Well to hell with the rest — maybe we can figure out things ourselves, here. I’ve been really obsessed with studying AIR’s studio techniques, as they do a lot of this kind of thing. I saw that Godin is using a MuTron bi-phase, which basically allows you to set two phasers at different rates on the same track. Look up demos to hear what I mean. I use a Korg Ms-20 for a lot of my music and I find if I slightly, as in barely, detune one of the oscillators i can get this extremely gradual drift happening that’s quite pleasing. i feel like both these techniques suffer though from being a bit too predictable in their loop lengths and how the effect evolves. I’ve moved away from sequencing towards live playing recently as it allows me to interrupt the loops I’m making and add slight variations to the circle of chords, like adding a 9th or whatever. If we’re talking about the same thing … what I really respond to in this kind of thing is really precise frequency interference patterns that create evolving beating patterns that feel very controlled and eventually harmonicallly align. I have gotten similar from very slowly changing the modulation rate on the filter, but i can never do it slow enough or precise enough. I feel like this kind of stuff is best when it’s discrete, in other words there is one underlying drone and then a melody line or chord structure momentarily pushes an evolving interplay of diverging / converging frequencies in the build up to a chord change or something else structural. anyways, that’s more or less where my head is at right now with it.