16, Release 150. The only thing i did on the computer was normalize the Album file.
Keep at it! What was your workflow like (in the OP-1, to and from Ableton, what effects, etc)?
Best,
psound74
