OSCiLLOT Problems Random Drum-Machine Ratchet(s)
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Series/Device 1
Problems SOU (source of uncertainty) Dual Drum-Machine and Sequencer Device
Ratchet(s) Preset
Up until I got into OSCiLLOT by Max4Cats I only knew Ocelots to be a type of mini-jaguar that lived in the jungles of Central and South America. Then I saw OSCiLLOT on Ableton’s Live Pack page. The minute I opened it in Live I was hooked. OSCiLLOT is a massive, comprehensive, inspiring virtual modular system that can do almost anything. I mean anything. I’ve worked with Native Instruments Reaktor and later Eurorack modular synths so OSCiLLOT was very appealing to me. The creativity and build-possibilities are endless. It conjures-up originality and experimentation. You are encouraged to build your own patches. And honestly, when you use Instruments/Synths that you have built yourself it is a very cool, accomplished feeling. You think in different directions in the modular world. Max4Cats updates OSCiLLOT regularly and adds new modules each time. It’s a great modular system for Ableton. Fits right in. You can also use Ableton Instruments and Audio/MIDI Effects as well as VST/AU plugins in OSCiLLOT. It sends MIDI out as well. That leads me to the subject at hand… Problems SOU (source of uncertainty) Sequencer & Drum Machine running a patch that focuses on the Ratchets and Filters. As with most things modular; what started out as a simple polyrhythmic drum-machine turned into this beast. Did it get out of hand? Maybe. Who cares? :^)
This Device is a super-randomized, multi-clocked/triggered/timed dual drum-machine and sequencer that focuses on the Ratchet module that produces incredibly glitched-out, stuttered, fluttering sounds. These Ratchets create time-adjustable “N-Triggers” out of single Triggers. They work like beat-repeats where you can crush the time down and get unique sounds. So Problems starts out with a Clocker module running two different synced tempos/times. You can adjust these to whatever times you like. The Clocker has Trigger, Clock and Reset outs. The Trigger outs run to each ADSR and LFO A. The Clock outs run into two ClockDividers which run into the two Hit Drum-Machines. There is a Pulsar clock/trigger generator on the Left Channel triggering the Hats and an ML-185 Stage Sequencer on the Right Channel triggering the Hats and Percs on Drum-Machine Two and both ADSR Gates. It can also be Randomized to create different rhythms. The Hit Drum-Machine sequencer steps can be drawn in however you like, cleared or just left alone. This leaves us with the Probability modules. The Left Channel refreshes and randomizes at the 8 setting and the Right Channel 4 setting. This ensures a stochastic process for ultimate randomization. They too can be adjusted and tweaked at your leisure. They are triggered by their respective ClockDividers. They each trigger a snare drum and LFO A’s frequency CV. Then we have two ADSR Envelope Generators and two LFO A modules. Both ADSR EGs sound cool when tweaked and set to different time, voltages and curves. Both LFOs have a huge impact on the sound. Crank the LFOs when you ratchet-down on a beat. They are routed to the Effect and Filter modules. There is an Arithmetic module that is triggered by the Clocker’s Clock ½ outs. More random chaos and uncertainty. Changing its sign will switch it between modes. They range from Addition to Modulo. Arithmetic is routed to the Hit modules and LFO A’s depth CV. There is a Digital Noise module routed to the Red Filter and Reverb modules. The signal is summed, panned and CV routed into three Effects, the Reverb, Delay and Grainmunge Phaser. Then they run into a vintage FilterBank with adjustable D/W, resonance and gain. The FilterBank has a great impact on the sound when totally set to wet. There are two more Filter modules. The RED Gain Low Pass and Surreal Machines Precision High Cut Module. These two Filters are mapped to the Macros as are the Ratchet 1 and 2 Count and Time, the Grainmunge Phaser Dry and Wet, the RED cutoff, resonance and the Precision High Cut.
Macros:
Macro 1 - Ratchet Count 1
Macro 2 - Ratchet Time 1
Macro 3 - Ratchet Count 2
Macro 4 - Ratchet Time 2
Macro 5 - Phaser D/W
Macro 6 - RED Cutoff
Macro 7 - RED Resonance
Macro 8 - HI CUT
I think there are a lot of possibilities for this thing. With the Ratchets, I am able to get strange saw-tooth type, glitched-out, heavily chopped up sounds. And when you tweak the Ratchets at the same time very strange sounds start to come out of a drum-machine that you would never expect, it is pretty rad. The 8 Macros are easily mapped to your MIDI controller. Feel free to change anything and add whatever you want. At minimum you might have some fun messing with the thing; at maximum, you may actually be able to make your own presets and pull some sounds out of it! Thanks for checking this project out! Problems will be available on my Gumroad free to download (https://gumroad.com/redbeats). Thanks again and stay tuned for the next blog where I’m building a 6 oscillator OSCiLLOT version of a Moog Modular System 55! I may even bump it up to 9 oscillators!!! That’s why OSCiLLOT is so cool. Sky’s the limit. Have fun!
Peace out,
Bobby
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Modules:
Base Patch: Ratchet(s)
Modules:
Clocker
Clock Divider x 2
Ratchet x 2
Probability x 2
ML-185 8 Stage Sequencer
Hit Drum-Machine & Sequencer x 2
Arithmetic
ADSR Envelope Generators x 2
LFO A x 2
Noise Source B Digital
Mix 2S Stereo Mixer
Dual VCA
Compressor
Reverb A
DigiDelay
Grainmunge Phaser
Merge 4 to 1 Signal Adder
Mix 3S Signal Mixer
DA 128 Vintage Filter Bank
RED Filter Gain Low Pass with variable Drive
Precision High Cut -18 dB Stereo Filter
Peak Limiter
Audio Out