Page 1 Cascadia Patchbook 241223 Baratatronix...
Page 2 3 Bass 21 Birdsong 26 Brass 37 Classics 43 Generative: Bouncing Ball 49 Generative: Krell 59 Lead 67 Modulation: Accents 71 Modulation: Feedback 78 Percussion: Bell 89 Percussion: Hand Clap 94 Percussion: Hi-Hat & Cymbals 102 Percussion: Kick 125 Percussion: Snare 140 SFX 142 String...
Page 3 Acid Bass with Accents & Random Cutoff Tags: Bass, Acid, LPF, S&H Notes: Adjust the VCA-B dial to set at what level of velocity an accent should trigger ENV A. Turn CW to trigger more accents. Turn CCW to trigger fewer accents. Notes: Create the Accents: Random Cutoff:...
Page 4 Acid Bass with Accents Using LPF Tags: Bass, Acid, LPF Notes: Adjust the VCA-B dial to set at what level of velocity an accent should trigger ENV A. Turn CW to trigger more accents. Turn CCW to trigger fewer accents. Notes: Create the Accents: Try switching ENV-B to AD, and multing from the LPF to both ENV-A Gate and ENV-B fall.
Page 5 Acid Bass with Accents Using Ringmod Tags: Bass, Acid, Ring Mod, Mixuverter Notes: Triggers are attenuated by velocity using the ringmod, then attenuated by the mixuverter. Mixuverter attenuater sets the level of velocity at which an accent should trigger ENV A. Adjust the Mixuverter to alow more or less accents.
Page 6 Acid Bass with Random Accents Tags: Acid, Bass, Mono, S&H Notes: Try multing S&H out to ENV-A Gate and ENV-B Fall so accented notes will ring out longer. Notes: Create Random Accents: Try multing S&H out to ENV-A Gate and ENV-B Fall 1: MIDI trig to S&H Trig.
Page 7 AUDIO LINE OUT LINE IN EXPR OUT SEND RETURN Bieero Blblblblb Wum Wumb Tags: Bass, Crazy Modulation LPF, Wave Folder Notes: Notes: A bass patch with noisy chaotic modulation. baratatronix VCO-B is modulating the speed of the LFO, which is modulating the wave folder amount, and the amount of envelope going to the filter.
Page 8 Cap’n Crunch Tags: Bass -0.03 Notes: Rich crunchy bass. Slightly detune VCO A & B. Notes: A rich and dirty bass. baratatronix Slightly detune VCO A & B.
Page 9 Dirty Rubbery Bass Tags: Bass, Ringmod Notes: Try turning Q down and Patching a unipolar LFO to QM. Notes: A slightly gritty bass. baratatronix Try: 1: Patching different waveforms into the Ring Mod. 2: Turning Q down and Patching a unipolar LFO to...
Page 10 Feedback Bass 2 Tags: Bass, Feedback, LPF Notes: Create the Feedback Loop: 1: Mixer to VCA-B/LPF in. baratatronix 2: LPF to Mult. 3: Mult to Mixer In-1 and In-2. The LPF will attenuate and boost certain frequen- cies. Find what sounds right. Find the right balance between the LPF and mixer levels.
Page 11 Feedback Bass Tags: Bass, LPF, Feedback Notes: The LPF dial controls the amount going back into the mixer. Alternate versions: Instead of going from the mixer to the LPF, try going from the filter or main out to the LPF then back to the mixer. Bypass the LPF and go directly back into the mixer.
Page 12 Kermit the Buzz Frog Tags: Bass Notes: Notes: A froggy, croaky, bass sound. baratatronix...
Page 13 Nice Rubbery Bass Tags: Bass Notes: A simple, reasonably 101ish bass. Notes: A simple, reasonably 101ish bass. baratatronix...
Page 14 Notes: Just a nice simple bass. No patch cables.
Page 15 Punchy Wave Folded Bass Tags: Bass, LPF, Wave Folder Notes: Notes: A sharp and snappy bass patch. baratatronix...
Page 16 Raspberry Jelly Roll Filthier Tags: Bass, Ring Mod Notes: Try patching different waveforms into the ringmod. Play with the octave switches. Notes: A dirty, gritty baseline. baratatronix Try patching different waveforms to the Ring Mod. Try different the octave combinations.
Page 17 Raspberry Jelly Roll Tags: Bass, Ring Mod Notes: Try patching different waveforms to the ringmod. Play with the octave switches. Try turning off soft sync. Notes: Try patching different waveforms to the Ring Mod. baratatronix Try different the octave combinations. Try turning off soft sync.
Page 18 Robo Fry Tags: Bass Notes: Notes: A bass patch that sounded like it had a vocal fry. baratatronix...
Page 19 Rubber Plucker Tags: Bass, Pluck, No Cables Notes: Notes: A plucked bass patch. baratatronix...
Page 20 Seesawing Buzz Tags: Bass, Wave Folder, No Cables Notes: Notes: A bass where a buzzing wavefolded sound comes in baratatronix and out.
Page 21 Silver-throated Chickadee Tags: SFX, Bird, Ring Mod Notes: A chirping bird sound. Notes: A chirping bird patch. baratatronix Add reverb and delay.
Page 22 Spotted Coastal Warbler Tags: SFX, Bird, Mixuverter Notes: A chirping bird sound. Try different settings for the LFO, VCO-B octave switch. Notes: A chirping bird patch. baratatronix Try different settings for the LFO, VCO-B octave switch. Add reverb and delay.
Page 23 Velvet-voiced Sparrow Tags: SFX, Bird Notes: A chirping bird sound. Set MIDI LFO to random, with a 1/8th clock division, bipolar, and a 1V level. Try switching out the MIDI LFO for the Entropic Sequence Generator on ENV-B. Notes: A chirping bird sound. baratatronix Set MIDI LFO to random, with a 1/8th clock division, bipolar, and a 1V level.
Page 24 Whispering Meadowlark Tags: SFX, Bird Notes: Set ENV B LFO Shape to Entropic Sequence Generator. Use the ENV B shape slider to generate new sequences. Notes: A chirping bird patch. baratatronix Set ENV B LFO Shape to Entropic Sequence Gen- erator.
Page 25 Whistling Goldfinch Tags: SFX, Birds, LPF Notes: A chirping bird sound. Try different values of VCO A FM 1. Try with and without soft clipping on the mixer. Notes: A chirping bird patch. baratatronix Try different values of VCO A FM 1. Try with and without soft clipping on the mixer.
Page 26 French Horn Tags: Brass, Trumpet, LFO, VCA-B Notes: MIDI trigger is going to ENV-B to force the envelope to fire on legato notes. ENV-B is setup as a burst generator. ENV-B is modulating a fast LFO to create a more irregular shaped modulation. This then goes to VCO-A FM1 to simulate the raspiness Notes: 1: Use a sawtooth wave.
Page 27 Muted Trumpet Tags: Brass, Trumpet, Slew Limiter, LFO, Ring Mod, VCA-B, MIDI Gate, MIDI Trigger Notes: Use the trigger to create a quick FM ‘blip’ on VCO-A. Use the MIDI gate and slew limiter to create an ASR envelope. Add a small amount of resonance on louder notes. A soft muted trumpet.
Page 28: Synth Brass
Synth Brass Tags: Brass, Synth Brass, Feedback Notes: Tune the oscillators to avoid beating, and have a slow chorusing effect. Keep the amount of FM on VCO-A very subtle. Try it with positive and negative amounts of FM. Also try it with ENV-B as a burst generator. A Basic synth brass patch.
Page 29 Synth Brass Ensemble 01 Tags: Brass, Synth Brass, Slew Limiter, VCA-B Notes: Tune the oscillators to avoid beating, and have a slow chorusing effect. Tune the VCOs to C3 for a more tuba-like sound, and to C4 for a more trumpet-like sound. Keep the amount of FM on VCO-A very subtle.
Page 30 Synth Brass Ensemble 02 Tags: Brass, Synth Brass, Slew Limiter Notes: Tune the oscillators to avoid beating, and have a slow chorusing effect. ENV-B ENV-A Keep the amount of FM on VCO-A very subtle. Try it with positive and negative amounts of FM. ADSR Tune the VCOs to C3 for a more tuba-like sound, and to C4 for a more trumpet-like sound.
Page 31 Synth Brass Ensemble 03 Tags: Brass, Synth Brass, Slew Limiter, Feedback Notes: Tune the oscillators to avoid beating, and have a slow chorusing effect. Use the slew limiter as a decay only envelope. Set the slew time just enough to make the initial attack inharmonic. Keep the amount of FM on VCO-A very subtle.
Page 32 Synth Brass Ensemble 04 Tags: Brass, Synth Brass, Slew Limiter, LFO, MIDI Velocity Notes: Tune the oscillators to avoid beating, and have a slow chorusing effect. Keep the amount of FM on VCO-A very subtle. Try it with positive and negative amounts of FM. Use the slew limiter as a decay only envelope.
Page 33 Synth Trumpet Tags: Brass, Trumpet, MIDI Velocity Notes: Tune the oscillators to avoid beating, and have a slow chorusing effect. Don’t let the drive go too far into the red or you’ll get unwanted cracking and shrillness. ENV-B rise time is controlled by MIDI velocity. Louder notes have a faster attack. Softer notes have a slower attack. This is a version of an 80’s style ‘synth brass.’...
Page 34 The Hornet Tags: Brass, Trumpet, Slew Limiter, LFO, VCA-B, MIDI Velocity Notes: Tune the oscillators to avoid beating, and have a slow chorusing effect. Use the slew limiter as a decay only envelope. Keep the VCO-A FM very slight. ENV-B rise time is controlled by MIDI velocity. Louder notes have a faster attack. Just enough to make the attack inharmonic.
Page 35 Trumpet Tags: Brass, Trumpet, Slew Limiter, LFO, Ring Mod, VCA-B, MIDI Velocity Notes: Use the slew limiter as a decay only envelope, and send it to VCA-B CV in. Send a fast LFO to VCA-A in. Then patch VCA-A to VCO-A FM1. Keep the amount of FM ENV-B subtle.
Page 36 Tuba Tags: Brass, Tuba, Slew Limiter, LFO, Ring Mod, VCA-B, MIDI Velocity Notes: Use the slew limiter as a decay only envelope, and send it to VCA-B CV in. Send a fast LFO to VCA-A in. Then patch VCA-A to VCO-A ENV-B FM1.
Page 37 Ageispolis Arp Tags: Lead, Arp, Pluck, 101, AFX Notes: Add lots of shimmering reverb. A sharp, blippy pluck sound, perfect for arpeggios. The arp from Ageispolis. Similar to Popcorn, but with baratatronix a higher filter frequency. Popcorn was likely the inspiration for Ageispolis. Aphex covered it himself (Joyrex J4, side 1, track 2).
Page 38 A patch for a Heliosphan Ageispolis-ish inspired pad. Make Cascadia play paraphonically: Set VCO-B to Pitch B. 1: Switch Cascadia to Dual Mono mode. This is easiest to do in the Midi config app. If you want to do baratatronix This isn’t an accurate recreation of these sounds,...
Page 39 Kaini Tags: Lead, Bass, BOC Notes: Boards of Canada’s Kaini Industries. baratatronix...
Page 40 Popcorn AD Tags: Lead, Arp, Pluck Notes: A percussive pluck sound. Great for arpeggios. The arp patch for Popcorn (Gershon Kingsley, 1969) baratatronix but using the AD envelope.
Page 41 Popcorn Tags: Lead, Arp, Pluck Notes: A percussive pluck sound. Great for arpeggios. The arp patch for Popcorn (Gershon Kingsley, 1969) baratatronix...
Page 42 ROYGBIV Bassline Tags: Bass, 101, BOC Notes: Use VCF LP1 or 2 for more growl. The bass from Boards of Canada’s ROYGBIV. The FM amount on VCO-A should be quite subtle. If baratatronix you notice, its probably too much. Try attenuating two different LFOs with the Mixu- verter and VCA-B.
Page 43 Bouncing Ball - ENV-B (as LFO) to LFO Tags: Generative, Bouncing Ball, LFO Notes: Envelope-B Rise/Rate slider controls the overall length of the bouncing. LFO rate dial controls how fast the bounces will go. Notes: Envelope-B Rise/Rate slider controls the overall This patch is designed to simulate the physics of a baratatronix length of the bouncing.
Page 44 Bouncing Ball - ENV-B (as LFO) to VCO-B Tags: Generative, Bouncing Ball Notes: Envelope-B Rise/Rate slider controls the overall length of the bouncing. VCO-B pitch controls the bounce speed. Notes: A bouncing ball patch. Envelope-B Rise/Rate slider controls the overall This patch is designed to simulate the physics of a baratatronix length of the bouncing.
Page 45 Bouncing Ball - LFO to ENV-B (Cycling) Tags: Generative, Bouncing Ball, LFO, Cycling Envelope Notes: LFO rate dial controls the overall length of the bouncing. ENV-B Fall/Length slider controls the bounce speed. The LFO is triangular which causes the triggers to speed up and slow down. Notes: A bouncing ball patch.
Page 46 Bouncing Ball - VCO-B to ENV-B (as LFO) Tags: Generative, Bouncing Ball Notes: Envelope-B Rise/Rate slider controls the bounce speed. OSC-B pitch controls the overall length of the bouncing. Some combinations of ENV-B fall and VCO-A pitch may cause irregular clicking. Hard sync VCO-A to ENV-B to ensure the clicks always occur on the attack. Notes: A bouncing ball patch.
Page 47 Bouncing Ball with Pitch Modulation - ENV-B (as LFO) to LFO Tags: Generative, Bouncing Ball, LFO Notes: Envelope-B Rise/Rate slider controls the overall length of the bouncing. LFO rate dial controls how fast the bounces will go. Notes: Envelope-B Rise/Rate slider controls This patch is designed to simulate the physics of baratatronix the overall length of the bouncing.
Page 48 Bouncing Ball with Pitch Modulation - VCO-B to LFO Tags: Generative, Bouncing Ball, Mixuverter, LFO Notes: Changing VCO-B pitch changes the overall length of the bouncing. LFO rate dial controls bounce speed. The Mixuverter controls the pitch and bounce speed. Notes: A bouncing ball patch.
Page 49 Another Krell Tags: Krell, Generative, S&H, Wave Folder Notes: ENV-B is triggering the S&H and ENV-A. S&H is controlling pitch and ENV-A time. Try inverting the S&H signal before sending it to ENV-A time. LFO Y and Z are summed then sent to ENV-B rise. Try making one of the LFOs unipolar, or using the ringmod instead of summing them. Yet Another Krell derived patch.
Page 50 Basic Krell Variation 1 Tags: Krell, Generative, S&H, Wave Folder Basic Krell Formula: Set ENV-B to be a repeating envelope. Patch ENV-B EOF to S&H Trig. Patch S&H to VCO-A pitch. Basic Krell Formula: Patch separate LFOs into the rise and fall CVs. Patch either S&H or VCO-B (as an LFO) into the LFO CV in.
Page 51 Basic Krell Variation 2 Tags: Krell, Generative, S&H, Wave Folder Notes: S&H is multed to control LFO Rate and VCO-A pitch. LFO-Y and Z modulate ENV-B Rise and Fall. Basic Krell Formula: Basic Krell Variation 2: For variation use the Sum, Ring Mod, and VCA-B to modulate the LFOs and S&H in different ways before going to the rise and fall. Set ENV-B to be a repeating envelope.
Page 52 Basic Krell Variation 3 Tags: Krell, Generative, S&H, Wave Folder Notes: VCO-B is set to Pitch A+B and LFO so the S&H going into VCO-A modulates VCO-B. VCO-B is modulating the Rate of the LFO. LFO-X and Z are being summed then going to ENV-B Fall. Basic Krell Formula: Basic Krell Variation 3: LFO-Y is going to ENV-B Rise.
Page 53 Basic Krell Variation 4 Tags: Krell, Generative, S&H, Wave Folder, Ring Mod Notes: VCO-B is set to Pitch A+B and LFO so the S&H going into VCO-A modulates VCO-B. VCO-B and LFO-Y go into the Ring Mod, then to ENV-B Fall. LFO X and Z are summed then go to ENV-B Rise.
Page 54 Basic Krell Variation 5 Tags: Krell, Generative, S&H, Wave Folder, Ring Mod Notes: Instead of a looping envelope, the LFO retriggers the envelope. Has more space between notes. Adjust the LFOs and VCO-B to prevent the gaps from being too long. Basic Krell Formula: Basic Krell Variation 5: Set ENV-B to be a repeating envelope.
Page 55 Basic Krell Variation 5 Tags: Krell, Generative, S&H, Wave Folder, Ring Mod Notes: Envelope A is controlling the wave folder amount. Basic Krell Formula: Basic Krell Variation 6: Set ENV-B to be a repeating envelope. Envelope A is controlling the wave folder amount. baratatronix Patch ENV-B EOF to S&H Trig.
Page 56 Blip Krell Tags: Krell, Generative, S&H, Wave Folder Notes: ENV-B is modulating the LFO. The LFO is then triggering ENV-A and the S&H. A plucky Krell derived patch. ENV-B is modulating the LFO. The LFO is then trig- baratatronix gering ENV-A and the S&H. If the patch is too random try either quantizing the S&H output to a scale, or sending the S&H to control a sequencer that uses voltage to address stage...
Page 57 Coast Krell Tags: Krell, Generative, S&H, Wave Folder Notes: Inspired by the patch Walker Farrell from Make Noise showed in the following video: https://www.youtube.com/watch?v=Y4hdvmix9Uo. S&H is controlling both pitch and envelope fall time. Invert the S&H signal before sending it ENV B Fall. This will cause low pitch notes to play longer, and high pitch Inspired by the patch Walker Farrell from Make Noise notes to play shorter.
Page 58 Forbidden Frequencies Tags: Krell, Generative, S&H, Wave Folder, Mixuverter, MIDI LFO Notes: Set MIDI LFO to random notes. Then slew it to create a fluctuating random signal. The S&H is attenuated with the Mixuverter to reduce high notes. A Krell derived patch. Notes: baratatronix Set MIDI LFO to random notes.
Page 59 Bustopher Jones Tags: Lead, Bass, 101 Notes: This is based on the ‘Funny Cat’ patch from the original SH-101 Manual. This is based on the ‘Funny Cat’ patch from the SH- 101 Manual. baratatronix...
Page 60 Fizzgig Tags: Lead, Mixuverter Notes: A fizzy, buzzing lead. baratatronix...
Page 61 Fuzzy Boards Lead Tags: Lead, BOC, 3 OSC Notes: ENV-B is being used as a 3rd oscillator. Tune ENV-B 7 semitones higher than VCO-A = Tuning will probably wobble. This is good. VCO-A = C3 / VCO-B = -7 = F2 / ENV-B = +7 = G3 Try LP1, LP2, LP4 Filter slopes.
Page 62 Horseradish Tags: Lead, Bass Notes: Sharp and buzzy. Use VCF LP1 or 2 for more growl. Notes: Sharp and buzzy. Use VCF LP1 or 2 for more growl. baratatronix...
Page 63 Plinky Plonky Toy Piano Tags: Lead, Piano, LPF Notes: Add stereo chorus, reverb, etc. A percussive sine. baratatronix...
Page 64 Square Pluck Tags: Lead, Arp, Pluck Notes: A sharp, blippy pluck sound. Good for arpeggios. baratatronix...
Page 65 Vibey Organ Tags: Lead, Organ +6.0 Notes: Detune the oscillators by 6 or 7 semitones. Play with the octave switches for nice metalic sounds. Add stereo chorus, reverb, etc. A percussive vibraphone / organ patch. Tune one of the oscillators 2 octaves and 6 semi- baratatronix tones above the other.
Page 66 Vibey Plonks Tags: Lead, Organ +6.0 Notes: Detune the oscillators by 6 or 7 semitones. Add stereo chorus, reverb, etc. Another percussive vibraphone patch. This one is less organ-y and more electric piano-y. baratatronix Tune one of the oscillators 2 octaves and 6 semi- tones above the other.
Page 67 Accent VCA B & ENV B Tags: Modulation, Accents, VCA-B Notes: Adjust the VCA-B dial to set at what level of velocity an accent should trigger ENV B. Turn CCW to require a higher velocity to trigger the envelope. Turn CW to allow lower velocities to trigger the envelope. 1: MIDI Trig to VCA-B in.
Page 68 Accent VCA B & ENV A Tags: Modulation, Accents, VCA-B Notes: Adjust the VCA-B dial to set at what level of velocity an accent should trigger ENV A. Turn CCW to require a higher velocity to trigger the envelope. Turn CW to allow lower velocities to trigger the envelope. 1: MIDI Trig to VCA-B in.
Page 69 Accent Mixuverter & ENV B Tags: Modulation, Accents, Ring Mod, Mixuverter Notes: Triggers are attenuated by velocity using the ringmod, then attenuated by the mixuverter. Mixuverter attenuater sets the signal above or below value necessary to trigger ENV B. 1: MIDI Trig to Ring Mod. 2: MIDI Velocity to Ring Mod.
Page 70 Accent Mixuverter & ENV A Tags: Modulation, Accents, Ring Mod, Mixuverter Notes: Triggers are attenuated by velocity using the ringmod, then attenuated by the mixuverter. Mixuverter attenuater sets the signal above or below value necessary to trigger ENV A. 1: MIDI Trig to Ring Mod. 2: MIDI Velocity to Ring Mod.
Page 71 AUDIO LINE OUT LINE IN EXPR OUT SEND RETURN Feedback, Mixer to FX Send Tags: Modulation, Feedback, FX Send Notes: Feedback, Mixer Loop Tags: Modulation, Feedback baratatronix Notes:...
Page 72 Feedback, Mixer to LPF Tags: Modulation, Feedback, LPF Notes: Feedback, Mixer to Ring Mod Tags: Modulation, Feedback, Ring Mod baratatronix Notes:...
Page 73 Feedback, Mixer to Ring Mod to LPF Tags: Modulation, Feedback, Ring Mod, LPF Notes: Feedback, Filter to Mixer Tags: Modulation, Feedback baratatronix Notes:...
Page 74 Feedback, Filter to LPF Tags: Modulation, Feedback, LPF Notes: Feedback, Filter to Ring Mod Tags: Modulation, Feedback, Ring Mod baratatronix Notes:...
Page 75 Feedback, Filter to Ring Mod to LPF Tags: Modulation, Feedback, Ring Mod, LPF Notes: Feedback, Main to Mixer Tags: Modulation, Feedback baratatronix Notes:...
Page 76 Feedback, Main to LPF Tags: Modulation, Feedback, LPF Notes: Feedback, Main to Ring Mod Tags: Modulation, Feedback, Ring Mod, LPF baratatronix Notes:...
Page 77 Feedback, Main to Ring Mod to LPF Tags: Modulation, Feedback, Ring Mod, LPF Notes: Feedback, Mixer & Filter Tags: Modulation, Feedback, Ring Mod, LPF baratatronix Notes:...
Page 78 808 Cowbell Tags: 808, Percussion, Cowbell Notes: Tune VCO-B to C5. Tune VCO-A to G5. Try BP2 and BP4. Notes: Modifications: On the 808 2 pulse waves go through independent Try out different octave combinations, and oscillator shapes. VCAs. They are then mixed together and go through Tune VCO-B to C5.
Page 79 Bell 01 Tags: Percussion, Bell, Ring Mod Notes: Tune VCO-A to C6. Tune VCO-B to E5. Try different octave combinations. Try adjuting the FM (MOD and INDEX) amount. Notes: For AM: try patching VCO-B sine to Bi>Uni, then to Ring Mod VCO-B, or patch VCO-B sine to VCA-B CV in, then VCA-B to Mixer in 1. Tune VCO-A to C6.
Page 80 Bell 02 Tags: Percussion, Bell, Ring Mod Notes: Tune VCO-A to D7. Tune VCO-B to F4. Try different octave combinations. Try adjuting the FM amount. Notes: Tune VCO-A to D7. baratatronix Tune VCO-B to F4. Detune the oscillators to taste. Try different octave combinations.
Page 81 Bell 03 Tags: Percussion, Bell, VCA-B/LPF, Ring Mod Notes: Tune VCO-A to C7. Tune VCO-B to E5. Try different octave combinations. Try adjuting the IM (FM INDEX) amount. Notes: Tune VCO-A to C7. baratatronix Tune VCO-B to E5. Detune the oscillators to taste. Try different octave combinations.
Page 82 Bell 04 Tags: Percussion, Bell, VCA-B/LPF, Ring Mod Notes: Tune VCO-A to C6. Tune VCO-B to G3. Try different octave combinations. Try adjuting the FM amount. Notes: Tune VCO-A to C6. baratatronix Tune VCO-B to G3. Detune the oscillators to taste. Try different octave combinations.
Page 83 Clanging Bell ( Sub ) Tags: Percussion, Bell, LPF, Ring Mod Notes: Tune VCO-A to C6. Tune VCO-B to E6. Try different octave combinations. Try replacing the VCO-A sub witch the VCO-B square. Notes: There are 2 versions of this one. One sends VCO-B baratatronix to VCA-B.
Page 84 Cowbell Tags: Percussion, Cowbell, No Cables Notes: This is how you would make a cowbell on a traditional subtractive synth. Tune VCO-A to G5 Set the filter to self resonate, then tune the filter frequencey to C5. Notes: Try BP2 and BP4. This is how you would make a cowbell on a tradition- baratatronix al single oscillator subtractive synth.
Page 85 Cowbell with Triangles Tags: Percussion, Cowbell Notes: Tune VCO-A to G5. Tune VCO-B to C5. Try BP2 and BP4. Notes: Try out different octave combinations, and oscillator shapes. A Cowbell, but using triangles instead of squares. baratatronix Tune VCO-A to G5. Tune VCO-B to C5.
Page 86 Large Steel Pan Tags: Percussion, Bell, LPF, Ring Mod Notes: Tune VCO-A to C5. Tune VCO-B to F#5. Try different octave combinations. Notes: Dull and bonging, yet deep and resonant. baratatronix Tune VCO-A to C5. Tune VCO-B to F#5.
Page 87 Steel Pan 01 Tags: Percussion, Bell, VCA-B/LPF, Ring Mod, Wave Folder Notes: Tune VCO-A to C6. Tune VCO-B to E3. Try different octave combinations. Try adjuting the IM (FM INDEX) amount. Notes: Tune VCO-A to C6. baratatronix Tune VCO-B to E3. Detune the oscillators to taste, and try different octave combinations.
Page 88 Steel Pan 02 Tags: Percussion, Bell, LPF, Ring Mod Notes: Tune VCO-A to C4. Tune VCO-B to F#5. Try different Alt noise types. Notes: The noise is simulating a bell strike. Adjust Envelope baratatronix A and the VCF to make the strike sound sharper or duller.
Page 89 Hand Clap Using a Wave Folded Burst Envelope Tags: Percussion, Clap, VCA-B, Wave Folder Notes: ENV-A should have a longer decay than ENV-B. This will create a ‘fake reverb’ The bandpass filter in the 808 is set to 1,000 Hz / B5 +21¢. effect to simulate the sound of a clap ringing out in a large space.
Page 90 Bass == Blue Set Cascadia to dual mono mode. Voice 1 is the bass. Voice 2 is the clap. Set Wave folder Mod level higher for a more clap like effect. Set it lower for a more snare like sound.
Page 91 Hand Clap with Burst Envelope Tags: Percussion, Clap, VCA-B Notes: Set ENV-B to burst mode. The bandpass filter in the 808 is set to 1,000 Hz / B5 +21¢. The quick envelope burst will simulate multiple hands clapping together. Use that as a starting point, then tune to taste. ENV-A should have a longer decay than ENV-B.
Page 92 Clap with a Wave Folded ENV-A (1 Env Clap) Tags: Percussion, Clap, VCA-B, Wave Folder Notes: The bandpass filter in the 808 is set to 1,000 Hz / B5 +21¢. Use that as a starting point, then tune to taste. The wave folding will create an envelope burst simulating multiple hands A clap made using a single envelope, that is wave The filtered noise is then sent to both VCAs in paral-...
Page 93 Clap with a Wave Folded ENV-B Tags: Percussion, Clap, VCA-B, Wave Folder Notes: The wave folding will create an envelope burst simulating multiple hands The bandpass filter in the 808 is set to 1,000 Hz / B5 +21¢. clapping together. Use that as a starting point, then tune to taste.
Page 94 Avoid even multiples. oscillators tuned to create an inharmonic hum. There CV section. Cascadia doesn’t have 6 square wave oscillators, frequencies are as follows: 5: Set the filter to bandpass 2 or 4 with a frequency however you can use one of the cymbal alt noise 1: 800 Hz = G5 +35¢, Range = 359.4 to 1149.9 Hz =...
Page 95 Basic Hi-Hat 01 Tags: Percussion, HiHat, No Cables Notes: This is a patching free hi-hat much like you would make on a fixed architecture mono-synth like a 101 or Minimoog. Experiment with different flavours of alt noise. The result can be decent if you use a cymbal noise. Raising the resonance on the filter will accentuate the high frequencies in the noise.
Page 96 Basic Hi-Hat 02 Tags: Percussion, HiHat, No Cables Notes: This is a patching free hi-hat much like you would make on a fixed architecture mono-synth like a 101 or Minimoog. Experiment with different flavours of alt noise. The result can be decent if you use a cymbal noise. Raising the resonance on the filter will accentuate the high frequencies in the noise.
Page 97 Crash Hat Tags: Percussion, HiHat, VCA-B, Ring Mod, Wave Folder Notes: A Hi-Hat with a harsh open hat sound. MIDI Pitch CV controls decay time. Low pitch CV plays closed hats. High pitch CV Tune the VCF frequency to A8. plays open hats.
Page 98 HiHat Tags: Percussion, HiHat, VCA-B Notes: Use a metallic alt noise. MIDI Pitch CV controls decay time. Tune the VCF frequency to C9. Low pitch CV plays closed hats. High pitch CV plays open hats. Turn VCF level up until the signal starts turning red. A simple Hi-Hat that’s easy to build off.
Page 99 Rung Cow Hi-Hat Tags: Percussion, HiHat, Ring Mod, VCA-B C#5-45 G6+35 Notes: Tuned to the same frequencies as a cowbell, except VCO-A is tuned one octave Use an alt cymbal noise. higher because I’m sending the sub into the ringmod. To select different noise flavours, hold down the red manual gate button and Tune VCO-A to G6 +35¢...
Page 100 Sandy Hi-hat Tags: Percussion, HiHat, Ring Mod, VCA-B, Feedback D#4-40 Notes: Tune VCO-A to A8. Tune VCO-B to 304 Hz = D#4 -40¢. Use a cymbal alt noise. There are 3 alt cymbal noises. Tune the VCF frequency to C9. 1: a high pitched hum.
Page 101 A Hi-Hat with a harsh open hat sound. 1: MIDI pitch to ENV-B shape. Turn the shape slider 5: Set the filter to bandpass 2 or 4 with a frequency around 10,000 Hz. Tune the VCF frequency to A8. Experiment with 2: Patch ENV-B to VCA-B in, then VCA-B VCA out to 6: Raise Q a little.
Page 102 Kick Tags: Percussion, Kick, LPF Notes: The sound is processed in 2 parallel paths. One path reproduces a drum’s resonant head, while the other path reproduces a drum’s batter head. Envelope A = Resonant head. Envelope B = Batter head. Try it with different flavours of noise.
Page 103 Kick 2 Tags: Percussion, Kick, LPF Notes: Try it with and without soft clipping. Try different filter modes. Try it with different flavours of noise. Some will bring out more click, others more fuzz. Notes: The sine and sawtooth are being combined to create a waveform with a little bit of a tooth.
Page 104 808 Kick 1 Tags: Percussion, Kick, 808 Notes: The patch tries to recreate the kind of 808 kick that gets made on fixed architecture monosynths, except it uses the sine wave from VCO-A instead of a self-oscillating filter. To recreate the pitch bend you get from the envelope controlling the filter frequency, ENV-B modulates VCO-A FM. This patch tries to recreate the kind of 808 kick drum Raise VCO-A FM1 for a kick with a click.
Page 105 808 Kick 2 Tags: Percussion, Kick, 808 Notes: The patch recreates the kind of 808 kick that gets made on fixed architecture monosynths, except it uses the VCO-A sine wave instead of a self-oscillating filter. To recreate the pitch bend you get from the envelope controlling the filter frequency, ENV-B modulates VCO-A FM. Raise VCO-A FM1 for a kick with a click.
Page 106 Self-oscillating 808 Kick 1 Tags: Percussion, Kick, Self-oscillating, 808 Notes: This patch reproduces the 808 kick you get on single-envelope fixed architecture monosynths. Try it with and without soft clipping. Try different filter modes. This patch reproduces the 808 kick you get on Variations: Additional Tips single-envelope fixed architecture monosynths.
Page 107 Self-oscillating Kick 2 Tags: Percussion, Kick, Self-oscillating, 808 Notes: This patch starts from ‘Self-oscillating 808 Kick 1’ and adds a sine wave from VCO-A. Envelope A = Resonant head. Envelope B = Batter head. Lower FM 1 amount for less click, raise it for more. This patch starts from ‘Self-oscillating 808 Kick 1’...
Page 108 909 Kick Tags: Percussion, Kick Notes: This uses a simplified 909 style patch. The signal follows two parallel paths: one for the initial click of the attack, and a second for the resonant decay. The noise goes through the filter, but the sine bypasses the filter and goes straight to the VCA. This is not a 909 kick.
Page 109 909 Sine Kick Tags: Percussion, Kick Notes: This uses a simplified 909 style patch, except this uses a sine wave. The 909 uses a triangle wave. The signal follows two parallel paths: one for the initial click of the attack, and a second for the resonant decay. The noise goes through the filter, but the sine bypasses the filter and goes straight to the VCA.
Page 110 Pinged BP Kick Tags: Percussion, Kick, Bass, Self-oscillating, Pinging, 808 Notes: Set Q just below self resonance. Higher Q values will ring longer. Lower Q values will be more plucky and punchy. If it’s too high the filter will stay stuck in self-oscil- lation.
Page 111 Pinged LP Kick Tags: Percussion, Kick, Bass, Self-oscillating, Pinging, 808 Notes: Set Q just below self oscillation. Raise Q for more decay. Lower Q for a snappier kick. Because it isn’t going through a VCA, you will hear a drone if Q is set to 100. This is a variation on the 808 kick.
Page 112 Doof Doof Kick Tags: Percussion, Kick Notes: This is just the 909 kick with a longer envelope. Envelope A = Resonant head. Envelope B = Batter head. This is just the 909 patch, but with a longer decay Envelope A: Resonant Head Envelope B: Batter Head The noise goes through the filter, but the sine bypasses the filter and goes straight to the VCA.
Page 113: Kick Dusty
Kick Dusty Tags: Percussion, Kick, LPF Notes: Envelope A and VCO-A = decay. Envelope B and noise = Initial click of the attack. Try it with different flavours of noise. This is a variation on the 909 kick patch, except the oscillator goes through the filter, and the noise goes through the LPF.
Page 114 Gritty Kick Tags: Percussion, Kick, LPF, Wave folder Notes: Try it white white, pink, and various flavours of alt noise. This is another variation on the 909 kick patch. The signal follows 2 parallel paths. baratatronix 1: The mixer goes through the filter, then to the VCA. 2: The noise goes to the LFP, then through the wave folder.
Page 115 Large Aluminum Tub Kick Tags: Percussion, Kick Notes: The signal follows 2 parallel paths. Path 1: Envelope A modulates the filter, and final VCA. The mixer goes directly to the VCA. The noise goes through the filter, then to the VCA. Path 2: The shape of Envelope B will have a significant effect on the sound.
Page 116 Noisy Kick Tags: Percussion, Kick, LPF Notes: ENV A, VCO A, VCF = body and decay of the kick. ENV B, Noise, and LPF = Initial click of the attack. Try it with and without soft clipping. The mixer goes through the filter, then to the VCA. Try it with different flavours of noise.
Page 117 Self-oscillating Kick Tags: Percussion, Kick, Self-oscillating Notes: This patch reproduces the kick you get on a typical dual-envelope fixed architecture monosynth. Separate envelopes simulate the different components of a kick drum: the batter head and the resonant head. Envelope A = Resonant head. This patch reproduces the kick you get on a typical Step-by-Step Variations...
Page 118 Self-oscillating Bass Kick Tags: Percussion, Kick, Self-oscillating, No Cables Notes: This patch reproduces the kick you get on a typical dual-envelope fixed architecture monosynth. Separate envelopes simulate the different components of a kick drum: the batter head and the resonant head. Envelope A = Resonant head.
Page 119 Self-oscillating Thwack Kick 1 Tags: Percussion, Kick, Self-oscillating, No Cables Notes: Try different filter modes: LP4 and LP1. Try with and without soft clipping. Try adjusting envelope decay and release times. Both of these patches reproduces the kick you Step-by-Step Guide Variations get on a typical dual-envelope fixed architecture Self-Oscillating Filter: Set your filter to self-oscillate...
Page 120 Self-oscillating Thwack Kick 2 Tags: Percussion, Kick, Self-oscillating, No Cables Notes: Envelope A = Resonant head. Envelope B = Batter head. Try different filter modes: LP4 and LP1. Both of these patches reproduces the kick you Step-by-Step Guide Variations Try with and without soft clipping. get on a typical dual-envelope fixed architecture Self-Oscillating Filter: Set your filter to self-oscillate Low-Pass Filter (LP1 &...
Page 121 Gritty Self-oscillating Thwack Kick Tags: Percussion, Kick, Self-oscillating, Wave Folder Notes: This patch uses the wave folder to add an additional grit to the initial burst of the attack. Try lowering Q and raising FM 1. Try it with and without soft clipping. This patch uses the wave folder to add an additional Try different filter modes.
Page 122 Self-oscillating Kick with Noise Tags: Percussion, Kick, Self-oscillating, LPF Notes: Set Q just below self oscillation. Raise Q for more decay. Lower Q for a snappier kick. Because it isn’t going through a VCA, you will hear a drone if Q is set to 100. Try switching between different filter modes.
Page 123 Zappy Self-oscillating Kick Tags: Percussion, Kick, Self-oscillating, No Cables Notes: Set Q just below self oscillation. Raise Q for more decay and less click/punch. Raise ENV-B fall for a zappy kick. This patch reproduces the kick you get on a typical Step-by-Step Variations Try switching between filter LP1 and LP4.
Page 124 Kick with Velocity Driven Triangle Tags: Percussion, Kick, LPF Notes: Envelope A = Resonant head. Envelope B = Batter head. The noise goes through the filter, but the sine bypasses the filter and goes straight to the VCA. Try it with different flavours of noise. Some will bring out more click, other more fuzziness. The mixer bypasses the filter and goes directly to Lower FM 1 amount for less click, raise it for more.
Page 125 Bell Snare Tags: Percussion, Snare, Ring Mod, Wave Folder Notes: baratatronix Envelope Velocity Wave Folder Oscillator 1 White Noise Mixer Filter Ring Mod Envelope Oscillator 2...
Page 126 Doof Snare Tags: Percussion, Snare, VCA-B Notes: A low tom-like snare. The signal follows 2 parallel paths. Path 1: The noise through the filter, then to VCA-A. A low tom-like snare. Path 2: The oscillators into VCA-B. Envelope The signal follows 2 parallel paths. baratatronix Path 1: The noise through the filter, then to VCA-A.
Page 127 Driven Snare Tags: Percussion, Snare, LPF, LFO, Feedback Notes: The signal follows 2 parallel paths. Path 1: The noise. Path 2: The oscillators. The signal follows 2 parallel paths. Try changing the feedback to come from different sources: FX-send, filter, main out. Path 1: The noise.
Page 128 Noise Snare 01 Tags: Percussion, Snare, Feedback Notes: A basic snare made using only noise. A basic snare made using only noise. The noise rep- resents the rattling of the snare wires on a physical snare. baratatronix Try changing the feedback to come from different sources: FX-send, filter, main out.
Page 129 Noise Snare 02 Tags: Percussion, Snare, No Cables Notes: A basic snare made using only noise. A basic snare made using only noise. The noise rep- resents the rattling of the snare wires on a physical snare. baratatronix Try changing the filter to LP2, BP2, and HP4. This is very much the kind of snare patch you might make on a typical fixed architecture synth.
Page 130 Noise Snare 03 Tags: Percussion, Snare, LPF, Wave Folder Notes: A snare made using only noise. The VCF output is multed to VCA-A and the LPF. The path going through the LPF and wave folder has a shorter attack and darker sound. This creates a pitch sweep simulating the snares and snare heads vibrating ending at different times.
Page 131 Noise Snare 04 Tags: Percussion, Snare, No Cables Notes: A basic snare made using only noise. A basic snare made using only noise. The noise rep- resents the rattling of the snare wires on a physical snare. baratatronix Try changing the filter to LP2, BP2, and HP4. This is very much the kind of snare patch you might make on a typical fixed architecture synth.
Page 132 Overdriven Noise Snare Tags: Percussion, Snare, LFO, Feedback Notes: Try changing the feedback to come from different sources: FX-send, filter, main out. Try changing the feedback to come from different sources: FX-send, filter, main out. baratatronix Mixer White Noise Envelope Envelope Oscillator 1 Mixer...
Page 133 Pinged Snare Tags: Percussion, Snare, LPF, Ring Mod Notes: Tune the filter to C3. Set Q to just bellow self-resonance. There is more and brighter noise with high velocity. Tune the filter to C3. Set Q to just bellow self-resonance. There is more and brighter noise with high velocity.
Page 134 Ring Mod Snare Tags: Percussion, Snare, VCA-B, Ring Mod Notes: The signal follows 2 parallel paths. Path 1: The noise through the filter. Path 2: The oscillators into the ring mod. The signal follows 2 parallel paths. Path 1: The noise through the filter. baratatronix Path 2: The oscillators into the ring mod.
Page 135 B: 2 oscillators each modulated by Oscillator 2 independent envelopes, and a high-pass filter mod- ulated by an envelope. So, Cascadia will probably never get exactly there, but it can get close. The 808 snare has 3 controls: Level, Tone, and Snap- High-pass py.
Page 136 Snare 01 Tags: Percussion, Snare Notes: Envelope B modulates oscillator 1 FM. This simu- lates the pitch sweep effect created when a snare’s heads stop vibrating at different times. baratatronix Envelope Oscillator 1 Oscillator 2 Mixer Filter Mixer White Noise Envelope...
Page 137 Snare 02 Tags: Percussion, Snare, LPF, Feedback Notes: The signal follows 2 parallel paths. Path 1: Noise to VCF, to VCA-A. Path 2: The oscillators bypass the VCF, going from the ring mod to the LFP, and then bypass the VCA, going to main 2. The signal follows 2 parallel paths.
Page 138 Snare Highpass Tags: Percussion, Snare, VCA-B Notes: The signal follows 2 parallel paths. Path 1: The noise through the filter, then to VCA-A. baratatronix Path 2: The oscillators into VCA-B, then to VCA-A. Envelope Oscillator 1 Mixer Mixer Oscillator 2 High-pass Envelope White Noise...
Page 139 Snare 04 LP2 Tags: Percussion, Snare, VCA-B Notes: The signal follows 2 parallel paths. Path 1: The noise through the filter, then to VCA-A. baratatronix Path 2: The oscillators into VCA-B, then to VCA-A. Oscillator 1 Mixer Oscillator 2 Envelope Envelope White Noise Filter...
Page 140 Game Over Tags: SFX, Arcade Notes: The bloop-bloop-bloop sound of a character getting killed in an old arcade game. Could also be used for a retro TV ident. The bloop-bloop-bloop sound of a character getting killed in an old arcade game. Could also be used for a retro TV ident.
Page 141 Notes: This is the same as the ‘Game Over’ patch except VCO-B is set to VCO rates, and ENV-A release is higher. Zap! A ray-gun patch for Cascadia. This is the same as the ‘Game Over’ patch except VCO-B is set to audio rates, and ENV-A release is baratatronix higher.
Page 142 Keep mixer and filter levels below red. block chords. 1: Switch Cascadia to Dual Mono mode. This is Keep the Mixer, VCF and Main levels bellow red. If easiest to do in the Midi config app. If you want to do...
Page 143 Keep mixer and filter levels below red. This is a paraphonic patch. Use it to play 2 note 1: Switch Cascadia to Dual Mono mode. This is block chords. easiest to do in the Midi config app. If you want to do...
Page 144 A dark moody pad. Make Cascadia play paraphonically: This is a paraphonic patch. Use it to play 2 note 1: Switch Cascadia to Dual Mono mode. This is block chords. easiest to do in the Midi config app. If you want to do...
Page 145 Keep mixer and filter levels below red. This is a paraphonic patch. Use it to play 2 note 1: Switch Cascadia to Dual Mono mode. This is block chords. easiest to do in the Midi config app. If you want to do...

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Page 28: Synth Brass

Page 113: Kick Dusty