Echophon Sketchbook

by Oscill_Ether

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    Detailed patch notes, comments, and individual module settings are embedded in each track as lyrics.

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about

This is a collection of patches i put together to showcase the broad range of uses for the the Make Noise ECHOPHON.
If for some bizarre reason you're not aware of the Echophon, please go to www.makenoisemusic.com/echophon.shtml for accurate information.

The patches in this sketchbook were recorded to showcase the multitude of possibilities one is presented with while working with the Echophon. It certainly isn't a vehicle for showcasing my patching abilities! As much as possible, each patch is a relatively simple and straight forward affair, with little clutter. At most i think the largest amount of modules in one patch was 8. Each piece is aimed at giving the listener an IDEA of what is possible, without there being too much going on. In each patch the Echophon is the last module in the chain, so you can hear what's being processed clearly and easily.
That being said, this is just the BEGINNING of what is possible with the Echophon. I hope that others take these ideas and possibilities and build on them :)

Detailed patch notes, comments, and individual module settings are embedded in each track as lyrics. I attempted to be as thorough as possible, so you can try them out (and of course build on them!)

Any proceeds from this sketchbook go directly towards more modules.

credits

released December 20, 2012

Everything patched and recorded by Oscill_Ether in the Sonus Empyrean Kitchen.


Thanks to Cody & Lucia @ EquinoxOz, and to Anthony T Rolando and Tom Erbe for crafting a beautiful instrument.

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Oscill_Ether Brisbane, Australia

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Track Name: Transduce That Marimba
Marimba:
This patch reminds me of someone playing a marimba, or a vibraphone.

Modules Used:
z3000, AFG, uLFO, e350, Optomix, Outs, A-142-4, uVCA, Echophon

Patch Notes:
-AFG sine out into uVCA in ch. A, uLFO Pulse out into A-142-4 ch. 1, A-142-4 ch. 1 out into uVCA CV A, uVCA out A into Echophon.

-e350 XY Out into Optomix ch. 1 in, uLFO Saw out into Optomix ch. 1 Strike, e350 Z out into Optomix ch. 2, Optomix Sum out to uVCA ch. B in, uVCA ch. B out to Feedback in Echophon

-z3000 Sine out into Echophon Feedback CV in

-Echophon Mix Out into Outs L.

-This patch is pretty much self playing, apart from the 'swells' in the background, which were realised by turning up the X morph on the e350

- The single 'ping at the beginning is that actual unprocessed signal, the little slap after it is the vactrol being pinged (even at 100% dry, there's still a tiny amount coming through)
Track Name: Frosted
Echophon Kick
Another super basic patch, experimenting with feedback noise in spaces between notes. LOOSELY inspired by Ben Frost's 'Studies for Michael Gira' bonus track from By The Throat.

Modules Used:
z3000, uLFO, A-142-4, uVCA, Echophon, P/burgh Outs

Patch Notes:
-z3000 Sine out into uVCA In A.

-uLFO Pulse out into A-142-4 1 Trig in, A-142-4 1 Out into uVCA CV A in, uVCA Out A into Echophon In.

-Echophon Mix out into Outs L.

Compositional Notes:
-z3000 set at 41hz

-uLFO pitch: high. Course frequency 9 o'clock

-A-142-4 Decay fully clockwise

-The noise feedback was created by manually adjusting the Echophon Feedback knob from 12 o'clock to fully clockwise.

Echophon Settings:
In - 12:30 o'clock
Wet/Dry - fully clockwise (100% wet signal)
Pitch - 11 o'clock
Feedback - adjusted at random, initially 12 o'clock
Echo - 11 o'clock
Track Name: Space
Space:
A super basic patch to experiment with creating digital noise and hash, utilising the Echophon's Freeze button.

Modules used:
AFG, uLFO, e350, Echophon, P/Burgh Outs

Patch Notes:
-uLFO Sine out into e350 Morph X in, uLFO Tri out into e350 Morph Y in, e350 XY Out into Echophon in

-AFG Saw out into Echophon Echo in

-Echophon Mix out into Outs L.

Compositional Notes:
-Afg Antimatter on, course frequency 12 o'clock.

-uLFO pitch: high, course frequency 8 o'clock.

-e350 Mid range, Bank A. Both X and Y set approx 2 o'clock. Course frequency 4 o'clock.

-The Freeze button on the Echophon was toggled at Random. Variations in pitch and timber of digital noise was realised by manually adjusting the Echo pot, which was usually set to zero at the beginning of each pass.

Echophon Settings:
In - 12 o'clock
Dry/Wet - 12:30 o'clock
Pitch - fully counterclockwise
Depth - fully clockwise
Feedback - 9 o'clock
Echo - 1:30 o'clock
Echo CV - adjusted at random
Freeze button - toggled at random
Track Name: Echo
Echophon Echo:
Experimenting with the echo parameter of the Echophon. Possibly the most basic patch here.

Modules Used:
Echophon, P/Burgh Outs

Patch notes:
-Echophon Feedback Out into Echophon Feedback In.

-Echophon Mix Out into P/Burgh Outs L. That's it.

Compositional notes:
-There's not really any in-depth notes for this one, mostly a description of what i was doing.

-Essentially all i was doing was playing with the Echo know and the Feedback know. THE FEEDBACK KNOB NEVER WENT BELOW 50%. This simply forced the unit into self modulation at a regular basis.

-Every now and then i'd switch on the Freeze button to capture a shot of the audio buffer, then change the setting and turn it off, which gave the delay tales that nice "dub" sounding delay, where the sound 'dries out' as it decays.


Echophon Settings:
Depth - Fully counterclockwise (which disengages the pitch shift engine)
Feedback - Adjusted at random, although never below 12 o'clock
Echo - swept full range manually
Freeze - button toggled at random
Track Name: Echo & Pitch
Echo & Pitch:
Another super basic patch, this time using the pitch controls as well as echo.

Patch Notes:
-Echophon Feedback out into Echophon Feedback In

-Echophon Mix Out into P/Burgh Outs L. That's it.

Compostional Notes:
- As with the "Echo" patch, it'll be easier if i describe what i was doing overall as opposed to breaking it down.

-This time the Pitch controls were used as well as the echo, allowing different pitched echoes and effects to be realised. The Freeze button came in handy again, As i was able to capture the echo buffer, then manually adjust the pitch of the delay while keeping it in time.

Echophon Settings:
Wet/Dry - fully clockwise
-Everything else adjusted at random!!
Track Name: The Way She Shimmers
The Way She Shimmers

Modules Used:
z3000, AFG, uLFO, e350, uVCA, a-142-4, Harvestman Polivoks filter, Echophon, Pittsburgh Outs

Patch notes:
- e350 XY out into uVCA in A; uLFO Pulse out into a-142-4 Trig 1 in, A-142-4 1 Out into uVCA CV in A; uVCA Out A into Echophon.

- z3000 Sine out into Polivoks in, Polivoks Lowpass out into Echophon Feedback in.

- z3000 saw out into AFG FM 1 (set to expo.) in, AFG Sine, Tri, Alien Saws, Square (alternated at random) out into uVCA B in, uVCA B out into Echophon Feedback in.

- Echophon Mix out to P/Burgh Outs.

Composition Notes:
- Polivoks was used as a dummy 'attenuator', to introduce the swaying 'tremelo' effect on the Echophon delay. The Polivoks Feedback was set at 12 o'clock, as was Resonance. Volume of incoming signal was set at zero, then slowly raised to allow the waveform through.

- z3000 set at 2hz.

- The pitch and output of the AFG was wiggled at random.

- uVCA B Bias was wiggled manually to introduce the FM'd AFG tones.

- The single 'ping at the beginning is that actual unprocessed signal, the little slap after it is the vactrol being pinged (even at 100% dry, there's still a tiny amount coming through)

Echophon settings:
- Wet/Dry: 12:30 o'clock
- Pitch: full clockwise
- Delay: approx. 2/2:30 o'clock
- Depth: 2 o'clock
- Feedback: 9 o'clock
- Feedback CV: Full negative
Track Name: Sweeping Stack
Sweeping Stack

A very simple drone patch experimenting with sweeping the pitch of the Echophon.

Modules Used:
AFG, uLFO, e350, Echophon, Pitts. Outs.

Patch Notes:
- AFG Tri out into Echophon in.

- e350 XY out into Echophon Feedback in.

- uLFO Sine out into Echophon Pitch 1 in.

- Echophon Feedback out into e350 FM in.

- Echophon out into Pitts. Outs

Composition Notes:
- Antimatter on the AFG was toggled at random

- Range and Bank switches on the e350 were also switched at random. Small amounts of adjustment to the Morph Y were made occasionally.

- e350 FM knob was raised steadily to 11 o'clock

Echophon Settings:
- Wet/Dry: 1 o'clock
- Pitch: Noon
- Pitch CV: 2 o'clock
- Depth: 3 o'clock
- Echo: 1:30
- Feedback: 1:30
Track Name: High Steps
High Steps:
An interesting melodic patch, using the Echophon as a swinging delay and resonant device.

Modules Used:
z3000, AFG, uLFO, e350, Harvestman Polivoks Filter, Echophon, P/Burgh Outs

Patch Notes:
-AFG Alien Saws out into z3000 FM 2 in, z3000 Pulse out into AFG FM 1 in, AFG Animated Pulses out into uLFO FM 1 in.

-uLFO Sine out into Polivoks In 1, Echophon Feedback out into Polivoks In 2.

-Polivoks Lowpass out into Echophon In, e350 XY out into Echophon Feedback CV in.

-Echophon Mix out into P/Burgh L

Compositional Settings and Notes:
-z3000 frequency 6hz; FM at 12 o'clock; Pulse Width fully counterclockwise.

-AFG Frequency at 8 o'clock; FM set to linear; FM1 knob at 2 o'clock.

-uLFO frequency at 1:30 o'clock; fine frequency just past 12 o'clock; FM set to Expo; FM knob at 12:30 o'clock; Pulse Width at 10 o'clock.

-e350 frequency at 3 (10 o'clock); Range set to Mid; Bank C; both Morph X and Morph Y set fully counterclockwise

-Polivoks resonance set at 12 o'clock, then manually adjusted.

-

-Alot of the resonance was introduced by sweeping the Polivoks, it gets really nice and nasty at 10 o'clock with the resonance turned up.

-Given that this patch wasn't pre-prepared, up until around the 1:40 mark, the Echophon feedback wasn't plugged into the Polivoks, and that's why there's a slight fade out there: I cut the frequency of the Polivoks in case plugging in the other jack sounded crap and destroyed the take. Fortunately, i quite liked the results of having it plugged in.

-The Echophon wasn't touched at all during this recording.

Echophon Settings:
In - 12:30 o'clock
Wet/Dry - 11 o'clock
Depth - fully counterclockwise (pitch shifting disabled)
Echo - Just past 3 o'clock
Feedback - 10 o'clock
Feedback CV - fully clockwise