Mausoleum - Pulsar 23 + Ornament 8 + LYRA 8

The goal of this session was to experiment with pitch control and triggering of the bass module on the Pulsar 23, patching CV signals between devices, and try to harness tuned feedback from the FX section.

—Lyra 8—
Tuned to Em7 + Am7 (E G B D)(A C E G). Moderate amounts of built in delay and drive for texture and dimension. Voices 1, 2, and 4 are sequenced in a loop controlled by the ornament and pulsar. Voices 5-8 are added to the sequence on the fly but also used as a group via the hold knob. Mod destination switches, sharpness, and mod depth used during performance to create tension and detuned textures. Signal is being processed through Space reverb in dualverb mode and Nemesis delay in diffuse mode for a wider stereo image and added dimension.

—Ornament 8—
Pulsar clock drives the entire sequence as master clock. The pulsar clock master tempo is also modulated by its triangle LFO to keep things from feeling too rigid. This was my first time trying a trigger signal from another source than an ornament cell. Sending +10V from the pulsar clock to the cell input pin simply activates the cell when the CV passes a specific threshold and keeps the cell active until the CV drops, totally ignoring the length set by the knob.

Pulsar 0.25 Clock pin → Cell 1 → Cell 2 → Cell 4 (Lyra Progression)

Once cell 4 is reached the signal branches in two directions

Cell 4→ Cell 3 (Pulsar Melody VCA Trigger)
Cell 4→ Cell 7 → Cell 6 → Cell 5 → Cell 8 (Lyra upper voices sequence)

—Pulsar 23—

BD
Bass Drum module is being used as a VCA envelope for the melody in this patch. When cell 3 on the ornament is active it sends +10V CV to the trigger input of the bass drum module on the pulsar, opening the VCA so the melody becomes audible.

Bass
Pitch sequence of the bass module is controlled by the SHAOS module. SHAOS receives the clock pin output from the master clock and a S/H signal from the 16 pin. The 3-bit S/H output is attenuated, converted to 1/8” TS via the ornament 8, and then quantized by the Disting Mk. 4 and fed back into the Pulsar via MIDI.

Receives CV modulation from Triangle LFO on warp input and LPF cutoff pins and inverted copy of the same signal on the shape pin. Audio output is fed through a VCA modulated by the envelope generated by the bass drum module and then into an attenuator for final level control before the FX bus.

SD

Receives converted trigger signal from the 2 pin of the clock divider. Receives CV modulation from inverted Triangle LFO on BPF cutoff pin. Audio output is fed into an attenuator for final level control before the FX bus.

HHT

Receives converted trigger signal from the 4 pin of the clock divider. Receives CV modulation from Triangle LFO on tune input pin and inverted copy of the same signal on HPF cutoff pin. Audio output is fed through a VCA modulated by the same Triangle LFO and then into an attenuator for final level control before the FX bus.

FX
I wanted to use the delay and reverb in sequence for this patch but you can only select one to assign to the FX send knob. So I patched the delay output pin into the reverb input pin and ended up discovering some cool feedback by modulating the Tune and Feedback of the delay section with the Triangle LFO. I was able to tune the feedback using the delay time and it oscillates between E and A. Three attenuators are used to control the balance between the noise voices (HHT and SD), The melody (BASS), and the tuned feedback. The audio signal is summed at the input pin so things can get a bit messy / distorted when combined signals get too hot so I try to balance the elements by ear during performance.

—Eurorack—
This little rack has a lot of utility. In this case I’m monitoring voltages with the Data and using the Disting Mk. 4 as a pitch quantizer for the Pulsar-23’s bass module. The case is a 4MS Pod 34x.

Audio recorded directly into iPhone XR via iConnectAudio4+ interface.

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