Phase Shavin' | Make Noise

What if instead of monitoring slightly detuned oscillators together, we use them as modulators for each other? There’s a good chance that the periodic phase drifts will start to sonically stick out more than when they are simply summed. The places where they go out of phase may show up in sharper contrast, in other words.
Jump straight to the patch by going to 6:45
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[@CinematicLaboratory]

Absolutely stunning patch. Extremely cool to make something so complex with just a small set of modules and basic waveforms.

[@VocalChainsStudio]

Amazing jam and intro! Whoever had Spectrephon in their Where Is Eugene card please come forward PS all instruments are fiction except the first: the human voice, or all of nature if one wants to expand it that far. All instruments since would be scrutinized against voice, offering it something to converse with, or to improve upon its mimicry of nature, or expand its vocabulary of sound. Synths are natural, as Tomita already pointed out long ago, electricity equally a part of nature as any other function of natural processes. All instruments are equally real. An electric guitar is an electronic instrument, as Bob Moog pointed out long ago. In a way, synths have expanded the vocabulary of sound in new ways, but familiar ones nonetheless. IMO the sampler offers a more subversive nature of fiction, a new vocabulary, an instrument truly without definition.

[@Ebotronix]

I like to see a Make Noise Barberpole Phaser!

[@nilc]

Hehehe, I am honored and embarrassed that you highlighted my answers to your question :D I get many ideas about music and other arts from reading Borges. I love his concepts, like: the fictional author who strives to be able to recreate the novel Don Quixote, word for word, without plagiarizing; or the library of every single possible book, where each book is unique, but has no value, because there are many, many other books that are essentially the same, differing only by a single character out of all the pages

[@blush_response]

you're speaking my language walker

[@gdrdm]

Careful with that axe, Eugene

[@TheScreamingFrog916]

Love the direction you’re taking this KZbin channel ❤ Making it fun and interesting in a creative way 🎉 Great visual /graphic explaining of phasing

[@hrrld]

These videos brighten my day every time one comes out - I know I've said it before, but I want you to know they're appreciated, and encourage you to keep going, they're getting better and better. Thanks!

[@tracyharms3548]

Saving this one under “synth technique” without hesitation. Thanks!

[@paulmakl6282]

I really like when you ask questions and talk about what people had to say. Cool format.

[@hypnoz123]

Really cool patch!

[@demagmusic]

is that... Eugene?

[@nsjx]

and ha ha ha, the thumbnail 😂

[@driftnote]

11:09 if you listen the word “Maths” you can hear some very interesting effect created from the mix of the output of the synth and Walker’s voice

[@michaelpdawson]

It sounds like his voice does a little ratchet!

[@MarshMakesComics]

Thinking about this I wonder if there’s some interesting phase shifting relationships I could explore with more complex wave forms like samples or just a simple note of someone’s voice. Often when I’ve tried to modulate samples it hasn’t had the most inspiring results but I think I need to explore more.

[@linuxbender]

Love it

[@BobHodgen]

Cool!

[@irondragonrides]

Just FYI I asked ChatGPT for an actual number of all possible songs it it responded with this... Melody: If we assume 8 notes, and each can be one of 12 notes = 429,981,696 possible melodies. Chords: For a 4-chord progression from 7 chords, that's = 2,401 combinations. Lyrics: If a song has 100 words, and we choose 20, assuming an average of 10 variations per word, that’s = 10^20 (which is 100,000,000,000,000,000,000,000) Multiplying these together gives a staggering number: 429,981,696×2,401×10^20 ≈1.032×10^30 So, a rough estimate would be around 10^30 possible songs, illustrating just how vast the possibilities are! This is a simplification, of course, but it highlights the incredible potential for creativity in music. 😀

[@PoetryInNoise]

Music can definitely tell a story. Sometimes it's Moby Dick, other times it's Naked Lunch.

[@hlprmnky]

I put the idea of there being some enumerable set of possible songs firmly in the category of “probably true but practically irrelevant” - by which I don’t mean to say “essentially irrelevant” or “irrelevant but I feel like I need to add a word”, but “irrelevant as a practical matter”. Nobody reading this will live long enough to listen to the full, enumerable set of possible songs, not even all the songs of some given length, much less learn everything you need to know to create all those sounds. Even if all our musical inventions and explorations happen within a bounded garden, it’s a garden we cannot, as a practical matter, map. For us, passing for a moment through this world, it is the forest primeval. Much like the physicist who, when asked in an interview “so if we are indeed living in a simulation, then what-“ and broke over the interviewer to say “It doesn’t matter”, I contend that, practically, this doesn’t matter. Music is (one of) our forest(s) primeval, and the things we meet in there, the things we bring back to share and to show one another, those are the very truest imaginary things of all. Related: what a delightful patch! You know you’re on to something when your audience is making the stank face to unaccompanied multiple phase drift modulation.

[@kp8923]

I don't think this is a complete argument here, but I do know that there is a finite number of permutations of a standard 80 minute music CD. It is a finite number of bits, therefore a finite number of permutations. It is a mind-numbingly massive number, but a finite one. And I think we can safely say that its total set of permutations represents the full matrix of possibilities that our ears could experience within that medium. Once again, this isn't any sort of complete statement and doesn't account for live performance and other sensations beyond the audio itself. See also: Library of Babel

[@Guitarist888]

I know your modular aren’t standalone. I bought a maths module So how do I power it?

[@nsjx]

🕳️🐇Heavy heavy tantalizing study! Will be re-viewing this one for all the great insight in the intro of this book, plus analyze the great patch of shadows. How deep can we go. Very. We may discover something Elemental about our place while in the modular patching lab. Just like working with the photographer's "exposure triangle" teaches balance and understanding in "real" life (a camera wants a gray world), so can observibg and experimenting in a myriad of phase relationShips teach us through our ear's construction how to use our mind differently; how to perceive shadows in our inescapable(?) 'cave' or 'multiple dimensions' (sphereland-ish) and provide shared insight between what lies within the "real" and the... perceived otherwise. This gets my mill churning ideas. in the end it's all seemingly about the mystery baked into Perception. are we all even in the same ___? if we break "sound" down to it's most basic elements we get air and resonance and everything about moving harmonics in less basic sound becomes about phasing and intermodulations right? What do I know. Just sitting here on break on nightshift watching one of my fav channels that's never just about a single interest. Love this. Keeping this so Real every week must be a chalkenge. We APPRECIATE it,..(Really) we do, and that's no lie (I would wager) 😉

[@temporoboto]

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