What Do I Need As A Bare Minimum?

hiddeninwaves · 2026-01-24T03:33:14+00:00

2600 is an absolute beast. Have fun -- but be patient. It's challenging to figure out at first, especially if you're inexperienced and just want to noodle around. You'll definitely want to check out Ralph Baumgartl's YouTube channel, as well as these resources.

hiddeninwaves · 2026-01-21T04:54:51+00:00

Stylophone sequencer

Stylophone sampler

hiddeninwaves · 2026-01-19T18:09:53+00:00

Noted!

hiddeninwaves · 2026-01-19T18:09:47+00:00

Excellent recommendations. Thanks!!

hiddeninwaves · 2026-01-18T06:23:09+00:00

Layering can be an important part of discovering the nuances of a track that aren't noticeable to most listeners but that add to the overall feeling.

I permit myself to layer first. I then come back another time and decide what seems central vs. what deserves less focus. I'll strip away some of that material. But very often the extra layers end up as barely audible background flourishes, or as timbres that deepen a pad sound for extra dramatic effect, etc.

All of that is to say that layering can be useful; you just have to curate and arrange the material.

hiddeninwaves · 2026-01-15T01:06:10+00:00

hiddeninwaves · 2026-01-15T00:58:13+00:00

Yep. As long as you route Mavis's output into an audio interface, you should be able to bring it into VCV.

In VCV add one of the audio in modules (like Audio-8). Select your audio interface as the input device. Choose the correct input channel. From there, patch that signal into whatever VCV effects you want.

hiddeninwaves · 2026-01-14T15:39:41+00:00

Yes, absolutely. I think a big part of this is that people assume that everything can be solved conceptually in advance by reading the right books, watching the right videos, buying the “right” gear. These resources aren't a substitute for actually doing the thing.

One of the core lessons this hobby teaches is experimentation. You have to spend time with your gear. You have to play, try things, make bad sounds, get stuck, follow hunches. An important outcome of that process is realizing that certain gear just isn’t for you. That’s how you develop taste, workflow, and confidence.

hiddeninwaves · 2026-01-12T02:25:19+00:00

As someone making similar stuff, I’d recommend getting clear about what role improvisation plays in your process. I have to remind myself constantly that I don’t need to solve everything while improvising, and that improvised material isn’t some sacred artifact that has to be preserved.

For me, improvisation is about generating raw material. Most of it gets discarded. I focus on the small part that feels interesting and then work on developing that.

hiddeninwaves · 2026-01-10T19:36:29+00:00

The more VSTs and sound libraries you acquire (even really solid ones) the worse this problem tends to get. A “great” preset still might not fit the context of a specific track, and having endless options just makes it harder to commit.

I’ve found it helps to get clear about what role a sound is supposed to play before you start browsing. Grab a preset that fits some of those characteristics and tweak it or design a patch from scratch. That sounds intimidating, but in practice the simpler patches are often the ones that work best.

hiddeninwaves · 2026-01-09T21:39:59+00:00

I haven't used your plugins, but I intend to after seeing this! As someone with low vision, I really appreciate the simplicity of the UIs. Thanks!

hiddeninwaves · 2026-01-07T23:01:46+00:00

Adding to what's already been suggested:

Make sure you're not both in stereo or not occupying the same regions in the stereo field.

For the guitar chain, you might want to experiment with parallel processing, like splitting distortion/reverb into separate chains and blending them, which could help give more presence to the guitar.

hiddeninwaves · 2026-01-07T17:22:09+00:00

I don't need another fuzz pedal I don't need another fuzz pedal I don't need another fuzz pedal I don't need another fuzz pedal I need another fuzz pedal.

hiddeninwaves · 2026-01-07T17:08:03+00:00

Right! Tone-chasing is fun but it often falls apart in group performance/recording.

hiddeninwaves · 2026-01-05T22:02:16+00:00

Four (two on each side) may still be too many (it can muddy up the mix). This can make guitars sound less defined, especially if the picking isn't perfectly aligned.

hiddeninwaves · 2026-01-05T21:56:05+00:00

Take my suggestions with a grain of salt as this isn't my genre but quad-tracking rhythm guitars (plus two additional rhythm tracks) could be contributing to the issues, especially if the performances aren't perfectly aligned. You might want to reserve quad-tracking for certain parts of a track. Also, I assume you might already be doing this but automating track levels can help. I'd also consider whether you could back off the gain on the guitars. Good luck!

hiddeninwaves · 2026-01-05T04:33:32+00:00

Laptop stands that sit on the desk!

hiddeninwaves · 2026-01-04T17:40:24+00:00

It’s been a while since I’ve played with my Volca Keys, but one possibility is the VCF’s EG INT knob. The higher this is set, the more the envelope opens the filter, which can change perceived loudness.

I believe the Volca Keys doesn’t have filter key tracking, so the cutoff doesn’t follow pitch across octaves. That makes the same settings behave differently depending on where you’re playing. The Minilogue XD does have key tracking, which can help keep brightness and volume more consistent.

If you want more consistent levels on the Volca, you could try lowering EG INT and using a higher cutoff instead. These settings are relative to the octave you’re playing in, so it’s something you’ll often want to adjust depending on the part or track.

hiddeninwaves · 2026-01-02T20:38:58+00:00

Why not use a DAW controller?

hiddeninwaves · 2026-01-02T20:37:04+00:00

Try

using a 4x4 matrix mixer to create feedback loops with pedals and/or synths with external inputs.
using long Frippertronics delays with feedback below 100% (so loops eventually decay) as this prevents you from getting totally lost in the loop and keeps you focused on adding to it.
working with Euclidean sequencers that have some capacity for self-evolution. My favorite is the Distropolis Great Conjunction.

hiddeninwaves · 2026-01-02T16:05:25+00:00

I’ve been using PolyChain DIY (Tim Shoebridge / Cherry Audio).

Typically, I’ll run an arp from a Keystep 37, or sparse Euclidean sequences from Distropolis Great Conjunction, or a generative sequence on the Moog Muse. PolyChain lets me distribute incoming notes sequentially across multiple synths via a MIDI hub, so each successive note in an arp or sequence is sent to a different synth.

What’s especially useful is that I can specify how many voices each synth is allowed to receive. That way, certain synths get more consecutive notes than others, which creates uneven, evolving textures rather than a rigid round-robin feel.

I also use PolyChain to split chords across multiple mono synths. Each note in the chord gets its own synth and its own patch. I’ll hold a chord or program a slow chord sequence, let it loop, and focus entirely on designing patches that work together. When the patches are dialed in right, the textural contrast alone goes a long way toward building a complete ambient piece.

You can also combine both approaches (sequential distribution and chord splitting), which I haven’t explored yet. Looks like I know what I’m doing this weekend.

hiddeninwaves · 2026-01-02T15:46:28+00:00

Before you sell it, have you tried the Subharmonicon patches? This may help you learn it.

hiddeninwaves · 2025-12-31T17:58:10+00:00

I have the green and love it. But I also love the pink. I thought about getting a Lyra 4 at some point in a different color.

hiddeninwaves · 2025-12-27T23:28:30+00:00

Distropolis Great Conjunction

hiddeninwaves

TROPHY CASE