The patch is named after Charles Brockden Brown’s early American novel, Wieland, which has the subtitle “or, The Transformation.” The novel deals with characters attempting to reconcile strange and supernatural experiences with their empirical, rational training.
That juxtaposition of the normal and absurd seemed appropriate, since the basis of this patch is to interrupt normal audio with glitched out madness. So, Wieland takes your incoming audio, records it at certain points, and then plays back that audio — transformed with overdrive, aliasing, pitch changes, etc. — at different points. The glitched audio overtakes the incoming audio, rather than blending with it, which is why I refer to it as an interrupter — there is no mix amount, or separate wet/dry levels, because the glitched audio simply replaces the dry audio.
At the heart of the patch is a timing mechanism based on a Relabi wave, which I’ve written and patched about before as a source of “organic” randomness: https://patchstorage.com/modulatio-trio-three-patches-to-add-some-useful-modulation-to-your-rack/
That Relabi wave, and the thresholds drawn from its peaks and troughs, are used to alternate between a stereo looper that records audio, and then, at a different point, plays back that audio, with some effects — aliasing and overdrive — added to its signal path, as well as speed/pitch and direction changes. I think it works quite well as a remixing tool, placed after a sequenced or looped material, but it can also be used in a “live” setting to add various weird and psychedelic qualities to incoming audio.
The signal path is stereo throughout.
On the left side of the page are controls for the Relabi wave, as well as a visualization of the wave itself.
You can randomize the wave using the pushbutton provided, which will change the rates of the various sine waves used to compose the Relabi wave. You can also change the overall speed of those sine waves — a faster wave will result in shorter glitches.
The two threshold controls determine when, in the course of the wave’s development, writing occurs to the loop buffer, and when reading (playback) interrupts the dry signal. Generally, the write threshold should probably be lower than the read threshold, but its your patch to play with.
Next to the controls for the Relabi wave are reverb controls for the reverb lite; this reverb affects both the incoming audio and the glitched audio and can be used to “glue” the sounds together a little better. On the other hand, by turning the reverb mix down, you can make the glitching more prominent and abrupt in nature.
The next column of controls pertains to the post-loop effects. The aliasing mix/max frequencies control the range that aliasing might be applied to; each time a new glitch is read, the aliasing frequency is randomly selected from that range (to disable, keep both controls at 24kHz). The drive amount is not randomized, but steady throughout glitching and can provide everything from subtle saturation to more aggressive distortion.
The next column are glitch controls. The start position mod button determines whether the start position of the loop will be (subtly) modulated, if the loop repeats more than once during the “read” period. You can control the rate of that modulation with the control below the button.
Glitch fade controls how quickly the incoming audio fades into the glitched audio. At 0, the switch from one to the other is instantaneous. As the fade is incresed, the transition is slewed, so glitched and incoming audio can be heard at the same time, fading into one another.
Pitch glide controls how quickly different pitch changes occur. At 0, the pitches will change instantaneously. But as the pitch glide is increased, you get different broken record/tape effects.
There is also a global reverse chance control, which determines the likelihood that a glitch will play forward or reverse.
The last two columns are a proportionate mixer for (up to) five different pitch outcomes. The left column sets the speed/pitch changes. The right column sets their proportionate weight (for instance, if you want to use less than five pitch outcomes, set the values in this column to 0, and they won’t be selected; set them higher for them to have to a higher proportionate likelihood of being selected).