“HIDDEN IN THE CURRENT” MOOG PATCH SHEET AND VIDEO
August 7, 2021 § Leave a comment
MOOG EXTRAS ❤️
To accompany Luis Torroja‘s documentary on The Tunnel and the Clearing, Moog also interviewed me on technical and creative aspects of the album, and asked me to showcase more directly my use of the Grandmother with explanations.
Filmed with my phone miraculously perched on top of an antipop filter at the end of my best mike stand… Pretty proud of how it turned out! 🤣🤣🤣
MINIMAL, YES; SIMPLISTIC, NO: “HIDDEN IN THE CURRENT” MOOG PATCH SHEET AND THE INS AND OUTS OF THIS PARTICULAR SETUP.
Here is the beautiful patch sheet that Moog generated out of my settings for “Hidden in the Current”, but I thought I’d clarify the way I connect the 3 pieces of gear that make the song: the Yamaha Reface YC, the Grandmother and the Moogerfooger MF-104M.
I am of the school that THE MORE SIMPLE THE SET UP, THE MORE YOU SHOULD THINK CAREFULLY ABOUT THE WAY THE DIFFERENT ELEMENTS ARE CONNECTED, TO GIVE YOU MAXIMUM ROOM FOR CREATIVE MANEUVER.
– the Reface YC is sent to the Grandmother via an Aux Send on my Soundcraft Signature 12MTK mixing desk. You could of course just plug the mono output of the Reface directly into the Grandmother’s input, but I like doing it via a mixing desk for 2 reasons: 1) I can retain a separate stereo track of the Reface YC (even if I’m not going to incorporate it in the final song, I always feel this is a good thing to have, if only to reference how the untreated original sounded in the first place) 2) for a long-term project like an album that involves a main sound source (in my case, the Reface YC) to be treated and altered via different units (in my case: Grandmother, Moogerfoogers, Space Echo), it really makes sense to have the Reface “parked” on one strip of the mixing desk, ready to be conveniently sent via the Aux pots to wherever it needs to go.
– the Grandmother’s output is permanently connected to its own input on my Scarlett Focusrite 18i20, ready to be recorded on a separate track in my DAW, good ol’ Acid.
– From the Acid strip, the Grandmother track is then bussed to the Moogerfooger MF-104M delay, to give it extra body and – very crucially – stereo width.
Again, I could have just plugged the Grandma’s output into the MF-104M’s input, daisy-chain style, but with this method I have a separate Grandmother track.
-The MF-104M’s 2 outputs are permanently connected to the Scarlett to be recorded as 2 mono tracks – again allowing complete freedom of panning.