Notes:

Recently obtained an Expert Sleepers ES-9 in order to further integrate my hardware with my software, particularly with VCV Rack 2 for the latter. In this particular voyage, the Sound Stage module was center stage. Two Neutrons are the primary sources of initial sounds, both processed via their own stereo pathways, both pathways further moved about space via the aforementioned software module. Two more Neutrons were also used solely for their LFO modulations upon the Neutron in charge of the white noise sounds, providing modulations on the modulations of the modulations.

The Make Noise Tempi provided the primary clock sources, with polymetric pulses sent to various other modules, i.e. the TipTop Audio Trigger Riot, the Stillson Hammer MKII, which were then utilized to trigger the LFOs of the Neutrons. The TipTop Audio Z8000 was also clocked in this manner, sending its control voltages to a Doepfer A-172 (analog) Max/Min module from which the maximum voltages between it and the Stillson Hammer voltages were sent to the pitch control of both oscillators of the non-white-noise voice Neutron. To be accurate, two rows of polymetric pulsations were combined via another Max/Min module to clock the SH MKII.

The main output of the non-white-noise voice Neutron was split into two signals which were then processed via two separate Joranalogue Contour1 modules, each always tweaked to slightly different settings, yielding further stereo motion to this voice.

The main output of the white noise voice Neutron was split into two signals as well, only this time into two separate Doepfer A-137-2 Wave Multiplier II modules. On the first WM II module, the 2nd and 4th Shift Unit control voltage inputs were governed by LFOs from the Batumi 1974 Quadruple LFO module. Specifically, the Saw/Assign output was controlled by the Poti 1974 Breakout module, itself switched to various waveforms during the moments of this soundscape. The same patching was used on the second WM II module, only this time controlling the 1st and 3rd Shift Units. To be sure, sounds other than white noise are heard from this Neutron as well, although the white noise is its primary sound.

The ES-9 performed multiple tasks, including both of the stereo audio inputs, the sound staging of which were controlled by voltages from the 1974 Quad LFO module, through the ES-9, into the Sound Stage software module.

Both Neutrons were patched such that the first oscillator modulated the second oscillator and vice versa, creating an audio rate generative frequency modulation, if you will, upon themselves. Each of their respective pulse widths were modulated via their own LFOs, one being inverted to the other on each Neutron.

The first three moments of this soundscape were performed and recorded back to back as were the second three moments, with only a small pause in between the two sets. Given the intrinsic complexities of the setup, small changes to the parameters resulted in noticeable changes to the sounds. Hence, for the most part, only small changes were made at any given moment to a given parameter. Indeed, even when no knobs, etc. were being tweaked, changes still occurred, so, from time to time, I allowed those changes to occur unperturbed by my own adjustments.

One evening was spent patching the setup. The next evening (and night) was spent performing and mastering the resulting soundscape.