My whole thing is unexpected-yet-coherent playing of artifacts.
So my intent is to build my first Akso into a set of wide-range LFOs with some filters, likely around formant synthesis. It will probably also take audio input and treat it like one of the LFOs. I’ve been considering some sort of patch matrix to control it, but I don’t know yet. It might be spendy, but a pot matrix might be really neat. Which means that each pot could be VCed from somewhere else.
It will then join the Black Centipede, the daisy chain power supply I modded out of a fancy computer PS, which connects via Neutrik Speakon connectors.
The only other element of the Black Centipede so far is the Voice Nodulator, though I’m liable to add my Behringer Neutron to it after a couple of hours with a drill press and a soldering iron.
The Voice Nodulator is my first completed Axoloti project. It takes an incoming mono audio signal and uses the granulator patch from Axoloti to pull apart the sound into grains that get amplified in stereo with staggered phases of the feedback loop.
I’ve modified the patch a bit by adjusting the inputs to keep them in ranges that I think are interesting. Then I applied what I call a “Pitchcompressor” that takes the high-end harmonics that come out of this stuff, then pitch it down (rather than filtering it out) so it doesn’t turn into a wash of high frequency noise.
The hardware is a set of five knobs to control the grain mangler, then another three to control the low end range of the pitchcompressor, the amount the pitchcompressor pulls down the high range, and the cutoff of the high range.
Still to do: adding in CV, probably with my S16 LEGO connector design, so it can take inputs from anyone’s CV, not just my own, without worrying about blowing anything up. It can already take audio in, so that can come from a regular mixer. The LPF inherent in S16 (since it’s basically a vactrol broken in half) doesn’t really matter in a CV context because usually all it filters out is noise.