Third session to date with Tiptop's model 258t and 281t Buchla modules. Ornament and Crime is being sent three different triggers from Missed Opportunities - each one probabilistically subtractive based on the previous one - which is itself receiving master clock signal from CMOS Party, which is generating Boolean gates from two clock divider outputs coming from a Doepfer A-160-1 (global clock from Behringer 150).

With these three triggers, Ornament uses Euclidean sequencing as CV source to play three different generative melodic passages in mixolydian scales. The first two sequences are conveyed through the two oscillator voices of the Buchla 258t, while the third is sent to the v/oct input of Clouds.

Both of the 258t's VCOs are sent into low-pass filters (2HP + Doepfer A-121-3) that are themselves separately modulated/swept by an array of four different LFOs (from Dreadbox Ataxia/Utopia/Behringer 150>Wildfire Labs Equation Group) that are mixed via a Doepfer A-135-2 VC mixer, and modulated inversely (the VCA path of LFOs 1-4 are modulated by LFOs 4/2/3/1) and these outputs are sent to Tiptop MISO for mixing and multing.

The 2xVCO signals are multed from their respective LPF outputs and sent to Clouds and Strymon Magneto, which are both summed via Disting Mk4's E5 stereo compressor, and sent to Behringer 305's first two hard-panned inputs.

The Buchla 281t has brought all four envelopes into the audible range, and tuned by ear into a four-part chordal structure, grouped into 2 envelopes each and sent into the 305's third and fourth panned inputs to provide a nearly static drone bed beneath the wavering melodic passages generated by the 258t.

Somewhere in the process of the recording, pitches began to deviate slightly - possibly from voltage bleeding through some of the LFOs - although the effect is still pleasant enough to listen to that I found this admissible.