Husserl includes over 100 snapshots and several dozen demo sequences.
Bank 10 starts with a set of fundamental snaps, each showing a different configuration of just a few of the channel panels. They are divided into groups that illustrate potential for each one of Husserl's trigger modes in turn.
At the end of bank 10, a few dozen demo tracks at the end of bank 10.
Bank 9 contains demo songs, played with snap auto-change. Select the first snap in a song series, and it plays through consecutive snapshots automatically.
The following subsections describe each of the snaps.
Even a single sequencer channel can massage a short looping pattern.
Clock1: Simple Loop Example
In this short loop, the odd steps have a shorter duration, and some even ones are longer, overlapping the short ones.
Clock2: + Chords
The same single loop with chords enabled to fatten the sound.
Clock3: + FM.
The same sequencer channel also sends modulation to the analog synth's osc1 FM level.
Clock4: + Map
The sequencer pitch is remapped to D Major. Try twisting the chord pitch knobs while the sequence is playing to create cascades of different chords.
Clock5: + Snapper
After four cycles of sequencer 1, the snap changer changes to the next snap.
Clock6: + Bars
The Bar sequencer changes the pitch, duration, velocity, and tempo over five cycles (the fourth cycle is repeated). Sequencer 2 loops 4 times, then the snap changer advances to the next snap.
Clock 7: + 2nd Loop
The same sequence was copied to channel 2, its tempo reduced, and then set to modulate pitch and velocity of sequencer 1. Sequencer 2 loops 4 times, then the snap changer advances to the next snap.
An empty patch with the same switch settings, so the sustained notes can end themselves.
A new loop with four steps in one octave, and a different synth sound. All the snaps in the Clock2 set have clock sync and snap auto-change enabled.
Clock9: + Bar
The bar sequencer creates a rising scale over three octaves.
Clock10: + 2nd Loop
Adds second loop to the last snap.
Clock11: + Swing and Echo
Swing and audio echo adds a rich texture.
Clock12: + Output Filter
Notes on sequencer 1 above G#3 are filtered out, creating melodic pauses.
Clock13: + Matrix Mod 1
A third sequencer channel modulates pitch of the first channels, creating a rich burbling cascade.
Clock14: + Mirror
Pitch mirroring creates a different melody.
Clock15: + Fade
The two audible sequencers are velocity-modulated by a slower, muted sequence, which slowly reduces velocity to zero, fading out the sound, before switching to the pause track.
Clock Pause 2
An empty snap to let the notes finish and turn off the snap auto-changer.
This snap set illustrates some simple ways the instrument provides dynamically changing accompaniment and pads.
MIDI Step 1: Simple MIDI Step
Any incoming MIDI note plays the next note on a short sequence.
MIDI Step 2: Step Transposer
Play the same note, and the instrument transposes it by a different amount, in a four-step cycle.
MIDI Step 3: Chord Accompaniment
Play notes, and the instrument remaps it to C major and plays a three-note chord.
MIDI Step 4: Split Chord + Lead
Notes below middle C are filtered into sequencer 1 and play a chord. Notes above middle C cycle through an arpeggiating accompaniment on sequencer 2.
MIDI Step 5: Beat Duo
Channel 1 plays a chord on every fourth note, channel two steps through a sequence on each note.
MIDI Step 6a: Snap Changer A
After MIDI steps through channel 1's pattern twice, the instrument automatically advances to the next snap.
MIDI Step 6b: Snap Changer B
The synth changes to a more bold sound.
MIDI Step 7: Loop Mod w/Chord
Sequencer 1 plays a chord in response to MIDI notes, also transposing a loop playing on sequencer 2.
This snap set illustrates how to build phat and dynamic textures with layer mode.
When a MIDI note is on, the layer channel plays a clocked sequence; playing additional notes plays the same sequence with a different pitch and velocity offset.
MidiLayer2: Slow Strings 1
Playing notes layers slow moving sounds.
A simple, soft loop plays. Pressing keys layers some gentle frills on the loop.
MidiLayer4: + Pitch Mod by 1 Loop
A clocked loop runs in the background. When a MIDI key is pressed, the layer is activated, also transposed by the clocked loop.
MidiLayer5: + 2nd Loop
A second loop adds a chord and transposes the pitch again every fourth note.
MidiLayer6: + Bars
The bar sequencer, together with additional loops, creates a jungle beat.
MidiLayer7: + Beats
Beat filtering by the step filter creates rhythmic texture.
MidiLayer8: + Hop Loop
Every so often, an additional loop adds a simple high frill.
MidiLayer9: + Swing
Various synchronized layers in parallel play loops around each other.
The fourth snapshot decade plays frills, melodies, beats, and pads that change on each trigger, and which can overlay themselves.
Each incoming note retriggers an 8-step melody, overlapping itself if multiple keys are pressed while the fugue is playing.
Each incoming note is repeated at a slowly decaying velocity, providing a high-fidelity echo.
MidiFugue3: Tempo Echo
The step filter creates a rhythmic pattern in the echo repeats.
MidiFugue4: Bar Song
The same sequence in song mode, playing a 32-note melody.
MidiFugue5: Bar Step
Each consecutive note instead advances the bar sequencer to modulate pitch of the same 8-step fugue.
Alternate MIDI notes triggers a scale in opposite directions.
MidiFugue7: Voice Limited
Chords are enabled on multiple fugues with different tempos triggered simultaneously, but the output is limited to four voice, creating sharp shifting chords.
MidiFugue8: Split FX/MIDI
notes below middle C play a high-Q special effect, and above middle C, a different effect.
A MIDI note triggers two channels holding fugues with the same pattern, but different tempos and bar transposition.
The previous snap is creates a different harmony as the two fugues modulate each other's pitch.
The next set show how even a few simple matrix steppers can do just amazing things.
A melody on sequencer channel 1 triggers a single repeating note on channel 2.
MtxStep2: + Beat Filtering
A beat filter singles out particular beats in the pattern.
MtxStep3: + Pitch and Vel Track
Enabling P and V modulation from the same pattern, and adding chords, creates a tracking chord accompaniment.
MtxStep4: + Pattern
A pitch pattern is added in the step matrix channel, providing changing harmonics in the accompanying chords.
MtxStep5: + 2nd Pattern
The matrix stepper is triggered by a second loop with silent steps, and the step filter turned off, to build a melody.
MtxStep6: + Output Split
The patterns from the MidiLayer snap demos are playing in loop mode on sequencers 1 and 2. Sequencer channel 3 is matrix stepper, receiving notes from both the first two channels. It filters out input above C4, extends the note duration, and sends the result to one synth on MIDI output 1. Sequencer channel 4 on also a matrix stepper, filtering out notes below C4 instead, and sends the result to a different synthesizer on MIDI output 2.
MtxStep7: Recording with Pitch Wrap.
Channel 5 is a matrix stepper, also in record mode, enabling live monitoring of pitch, velocity and duration modulations from other channels. The input filter wraps note pitch from sequencers 1 and 2 into a two octave range, combining in a rich mix with the loops and other steppers to provide a vibrant melodic texture.
MtxStep8: Combining Loops. 1
A loop on sequencer 1 triggers three matrix steppers on 2 and 3. They each loop themselves at a different length, one with a velocity pattern, another with a duration pattern, another with a pitch pattern. Sequencer 1 receives modulations from the two other sequencers which it triggers. Because of Husserl's interlocked modulation matrix, the modulations from the two steppers change the pitch and velocity of the loop in the same cycle which they are triggered. The steppers can as lo play their own melodies
MtxStep9: Combining Loops, 2
While the three steppers modulate different facets of the loop on sequencer channel 1, they play bass-line and pads simultaneously.
MtxStep10: Combining Loops, 3
The three steppers are all trigger-locked to sequencer 1; increasing its tempo increases all their tempos. While they have virtually no pitch patterns at all, they also can also receive back pitch modulation from the driving sequencer. Even though they are "trigger slaves," they can change the note which triggered them, and all change each other's notes at the same time. So in a few clicks, I'm sure you can easily make even better compositions!
Matrix layers are like MIDI layers, but are instead gated by the primary note from other sequencer channels.
MtxLayer1: Simple Layer
A clock loop on sequencer channel 1 gates the layer on sequencer 2.
MtxLayer2: Gate Length Mod
A second clock loop modulates the duration of notes on sequencer channel 1, letting more and less notes through on channel 2's matrix layer.
MtxLayer3: Poly Gates
Pitch modulation from the gate source is enabled, so the layer channel can play multiple overlapping notes.
MtxLayer4: Multiple Gates
The layer accepts gates from a loop on channel 4 that cuts in on half the beats, adding a subtle harmony into part of the layer.
MtxLayer5: Local Pitch Map
A matrix layer on channel 5 shifts the modulating tones with a local pitch map, set to substitution G minor. A bar sequencer on the same channel also shifts the pitch by two semitones and increases duration every third pattern cycle.
MtxLayer6: Layering Layers
A second matrix layer on channel 5 wafts in and out of the first. The second layer's pitch and duration is also changed by a loop on channel 3. Channel 3 also slowly shifts the synth's cutoff frequency.
MtxLayer7: Fluty tempos
The layers modulate each other, adding bar sequencers with tempo changes to spin in some flute-like fills.
MtxLayer8: Spooky Layers
Notes mysteriously fade in and out as multiple layers slide around to create almost-but not quite-random chord intersections.
MtxLayer9: Ambient Layers
Slower tempos let the layers waft around in ambient style. Be careful when switching snaps, as the long notes may be louder on other patches.
MtxLayer10: Weird layers
Another channel modulates osc2 pitch at a different rate, with high Q and FM in F minor tumbling though a medley of spacey sounds.
Matrix fugues let one note trigger entire runs of notes, from another sequencer instead of by MIDI as in MIDI fugue mode. Fugues are a fun way to quickly build up a song.
A 4-step clocked loop triggers an 8-step fugue. The fugue first in between the loop steps.
MtxFugue2: Simple 2
A 4-step clocked loop triggers an 8-step fugue. The fugue overlaps with itself, exactly once.
Input filters on two fugues let each be triggered by different notes in the source loop.
Swing on the fugue timing creates a funky rhythm.
Three fugues in exactly the same tempo are muted, and their notes feed into a matrix stepper to build chords.
The fugues are simple ascending scales, but the 'stagger' patterns swap notes around in the pattern.
MtxFugue7: Beat filters
Two fugues are drawn quickly with simple ascending and descending scales. A loop triggers them at intervals, and the beat filters filter out corresponding halves so they play together into one tune.
The same fugue is pasted into another channel and note transformations turned on, then it modulates the first fugue.
Velocity delays the start of one fugue, so it sounds like an echo of the other fugue.
One fugue triggers another, which triggers another, which triggers yet another.
After the fist 90 tutorial snapshots showing different ways to play Husserl's modes, bank 10 contains extra tracks with various sonic soundscapes.
A MIDI fugue is on sequencer channel 1, and a loop which modulates its pitch on channel 2. Depending when you press a key, a different fugue plays.
Sequencer channel 1 has a looping sequence which is pitch-modulated by channel 2. Also, channel 3 sends controller modulations to the filter cutoff of the analog synth, which has a synced delay line, creating a burbling filter.
Algorithmic Music Demo
Muted, sync'ed loops oat different tempos on channels 2, 3, and 4 trigger a recording stepper on channel 1. The stepper also has MULT mode enabled, so it plays chords from the loops when their steps coincide.
Channels 3, 4, and 5 are slow step-filtered loops, some with long sustain, that trigger a fast layer on channel 1. The fast layer adds fresh tinkles to wistful chords in E minor.
Four slow loops in a blues key play a low-filtered resonant tones reminiscent of early Pink Floyd.
Based on the Blue Floyd snap, the tonality is carefully architected on the filter resonant point to reinforce deep harmonics.
Five dissonant loops at different rates trigger a layer on channel 1 creating chaotic medley, on an organ synth.
The loops from Pompeii, shifted to Mixolydian key, play the same tune but without the chaos on a guitar-like synth.
A single rhythmic guitar plays in nine time. The loops shift duration, velocity and key at ninth intervals.
This features a band-pass filter tuned to create a voice-like vowels for a mechanical voice someone singing "babu, babu." Pitch and tempo changes are combined to shift the voice up and down.
A simple sine wave synth creates very fast scales that alternate in direction, like the sounds from many slot machines in a casino. Like in a casino, all the pitch is mapped to the familiar C major key.
The melody from NINES played at different rates, with a low-pass filter at low cutoff to create a xylophone sound.
A synth sound with that twanging effect, played with two loops modulating each other's pitch like the old southern fingering.
Oscar Peterson would enjoy this rendering of an endless changing melody, created by loops of different lengths, in D major. The synth routing is set up so the changing duration adjusts the filter envelope slope, emphasizing the pluck.
Slow attack in A major provides a somber resonance to a random loop set.
A slow attack is combined with cutoff modulation from channel 3 to create a wailing sound.
An unusual key and lots of ring modulation and FM with a slow randomized tempo, with balanced reverb, creates the mystical aura of a Himalayan temple.
A basic rock drumbeat.
A different length on the step filter and pattern sequencer, together with a new custom pitch map, changes a basic drum pattern continuously.
Some unusual intervals on three clock loops, are mapped to C major. The third sequencer also transposes the first two at a different interval than their bar sequencers. A little chord jitter makes it sound like a real person is playing the tune.
A variation on the Plateaux theme.
Channel 3 plays a fast bass rhythm. Channel 1 is a loop with transformed pitch from channel 3. Channel 4 is a fugue triggered by channel 1, but pitch modulated by channel 2.
It's the organist before the morning service, playing A Minor with too much vibrato. A fast muted loop on channel 3 modulates long chords from channel 1 and 2.
A clean organ patch with reverb, with an ever-changing pentatonic melody on four channels.
Two descending scales with different beat filtering, and even more reverb. After a few bars the snapper changes it to the next snap.
Cathedral Stairs 2
The key changes for a few bars, then changes to the last snap.
Cathedral Stairs 3
The soft organ sound gradually fades away.
Demo Song 1: Tutorial
This is a simple tutorial demo.
- Demo 1. This set demonstrates a single sequencer. First, a simple, single loop, 4-step sequence. The odd notes have a long duration and the even notes a short duration, so the odd notes overlap the even ones. If auto-change is enabled, it switches to the next snap after 4 bars.
- Demo 2. The same loop, in a new key. If enabled in the global options, notes from the prior snap sustain over the snap change. The auto-changer again advances the snap after two cycles.
- Demo 3. The same loop, played four times and transposed by the bar sequencer. The auto-changer again advances the snap, exactly at the end of the bar step.
- Demo 4. The synth snap changes to a different sound, and an eight step sequence loops a few times.
- Demo 5. The sequence reverses and played for four bars, transposed, on an organ sound. The chord generator thickens the notes, and the pitch map changes to G major.
- Demo 6. The filter cutoff is lowered, and the output matrix routes the same sequence to the drum synth in parallel.
- Demo 7. The same sequence is pitch wrapped between A3 and D3, creating a tom-tom pattern on the drum synth. After four cycles the snap advances.
- Demo 8. A descending sequence is pitch wrapped between A3 and D3 with direction in a staggered pattern. The note bar sequencer increases duration and slows the tempo for four bars.
- Demo End. The previous snap is wiped, and snap auto-advance is disabled, to end the song.
Demo Song 2: Calico
This is a new-age style demo.
- Calico. Eight sequences play all three synths, with some muted in each snap. Initially, channel 3 plays a short sequence and the other six channels are faded in by channel 8.
- Calico 2. The first seven channels play staccato at a fast tempo.
- Calico 3. Channel 3 plays the descending tune twice, with other channels muted.
- Calico 4. All channels are re-enabled, and the tempo slows, picking out a few of the melodies, creating an oriental feeling.
- Calico 5. Each of the sequences are transposed a different amount, and the key changes to create an oriental feel.
- Calico 6. Velocity decreases and the bar sequencer selectively slows tempo on some of the sequences.
- Calico 7. A rim shot with rapidly increasing velocity ends the song.
- Calico End. The previous snap is wiped, and snap auto-advance is disabled, to end the song.
Demo Song 3: Ginger
This is a jazz-rock composition. It uses all three demo synths, so the CPU load may be significant on older computers.
- Ginger. The first snap introduces the main rhythm parts on each bar, with bar sequencers enabling each part in stages. Channel 15 modulates FM on a continuous smoothed ramp to create a guitar sound.
- Ginger 1. Channel 16 adds a piano with a beat sequencer creating a alternating dual/triple chord riff inside the down beat. The beat sequencer on the bass line changes to PRE, so that the tones change on each cycle.
- Ginger 2. The piano lowers in pitch and the bass increases in duration to create a counterpoint. Duration reduced on channel 16.
- Ginger 3. Channel 1 modulates pitch on channel 3.
- Ginger 4. Channel 4 takes the same pattern as channel 15, but with a different beat sequence, which in combination with channel 15 creates the main melody.
- Ginger 5. Additional pitch modulation from channel 15 to channel 4, with swing, creates a new variation as the swing causes sampling of different pitches.
- Ginger 6. Filtering pitch modulation and changing some beat steps creates a deeper jazz melody. Add
- Ginger 7. Channel 13 extends the pattern from channel 16 and plays it with a staggering 2-4 direction.
- Ginger 8. Channel 12 is a copy of channel 13, with a different chord and direction.
- Ginger 9. Channel 12 plays by itself, with transpositions slowly fading into the end snap.
- Ginger End. The previous snap is wiped, and snap auto-advance is disabled, to end the song.
- v099 redesigned the instruments so that they have 0% CPU load when switched off.
- v099 added 100 demo snaps.
- v098 added logic in the drum instrument to permit polyphony on hi-hats, and to retrigger notes if a gate on event is received while a drum is already playing.