There are three voices here:
One will repeat for a while, a single note, until it grows in complexity in 4/4 time, before returning for another establishing repetition run. This voice is comprised of FM’d square waves, which give it a bit of a metallic quality.
Another plays triad arpeggios in 3/4 time. Working polyrhythmically against the original voice, but it has a delay that operates in 4/4 time, somewhat bending the voice between the two time signatures. I was trying for a bit of a counter-point thing; not sure how successful it was.
There is a bass voice, as well, based, once again, in 4/4 time; it also becomes more rhythmically unpredictable as first voice also grows in complexity.
The two leading voices are fed into panners and pan across one another’s space, shifting position in the stereo field.
The patch modulates between different major and minor pentatonic scales as it plays.
I don’t always — rarely, really — write notes before beginning a patch, but I did for this one. I thought you might find them interesting (not everything in them made it into the patch), so I copied them below:
“ADSR w/ delay controls range of notes selected and chance of them playing w/ a whole note playing every measure and a chance of quarter notes interspersed by random
During delay stage, we get a plodding A A A A, e.g.
As attack stage begins, A becomes interspersed with B, C, etc. until a full octave (two octaves?) play; meanwhile, quarternotes become more and more common until they are the norm (maybe with _some_ probability of not playing, but still like 90%ish?)
ADSR actually = DelAS(or hold)
Possibly recurved to exponential? Have to hear
Then choose new root from scale
How to tie ADSR to clock?
Counter-point of some kind, but the same sort of thing, with mounting speed/complexity as sound persists
Offset? If part A is on the 1, part B is on the 3?
Part B never as frantic; maybe it doesn’t increase in speed, just complexity
Arpeggios? 6/2 A B C A B C C D E C D E (generically)
So, root, then fifth, then new root and new fifth?”
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