Two of the same sound, one of them a little late and always moving — which is what makes one voice sound like several. There are two moving copies, one to each side, wandering opposite ways: what widens the sound is the two disagreeing. Delay is how far behind they sit, Depth how far they wander either side of that, and Rate how quickly; slow and shallow is a chorus, and a shorter delay with more depth heads towards a flanger. Nothing goes round again, so it thickens rather than repeats. Dry level is what came in, straight up the middle, Wet level the two moving copies, and Spread how far apart they are placed. Rate is an input as well as a knob.
Four notes played on Keys, passing through it on their way out.
The finished blues trio from a zine that builds a 12-bar blues one instrument at a time. Two choruses: the first with held organ chords, the second with a…
Stage 6 of a 12-bar blues built one instrument at a time. The whole trio from stage 5, now arranged into the full twelve-bar blues: three lines of four bars (A…
Stage 5 of a 12-bar blues built one instrument at a time. The organ from stage 4 through a homemade Leslie (a spinning speaker): a Tremolo pulses the volume, a…
The OB-Xa brass stack of the keyboard riff everyone knows from 1984, rebuilt out of the library: four sawtooths spread sixteen cents either side of the note,…
A Juno-6 as its panel was left: pulse, sawtooth and the sub-oscillator together, the pulse width swept by the one shared LFO, a ladder filter tracking the…