Thread by @teropa

wait what

what a nice surprise! it's going to take some time to get through these.

After Covid hit, Sean rebuilt their live set backend "porting things to Gen that didn't need to be ported just because I wanted a bit more control". Also got "heavily into MC"

With MC I think he means

"Rob's a fucking enigma, I don't know what he's using" 😂

In the live set they're now running 16 channels each because CPUs can handle it, but try "not to fuck the music too much by just cramming too many bits in"

“I don’t have favourite synths, and stuff like that. I just tend to get stuff and then I’ll find good stuff within anything you put in front of me. But with Max there’s just no end to it, especially with Gen cause you can always slightly improve the thing you built 2 years ago”

"There’s a version of the rig we ported to Live before we did Sign/Plus that was very different because there’s not much recursion in it. It’s kind of top-down control hierarchy. I’d say both of them are good systems but they’re very different."

"The way the rig works when we’re running it in Max is that everything’s real time. Everything’s informing everything else, and there’s a lot more cross communication. There’s no hierarchy as such, it’s more of a web of interactions."

"Whereas the Ableton stuff is very hierarchical. There’s a top layer of control information, then everything else responds to that. And that’s how Sign was done. And I got a bit bored with it, if I’m honest. It’s good, but I prefer the web to the tree. Just more interesting.”

As Christopher Alexander might say, a city is not a tree.

en.bp.ntu.edu.tw/wp-content/upl…

Code organisation: “I used to make a one patch per track thing, so the track would be the patch. But it’s more challenging to build tools that you use more generally. It’s a lot more difficult to do that, so I find that more interesting personally.”

Liccflii from EP7 was the first ever track Sean used Max in.

“The idea behind how that rhythm works is still used now. It’s part of the vocabulary of how we program rhythm in Max. Metros and delays and stuff like that.”

“When we did Exai, we knew that if we could just nail all our transitional bits and make the rig work properly, we’d be able to use it to do effectively live albums. The 2014 tour was just when we got it to work."

"We were trying hard to make it work like an album but be flexible enough and rough enough and chaotic enough to feel good live."

open.spotify.com/album/6105Oos0…

“Most of the good tracks were done real time. I never really liked DAW composition. I got into trackers for a while but they’re not a great fit for me. Having lists of things starts to feel too static. There’s an element of being a perfectionist that just doesn’t work for me.”

"People think you need to have a strong conceptual idea that you then realise and that makes you creative. I don’t think that being creative should be the goal. Making good work should. Often just doing random shit and noticing that something’s amazing can produce better work."

Kind words for @alex_rutterford and his "brilliant design sense", when discussing the fan-made plyPhon video - "good but derivative of Alex".

On "the Autechre reverb":

“I quite often use pretty simple reverb topology but I have a hand in influencing the tuning of it, so depending on what the chords and the melody are doing, the reverb’s tuning will be different, and it will change over time.”

“When you research different types of reverb design you realise that there are no hard and fast rules. Everybody’s just doing different shit. And the most effective topologies aren’t necessarily the most complex. Getting complex results doesn’t rely on building a complex machine”

Three types of modules in the Autechre patch architecture:
1. Sequence modules, output control data only.
2. Synth modules, receive control data and output audio data, and sometimes control data.
3. Effects modules, which do all of the above. “Effectively can do everything”

There's also global data: “FX units know the pitches the other instruments are playing. All the sequencers know what all the other sequencers are doing at all times.”

The sequencers send notes with durations, so the synths and fx units know the duration of each event ahead of time, and can do something appropriate within that.

This comes from a background of composing in tape where “you always know how much time you have to fill”.

In GUI terms, there’s not much display of data. A spectroscope, an oscilloscope, an X-Y phase scope.

Sequences and FX units “mostly just lists of variables and the occasional function”.

“I don’t comment my own code. I don’t say 'this bit’s doing this' because I quite often don’t think in that way."

"The patches are their own comment. I can tell looking at it what’s going to happen. Sometimes I need to stare at it for 5 minutes to figure it out exactly.

I don’t make spaghetti patches anymore. I’m much more organised. You’ve got to be if you want to get a lot of stuff done”

“I use GenExpr for a lot of the bare bones stuff (oscillators, some FM stuff), but I prefer patching with cables. I like writing code, it’s more efficient for some things, but it’s just so much faster to work with cables for me, and I can see what I’ve done.”

“Occasionally we’ll fuck around with something old and do something new with it. There’s an 808 on elseq that nobody ever comments on. It’s just a different production to a modern 808 so you wouldn’t really see it. But you can hear it on marhide.”

“Those three module types are arranged in 16 channels. Each channel has a sequencer, a synth, and four fx units. And they’re constantly changing."

"And there are 4 bus channels as well, that don’t have synths but just sequencers and fx units, and they can be routed into each other. 68 slots in total."

“My patch was using about 75-80% CPU towards the end of last year. Then I got the M1 and then it was just *flying*. 30%! There’s no turning back now. I’m fucked, because I’m filling it up already. Lots of live phys mod things and other things that are expensive”

The Under BOAC drum sounds were originally a pen going down the side of a radiator. Then it was taken into Recycle, cut up into bits. There was spectral frequency shifting. Then into a sample bank in the ASR, with compression etc. in there.

"Because the compressor in the ASR is absolutely nuts. That’s what we used for the Stereolab remix and anything that has a super fat sound but the attacks are just mentally tight. Repping Ensoniq, always."

“Rob did new dubs for a lot of the Warp Tapes tracks, which was literally just getting the line and the levels correct, and then onto digital 24bit. Just mixed together, no mastering or anything. We’d done them a good 10 years before.”

“The main reason those tracks never came out on Warp is they were fixated on this brand of electronic listening music. It's why Incunabula took two years to compile, and when we did Amber we just did the tracks we knew they wouldn’t turn down.”

“Sophie was a really fucking great artist. It’s really difficult to get normal people to like shit that’s as weird as that. And that’s the main thing she achieved there. Hyperplastic, hyperreal. Made a lot of sense to me.”

Process: "It’s drafts all the way down. You do something, think is this good, yes or no? if no, what do I change to make it good? Keep doing that. At some point you say ok that’s good, what does that suggest I put with it? Then you might have what you might call an idea”

“I don’t look for inspiration for music. When I do listen to music I listen to stuff I could never make. That’s why I went on a Henry Cow binge, because it’s about as far away from my skillset as you can get. Or Gorguts, Portal, Baring Teeth, other Fred Frith.”

“The 08 set recreation is astounding. Must have been so much work. Had a feeling someone might try something like that but didn’t think they’d be so anal about it. Felt weirdly humbled by it.”

“A lot of our shit is solo tracks. We’ve just got real similar taste, enough for you to not be able to tell what’s what. We’re not Lennon/McCartney where you immediately know. But it’s hard to say what’s solo when you’re using tools you built together.”

Deckard's Dream was used on the first track on PLUS. "That's why it's called that - DekDre."

“Used to do mixes for big acid sessions on DAT. You knew at what point the drugs start working and at what point you start getting trails and all that. Always liked long mixes. Always liked @nubient sets - he could play sets all day, and you’d still be with him by the end.”

“On the Sweatbox video where we’re supposedly playing live, we couldn’t because the guy got panicked about plugging a synth to a PA because ‘a synth makes a perfect square wave and it’ll break a speaker’. So we just played tracks off the 4 track."

On weed and coding: “The advantage with Max is that you can see it all at all times, so you don’t forget what you’re doing. Harder to lose the thread. For GenExpr I wouldn’t like to get too stoned, because I’d have to spend time reviewing the code constantly."

“Weed can be good for blocking out distractions and keeping on with the task at hand. At the same time the fact that I’m distracted easily makes me have the ideas actually worth pursuing. Tangents often more interesting than the original thing. Weed can block it out too much.”

“Back in the day I’d transpose the channel I was writing my melody on to some arbitrary number and just play the white keys. Didn’t know that was choosing a mode, but could feel it sounded familiar/odd in some way. There are elements of that thinking I’ve maintained to this day.”

“Even in the current rig I have something that counts the intervals so I can see which mode I’m using.- one of the more consonant 7, or some fucking weird one. If I select notes arbitrarily it tells me if it’s an existing mode or scale so I have some context.”

“One thing I like about the 606 and the 808 is the chord, the hi hats are just a chord. That’s super interesting. I suppose you could change the pitch of those oscillators.”

joesul.li/van/synthesizi…

“A lot of people think about where they are in the bar as related to a grid that exists somewhere, whereas the 202 doesn’t give you that luxury. It just lets you think serially in terms of what preceded it. It's good in that it trains you to think of duration in a different way”

“I think there’s a bird sample in tankakern, because one of the sounds was an oil tank in the garden, and there were birds in the garden. I’ve used that oil tank on a few things."

“SIGN and PLUS happened by accident because I was getting fucked off doing DAW remixes, so I’d made the Ableton port of the system in order to do remixes. And then to get good with the Ableton version I did all the SIGN tracks and Rob had the same thing going in his studio.”

“We had a big rack of analog modular systems gear we used around the time we were doing Draft. Then Rob took that, and he still uses it occasionally. Bits of Oversteps were done with that.”

“But there are issues using modular gear. You can only have one patch running at once. Often monophonic. It’s just a lot of work getting anything layered. I prefer using computers. I get more done. And I’m more interested in fucking around with computational processes these days”

On tuning: “My rigs can do any EDO. Can translate scales from one EDO to another EDO, maintains pitch positions but gives you different note values. And then you can select new pitches from that EDO. So you can have a mixed EDO scale. I do fuck with it.”

en.xen.wiki/w/EDO

“Most of the shit that we’ve done, especially around Oversteps, was just scale detuning. Take 12-TET, detune some of the notes and then work with that. But because of limitations of DAWs you have to deal with 12-TET at some stage. I find that shit super annoying.”

“I don’t have to worry about that with Max at all. Quite often I’ll start with an EDO and then detune parts of that. Still doing the same thing effectively, but in a more free way.”

“More often than not, I do work in 12-TET because it’s easy and convenient. Gives you what you want and you can do things that are familiar to people. I know a lot of microtonal geeks get snobby about 12-TET being shit. I don’t think you need to be like that. It’s useful.”

“I don’t need visual feedback. I don’t like timelines either. I think that’s what I liked about using hardware. Most of the visualisation is just in your head. One of the problems with computers is just the sheer amount of visual feedback confusing you.”

“ninefly was noise reduction. just basic threshold FFT shit, you know. Pretty entry level FFT stuff.”

On using AI: “I am, a little bit. Machine learning, anyway. I find it a little bit interesting but a lot of it is just translation. It’s a bit black boxy for me, I don’t find much of a way in there. You never really get to see the network anyway.”

“GANs are fun to play with but you need to give them such large datasets that it becomes a bit laborious. It’s not the kind of thing I’m interested in. I’m way more interested in very simple, small bits of program that can generate lots of complex output.”

“I use Jitter for audio as well. Initially I thought it’d be good because it’s more efficient to GPU certain things. But I don’t know if that’s much of a reason to do it. But you can do things you wouldn’t normally be able to do, like warp a matrix in a weird way. Fun as fuck.”

Mixing: "Stop trying to make every sound equally loud. It's like making all colours equally bright. You don’t want everything to be right in front of you - that’s uncomfortable! And you don’t have to have things be audible/separable. That’s not the important thing.”

“There’s no ‘correct’ in mixing. Don’t think you have to remove all the bass from your reverb, or not have your kick drum and bass guitar overlapping, or any of that fucking stupid shit that you see on youtube. They’re arbitrary tips, and only apply in context. Use your ears.”

Markov chains with prob: “I have a device that tracks control input, and then I can click on it so whatever I’d been doing with that sequencer, it’d give me an ersatz weird version of that. Definitely a good way to extend what you’re doing.”

docs.cycling74.com/max8/refpages/…

"A lot of Oversteps was made in a similar way. We’d start off with very basic sequences and then use prob to generate long Markov versions. And then used a scale based harmonic influence on that number stream to try and push it into different harmonies.”

Sequencing: “A lot of people are thinking about note position, because they’re used to piano rolls, or self-similar discrete events. I’m much more about generating events that are unique or context dependent. The nature of the events is more interesting than the position.”

“I realised what was missing from most sequenced music was the dynamism. The fact that all the notes are the same shape is a bit frustrating once you recognise it. That’s something that I don’t get if I listen to a Henry Cow album, because people are touching the strings.”

"You know when you’re listening to a track with an ambiguous rhythm, you might hear it in a different way and the style suddenly changes. Especially with stuff with triplets and and 6/8. There’s one of those in the middle of Cap.IV"

“Doing phys mod stuff for instruments that exist is fairly interesting, but if you can make it do something you couldn’t do physically that’s more interesting. Is it real or doing something impossible? What is that? What am i hearing? These questions I find quite interesting”

“I think this whole idea of assessing music based on the amount of effort it took is just totally full of fail. Just fuck all that. I tend to ignore criticism like that, there’s just no point to it. Does it sound good? Do you like it? That’s what it is.”

"XYLIN ROOM was originally samples of a wooden outdoor garden table, being knocked by knuckles. Then taken into the sampler, sequenced really heavily.”

“The first part of SURRIPERE was a Nord Lead. The second part - the crunchy stuff - probably gritted-up drum machine sounds originally, done using the Native Battery sampler. Because I remember you could tie the loop modulation to the envelope.”

On stage: “The laptops are synced. Two engines running, one on each machine. They’re synced with rudimentary MIDI sync over Thunderbolt. It doesn’t use MIDI clock in the normal way. We just use MIDI clock messages to send each other occasional pings to keep sequencers in sync.”

"Also, if one of the computers dies - which happens - the other one can keep going. If mine crashes, Rob’s just carries on. I can reboot and launch. No gap in the set.”

"The systems are not identical, because Rob mods what I build a lot, so his mod is a bit of a frankenstein version of my basic stuff. He’s got more features than mine. I’m more of an efficiency geek and he’s more of an information feedback and capabilities kind of geek."

Tri Repetae gear:

R8
Juno
202
Korg MS-10
606 (or maybe not)
CR 8000 (on overand)
Quadraverb
Ensoniq EPS
MMT-8 (on clipper)
Atari 1040 running C-Lab creator
Boss RSD-10

“In a lot of programs the visual grid you see defaults to being in groups of four, but DP didn’t do that. You don’t know where you are in the grid when you’re using it. I found that really liberating.“

soundonsound.com/people/autechre

“The main gong pattern in Parhelic Triangle was played live on a gamelan instrument. Put that in Logic, then the percussion track was done with samples of rubber bands and a shoebox on an E-MU E Synth, using some of the filters on that.”

“The percussion was timed up with the live gong playing, whose timing was drifting. That’s why the timing slips around, it’s just my shit playing of the gongs.”

"I fucking love Bitwig. What’s nice is it's really open ended and modular. And Reason doesn’t get enough shouts. Because the DSP in Reason is fucking amazing. I don’t use it but whenever I hear someone using it, fucking hell it sounds good.”

“MC in Max is amazing. It’s weird because I’ve been doing massively polyphonic stuff and suddenly MC popped up and just gave me a whole new way of looking at it. Used it quite a bit on SIGN, which you might be able to hear.”

docs.cycling74.com/max8/vignettes…

“I really like working with @ianTDR. He always finds a way of slightly subverting what you’ve asked him for, and improving it at the same time. I really rate that.”

“Rob and I are both kind of synaesthetic and we both have visual ideas associated with the work. But they’re usually difficult to communicate and that vaguery makes it easy for Ian to find a way in and express himself.”

“I didn’t use to like rhythms with overlapping sounds. I preferred for it to sound like there was a kind of ball bouncing off surfaces. Matchbox Cascade has informed how I think about rhythm. I used to really listen to the rhythms you could make with it”

“The cowbell in C/Pach was sampled on the EPS. I think there was a reverb on the sample and then we had the loop in the EPS extending that. And then it’s just pitch bend, basically.”

“I really rate FM7 and FM8. They’re good for doing DX’y stuff but they’re so flexible and fast with the patch thing. It’s a really good interpretation of YAMAHA FM, I think. One of the best things @NI_News have done. Really inspired.”

native-instruments.com/en/products/ko…

“There’s quite a few tracker tunes in that last leak. Mostly Renoise, bits SunVox. Never used ProTracker or OctaMED. Never had an Amiga. Trackers are not really my thing. I’ve fucked with them a bit.”

"Everything’s deterministic now, not random. Everything’s algorithms. I have a thing that has the same inlets/outlets as the random object but it doesn’t work in a random way. It’s chaos stuff. It’s controllable and you can seed it in specific ways.”

docs.cycling74.com/max8/refpages/…

“Randomness can be good because quite often if you generate 20 random things and pick one and then breed it with another and create spawn from that, you can end up in territories that are really interesting and good aesthetically. But it all depends on application and taste.”

“I like @tidalcycles. I think it’s a quite smart approach to pattern generation. It doesn’t really play nice with our stuff because of the note-on/note-off thing but it’s good. Rate it.”

“The AE In The Studio spoof on Youtube is really accurate. It’s exactly what we’re like. So that was a bit scary. I think they've set up cameras around the farm and stuff.”

"A lot of the compressors I’ve done in MSP have a not-quite Fletcher Munson thing with a bump at 3k and a slightly bigger bump around 6k. So you’ve automatically got an ear-based thing built in. I find that compressors that take into account what the ear is hearing sound better.”

“I don’t really like multiband compression much, and I only use it if I absolutely fucking have to because something’s impossible to control. I don’t like the way it fucks phase. I don’t like things where the EQ is changing too much.”

“I don’t use any C externals anymore. I used to, but I’ve redone all that stuff in Gen now. Anything that required single sample delay - filters and feedback FM. I wanted to do oscillators in C but wasn’t quite up to it. I’ve got good enough to do them now but I use Gen.”

How to deal with tinnitus: “Listen to Computer World by Kraftwerk on decent speakers. Something about those little zap sounds cleans me ears out.”

Patch presets: “It’s pattr all the way down. Used to be pattr for global stuff and preset for modules but it got too unwieldy. Plus I like to do morphing. Each module has its own pattr because the modules are loaded dynamically”

docs.cycling74.com/max8/refpages/…
cycling74.com/tutorials/patt…

“I really like whatever the phys. mod kick drum in Machinedrum is. It’s just so nice. Sounds a bit like when you tap a beach ball and it’s dannnggg. Love that sound!”

“I don’t know how they’ve done that. It’s different to my modelled kicks. Mine are just membranes, so they sound more like an actual kick drum. But theirs is fucking well strange.”

"Rob made some fucking amazing shit on the MPC. The filters are nice because they’re those Akai filters - quite rezzy and got a good feel to them. Like Perlence, just really fucking amazing. Really nice *sounding* beyond the composition being interesting"

"...Pro Radii as well. All the beginning beats on that. Just beautiful, I think."

“When we first started we were using just the 202 and the 606 to do all the sequencing. When we got the Juno we got an Atari 1040 with C-Lab Creator. We used that as our main hub sequencer from 1992 until halfway through Chiastic Slide”

“Most of Chiastic Slide was still Atari but halway through we got a Mac and Logic. Nuane. Recury and Pule were with Logic, and maybe Cichli. They were pretty basic.”

“Then LP5 was just Logic, and our first foray into slightly more automatic riffing on arpeggios and building our own little sequencers in the Environment window. Someone saw me using that and said you’d probably like Max. Ended up getting Max after we’d done LP5.”

When asked about machine learning: “I fucked around with MuBu a bit. Super interesting actually, one of the more interesting @Ircam technologies. Worth an explore if you’re into that kind of thing.”

cycling74.com/articles/conte…

"Accelera was the first time we’d used the pitch input on the Boss RSD-10. It’s really cool because if you used the 202 to generate a square wave for the pitch input and added resonance, it’d just start losing it slightly and getting really good"

The next big technological step in music creation

Wendy Carlos: “Phenomenal talent, absolutely absurdly respectable person. Her music is done with such rigour and fascination, and you can hear there was so much trial and error. So many happy accidents and capitalising on those. So much to learn.”

Underrated stereo widening techniques: “Using de-noising but then taking the inverse, and then knocking one channel out of phase or both channels slightly out of phase with the mono. So basically just widening the noise and mixing that back in.”

“spaces how V was Rob’s, so I can’t talk about how he did it. Rob knows some mean tricks for stereo manipulation. And he doesn’t even share them with me.”

“Surripere was two tracks glued together. The back half had a lot of loop position modulation in Battery, which is really good for doing that. Well handled, with a quite plasticky sound to it. The front was a PPG with Nord drums and an echo unit.”

“I don’t tend to make as many drums synths as I do regular synths, because I tend to make regular synths that could do drums sounds if I wanted them to. I’ve made a few though, like clap generators and things that are quite specific.”

"Jhonn Balance sent me Society of the Spectacle. He sort of introduced me to situationism in an odd way. I liked his way of thinking about things. He had a really deep understanding of cultural practice that’s quite unusual within music."

amazon.com/Society-Specta…

“I bought quite a lot of gamelan stuff when I was over in Bali. My studio in Suffolk was in a barn, and downstairs I just had all the gongs laid out. A room full of them. Used them on VI Scose Poise, Parhelic Triangle, and a few unreleased ones”

“I’m not the type of person who can just imagine a track and then realise it. I only get ideas when I’m halfway through something sort of directionless. You can start off and just twat things out. At some point you'll have an a-ha moment.”

"Getting Gantz Graf on MTV was a kind of situationist, absurdist move. We knew it was really good. Heavyweight CG, beautiful aesthetic. But we also knew that putting that shit on MTV would be ridiculous. Like ‘there you go, there’s a pop video’”

“Parallel Suns is a Nord Lead through a Lexicon reverb. Slabs of that were then taken and edited and faded into each other. Loads of crossfading between the different slabs. Gives it that weird wet but dry sound.”

“Fucking love @DJJeffMills. Saw him play Lost once just pulling the kick out for a good 4min getting everybody really hyped. Then he’d put the kick in and the room just lifts. Such a basic move but he had the nuts to do it for ages. One of the best tension building DJs in techno”

Hauntology: “I’m British and I grew up in the 70s so it’s appealing to me. I really like Richard Littler’s stuff and obviously BoC, Look Around You. But the whole music scene I’m not that interested. I get what buttons you’re pushing so it becomes a little bit done after a while”

Using machine learning: “It’s already in the setup. It’s not in stuff that’s out there yet, but it will be.I don’t think it’ll be that obvious what I’m using it for. I'm not using it in a way I’ve heard other people using it.”

“I’ve got all the Elektron patches for SOPHIE's Product. So if I ever get my Elektrons back off Mike I’d be able to recreate all the tracks. Which is quite cool, innit.”

“We were asked to consult on MIDI 2.0. When I told them I didn’t like DAW sequencing because it didn’t communicate the note lengths, they were like ‘well we can’t do anything about that, everyone wants to use keyboards’. So that was the end of my interaction with them.”

”…but I’d love to have been involved in it. I think it’s going to be good for microtonal geeks.”

“If there’s too much abstraction in a patch it can be difficult to dig in and out of the layers trying to figure out what the signal flow is. I tend to leave things as upfront as I can and use abstraction only where necessary. If I need lots of instances of a process or whatever”

"@tomerbe's spectralcompand is really good and well designed. Does what it says on the tin really well. A quite solid, useful little tool.”

soundhack.com/spectralcompan…

"Milk DX is a DX100 with pitch bend. It sounded a lot like Milk Dee. That’s why it’s called Milk DX. It’s weird, people actually think it’s a sample!"

“I might start incorporating other tech [than Max] again at some point, but haven't really had the need to. It’s good for redundancy, reproducibility. Keeps costs down. Also, I can have gear that nobody else has. There’s a b-boy element there as well, having everything be custom”

Max combinatorics: “You can build one tool and use it in a few different ways. Then you build four or five tools, and have combinations of tools you can use in different ways. When you’ve got a few hundred, it’s just crazy."

"Then you couple that with constantly being able to modify everything. If a synth isn’t doing quite what you want you can just make a copy of it and give it another function.”

On releasing elseq digital only: “I just thought these tracks are long as fuck, man. Is this ok? We like it, but is it ok from a commercial standpoint? Are people going to stand for it? I don’t want to be a burden on you, I’m just doing it for the love.”

If anyone wants to make Flutter 2, “you’re welcome to have a go. Just get the Sound Effects card for the R-8, sample some kind of arbitrary sound like a vocal, and just knock out your own version. You might need a Quadraverb as well. Not hard.”

“I don’t like DAW timelines because I can see when things are coming up, and get this apprehension thing. I prefer forgetting and then listening and just making sure that the funk’s right. I find it easier to listen if I’ve not got any visual feedback. Just turn the screen off”

“Most of the NTS Sessions was cells from live sets at the time or a bit prior to that, that we already had jams recorded for, so we just edited them down. Bits of it were made before, bits of it specially for the broadcast.”

Confield live set: “I had the Nord Lead and Rob the Nord Modular. Max running them. A couple of tracks with MSP and that was all real basic two operator FM stuff. And a bunch of MSP processing: gating and chopping up and weird reverb-delay things”

“I was wondering if I could buy a box of dragonflies just to take out the mozzies. And then they just showed up by themselves. Gotta rate nature, ain’t you.”