Molecular Patches V3
Delays
stretcholay
time stretched delay
| pot0 | loop | below noon you are recording and playing, above noon it will loop the last sample and stop recording |
| pot1 | stretch | CW no stretching -> noon max stretching -> CCW stretched grains begin to be rearranged in reverse order |
| pot2 | grain spread | defines how far apart the overlapping grains are spread |
| fdbk | feedback | feedback |
reversolay
reverse repeats that can be pitch shifted up to 3 octaves
| pot0 | loop | below noon you are recording and playing, above noon it will loop the last sample and stop recording |
| pot1 | pitch | pitch intervals: unison, +5semitones, +7semitones, +1oct, +1oct and 5semitones, +1oct and 7semitones, +2oct, +3oct |
| pot2 | sample size | |
| fdbk | feedback | feedback |
freqolay
delay with frequency shifted repeats
| pot0 | loop | below noon you are recording and playing, above noon it will loop the last sample and stop recording |
| pot1 | freq shift | |
| pot2 | delay | |
| fdbk | feedback | feedback |
verbolay filter
a blend of delay and reverb plus filtered feedback
| pot0 | tone | |
| pot1 | reverb | goes from fully delay CCW to fully reverb CW |
| pot2 | delay | |
| fdbk | feedback | feedback |
verbolay pitch
a blend of delay and reverb plus endless detuned ascending or descending feedback
| pot0 | pitch | goes down CCW and up CW |
| pot1 | reverb | goes from fully delay CCW to fully reverb CW |
| pot2 | delay | |
| fdbk | feedback | feedback |
chopolay
delay with feedback chopped up in grains
| pot0 | envelope sensitivity | when you increase envelope sensitivity, the harder you play the more the rate is going to slow down |
| pot1 | chopping rate | |
| pot2 | delay | |
| fdbk | feedback | feedback |
ringolay
delay with feedback going through a ring modulator
| pot0 | ring mod blend | |
| pot1 | ring mod rate | |
| pot2 | delay | |
| fdbk | feedback | feedback |
pitcholay
delay with feedback going through a pitch shifter
| pot0 | tone | |
| pot1 | pitch | at noon it’s unison, CCW is -1 octave, CW is +1 octave |
| pot2 | delay | |
| fdbk | feedback | feedback |
aliaserolay
delay with feedback going through an aliaser
| pot0 | aliaser blend | |
| pot1 | aliaser | |
| pot2 | delay | |
| fdbk | feedback | feedback |
analog(-ey) mod delay
analog sounding delay with filtered and modulated feedback
| pot0 | mod width | |
| pot1 | mod rate | |
| pot2 | delay | |
| fdbk | feedback | feedback |
square pitcher
delay with repeats going through a pitch shifter modulated with a square wave LFO
| pot0 | LFO depth/pitch | |
| pot1 | LFO rate | |
| pot2 | delay | |
| fdbk | feedback | feedback |
Loopy / Samply / Freezy
Hold pitch
pitched reverb that can be set to loop infinitely, well almost
| pot0 | reverb size / hold | up to noon it sets the reverb size and level; at max it will hold the current layer of sound |
| pot1 | pitch | from left to right: -1oct; -7semitones; -5semitones; unison; +5semitones; +7semitones; +1oct |
| pot2 | random rate | when you turn it up, pitch will start to change randomly at a rate set by pot2 |
| fdbk | send dry to pitch shifter |
hold aliaser
aliased reverb that can be set to loop infinitely, well almost
| pot0 | reverb size / hold | up to noon it sets the reverb size and level; at max it will hold the current layer of sound |
| pot1 | aliaser | |
| pot2 | filter | |
| fdbk | send dry to aliaser |
random tape loop
a loop of tape where you can use 4 different playback speeds/directions manually or randomly
| pot0 | loop | below noon you are recording and playing, above noon it will loop the last sample and stop recording |
| pot1 | tape speed/direction | 4 positions: rev x1 / fwd x0.5 / fwd x1 / fwd x2 |
| pot2 | random rate | when completely turned down, the playback speed will be defined by pot1; as you increase pot2 the rate at which the speed setting changes increases |
| fdbk | feedback | feedback |
tape loop
a loop that can be slowed down or sped up
| pot0 | loop | below noon you are recording and playing, above noon it will loop the last sample and stop recording |
| pot1 | tape speed | |
| pot2 | tape length | reducing to the smallest settings can create glitchy artifacts, flanger-like sounds and other weird stuff; interactive with tape speed. Note: when pot1 is at noon, pot2 has little to no effect |
| fdbk | feedback | feedback |
envoloop stretch
endless repeating delay loops are envelope triggered and time stretched
| pot0 | sensitivity | determines how much signal is added into the loop while a portion of the previous loop is faded out; if set to zero, the loop will fade out |
| pot1 | stretch | CW no stretching -> noon max stretching -> CCW stretched grains begin to be rearranged in reverse order |
| pot2 | grain spread | defines how far apart the overlapping grains are spread |
| fdbk | feedback | feedback |
envoloop vibrato
endless repeating delay loops are envelope triggered and run through a vibrato
| pot0 | sensitivity | determines how much signal is added into the loop and fades a portion of the previous loop out; when set to minimum the signal is looped infinitely |
| pot1 | vibrato rate | applies vibrato to the looped samples |
| pot2 | delay | defines the length of the looped sample; on very short settings the loop will fade out faster |
| fdbk | decay | fully CW the samples can loop infinitely; as you dial it back the loop will start to fade out |
envoloop reverb
endless repeating delay loops are envelope triggered and run through a reverb
| pot0 | sensitivity | determines how much signal is added into the loop while a portion of the previous loop is faded out; when set to minimum the signal is looped infinitely |
| pot1 | reverb blend | the amount of reverb that is mixed into the looped signal |
| pot2 | delay | defines the length of the looped sample; on very short settings the loop will fade out faster |
| fdbk | decay | fully CW the samples can loop infinitely; as you dial it back the loop will start to fade out |
Glitchy / Noisy / Random
glitcholay
sample size randomly changing plus lots of interdependent randomness, can feedback on itself
| pot0 | rate | controls how often the signal will begin to loop |
| pot1 | sample size | defines the length of the samples being looped |
| pot2 | randomness | will gradually introduce randomness to the rate and sample size as you turn CW |
| fdbk | feedback | feedback |
pitch-glitcholay
similar to glitcholay but you can octave up the feedback
| pot0 | feedback | feeds the signal back to itself in random bursts |
| pot1 | rate | defines how often the sample size changes |
| pot2 | octave blend | adds an octave up to the feedback |
| fdbk | feedback |
pitch step glider
sample & hold modulated pitch shifter with discrete steps or glissando, can feedback on itself
| pot0 | glide | CCW will be clean random steps; as you turn CW the transitions will gradually glide more, until no more steps are audible but a wobbly random LFO |
| pot1 | rate | |
| pot2 | pitch depth | |
| fdbk | feedback | feedback |
pitch square LFO
pitch shifter modulated by a square LFO whose rate can be randomized, can feedback on itself
| pot0 | pitch depth | |
| pot1 | rate | |
| pot2 | randomness | |
| fdbk | feedback | feedback |
Modulation
resonator
very short resonating repeats that can create a wide range of textures from metallic to spongy
| pot0 | repeat length | |
| pot1 | modulation rate | |
| pot2 | modulation depth | affects the repeat length allowing it to change over time |
| fdbk | resonance | resonance |
flanger
pretty wide range, from ear-piercing accelerated jet plane sounds to super boing rubber sounds
| pot0 | lfo rate | |
| pot1 | range (delay length) | CCW gives you the shortest delay times and more airplane-like conventional flanger sounds; as you increase the delay you start to hear very short repeats |
| pot2 | lfo depth | |
| fdbk | feedback | feedback |
flanger barberpole TZF ring mod
an endlessly descending or ascending flanger, capable of going through zero, feedback running through a ring modulator
| pot0 | rate/direction | sets the direction of the barberpole sweep and its rate; right in the middle there is no sweep; CCW sweep gets faster and downward; CW sweep gets faster and upward |
| pot1 | through-zeroness | flanges closer to zero as you turn CW |
| pot2 | ringmod mix/rate | introduces ring modulation to the feedback only \u2014 careful on the amount of feedback on some settings |
| fdbk | feedback | feedback |
grandpa’s vinyl
add vinyl crackle, noise, pitch warp and frequency bandwidth loss to your sound
| pot0 | rate | |
| pot1 | pitch warp | |
| pot2 | filter | |
| fdbk | noise & crackle |
dynamic tremolo
a regular/harmonic trem patch that can do square and sine wave and has envelope control over the rate
| pot0 | trem type | from CCW to CW: sine trem, square trem, square harmonic trem, sine harmonic trem |
| pot1 | rate | |
| pot2 | depth | |
| fdbk | envelope sensitivity | sets how much the guitar signal will affect the rate |
dynamic ringulator
ring mod with blendable sample & hold and envelope controlled rate
| pot0 | s&h blend | as you turn up the blend the S&H will affect the ring mod frequency more |
| pot1 | ring mod rate | |
| pot2 | s&h rate | |
| fdbk | envelope sensitivity | envelope will affect ring mod frequency and S&H rate |
dynamic vibrato
vibrato whose rate can be envelope controlled, also does a convincing rotary speaker thing if blended with dry signal
| pot0 | randomness | goes from sine modulation CCW to random steps CW |
| pot1 | rate | |
| pot2 | depth | |
| fdbk | envelope sensitivity | sets how much the guitar signal will affect the rate |
dynamic phaser
phaser whose rate can be envelope controlled
| pot0 | regen | |
| pot1 | rate | |
| pot2 | depth | |
| fdbk | envelope sensitivity | sets how much the guitar signal will affect the rate |
Filters
envelope filter and optional bit crusher
vocal sounding envelope controlled filter, running through a bit crusher
| pot0 | bit crusher blend | |
| pot1 | filter range | CCW is a low pass; CW is a high pass; in the middle when you mix both together you get more vocal sounds |
| pot2 | filter resonance | |
| fdbk | envelope sensitivity |
envelope filter aliased
vocal sounding envelope controlled filter running through an aliaser
| pot0 | aliasing | |
| pot1 | filter range | CCW is a low pass; CW is a high pass; in the middle when you mix both together you get more vocal sounds |
| pot2 | filter resonance | |
| fdbk | envelope sensitivity |
envelope filter ring modulated
vocal sounding envelope controlled filter, running through a ring modulator
| pot0 | ring mod rate | |
| pot1 | filter range | CCW is a low pass; CW is a high pass; in the middle when you mix both together you get more vocal sounds |
| pot2 | filter resonance | |
| fdbk | envelope sensitivity | controls the filter frequency but also the ring mod rate |
lfo filter
vocal sounding sine LFO controlled filter
| pot0 | rate | |
| pot1 | filter range | CCW is a low pass; CW is a high pass; in the middle when you mix both together you get more vocal sounds |
| pot2 | lfo depth/filter resonance | |
| fdbk | envelope sensitivity | allows envelope control of the rate |
step filter
vocal sounding sample & hold controlled filter
| pot0 | rate | |
| pot1 | filter range | CCW is a low pass; CW is a high pass; in the middle when you mix both together you get more vocal sounds |
| pot2 | filter resonance | |
| fdbk | envelope sensitivity | allows envelope control of the rate |
step filter bit crushed
vocal sounding sample & hold controlled filter, running through a bit crusher
| pot0 | rate | |
| pot1 | filter range | CCW is a low pass; CW is a high pass; in the middle when you mix both together you get more vocal sounds |
| pot2 | filter resonance | |
| fdbk | envelope sensitivity | allows envelope control of the rate |
Other
hounds
a synth-ey patch inspired by Kate Bush’s Running Up That Hill; a pitch shifter that glides up to the played note with a user definable glissando
| pot0 | glissando duration | |
| pot1 | filter | |
| pot2 | vibrato | |
| fdbk | envelope sensitivity | defines how well the audio input triggers the envelope follower that controls the pitch glissando and filter sweep |
tannhauser gate
bit crusher, pitch-shifter, filter, reverb
| pot0 | amount of pitch shifting | defines how much pot1 controls the pitch (0 to -1oct) |
| pot1 | filter/pitch control | controls pitch and filter simultaneously; this patch was made with expression use in mind |
| pot2 | amount of filter sweeping | controls how much pot1 affects the filter |
| fdbk | reverb | reverb |
drones
2 individual oscillator drones; one can FM modulate the other
| pot0 | drone 1 frequency | |
| pot1 | drone 2 frequency | |
| pot2 | mix of both drones | |
| fdbk | FM modulation | when you turn up the FM modulation the frequency of drone 2 will be used to FM modulate drone 1 |