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Gleix - Fingers Crossed | Cirklon Arrangement | VCV Rack/TR-626/Sub Phatty/Virus TI/x0xb0x/Monotribe

1,934 views · Published 12 February 2018 · 12:21 · Indexed 12 November 2026

Channel: Gleix · 2018 · Music

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Arranged fully on the Sequentix Cirklon which I've really fallen in love with.


0:00 / Verse 1, initial build 1 / Establishing
2:24 / Break 1, build 2 / Calm
4:13 / Verse 2 / Happy
6:04 / Break 2, revisited build 1 / Tense

8:20 / Break 3, build 3  / Discomfort
9:10 / Verse 3 / Hectic
10:50 / Break 4 / Fall off, closing


https://gleix.bandcamp.com/album/circle-lawn-patchwork

Voicing:

Plucky lead melody: Mutable Instruments "Elements"/Modal Synthesizer Module (VCV Rack)
Heavier lead synth & arps: Moog Sub Phatty
Bass: x0xb0x
Main reverby kick/hh/sn/rim click: Access Virus TI
Additional clicky HH & Sn: Korg Monotribe
Glitchy drums: Circuit Bent Roland TR-626
Occasional pads & sub voice for arping melody coming from the Virus TI as well. 

Intermittent generative airy sounding melodic elements coming from a built VCV rack patch.

Main things going on in the VCV patch:

A shift register is being fed by the 1v/oct of the Cirklon's USB Ch2, and triggered intermittently by ch.2's gate signals being processed through a bernoulli gate. 

Cirklon's USB ch.1 controlling gate & v/oct of instance #1 of M.I. Elements, the main plucky synth voice of the piece. Occasional modulations for [Mallet] [Timbre] [Damping] and [Geometry] being sent as CC messages from Cirklon patterns. 

First heard around 2:24, there instances #2 and #3 of M.I. Elements that come in and sound off throughout the piece. The tonal and timbrel qualities of #2 are dialed into a spacious, reverb heavy pluck, while #3 is offset into the bass register and left fairly dry. Gate signal for MI#1 comes from Cirklon USB ch.2 - first going through a Bernoulli gate for intermittent triggering when gate signals are sent. V/oct for MI#2 is coming from a combined signal of the v/oct of USB ch.2 and sine wave of LFO #1, which is then attenuated down and offset before being constrained to C, Eb, G, Ab, and Bb. This LFO has FM1, FM2, reset, and PWM all being

fed from shift register outputs, and is also sending FM to MI#2 as a triangle wave, and a saw wave to bow timbre. The blow timbre, damping, position, and brightness of MI#2 are all modulated from the shift register. The volume of the left and right channels are modulated by attenuated sine wave LFO's, the speed of both being modulated by the shift register.

MI#3's gate signal also comes from USB ch.2, but through a separate Bernoulli gate allowing different/less frequency of triggering, and is constrained to the same notes with the addition of F. It is also attenuated with a larger range of pitch and slightly lower offset for v/oct. MI#2 then goes through a clouds/texture synthesizer module which has v/oct modulated by the same constraints, blend being modulated by signals from a shift register, and "freeze" also being triggered by the shift register. 

MI#1 is being processed by the MI clouds/texture synthesizer module (as a separate audio channel). Volume for this channel, as well as triggers for freeze and modulations for bend parameters come from the shift register, and v/oct comes from the same constrained notes that MI#2 is limited to. There's some other stuff going on but that's mostly it.

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