colleen

When Moog agreed to premiere the documentary on The Tunnel and the Clearing last year, they also asked me to make a short tutorial to show how I used the Grandmother to process the Reface YC on my album The Tunnel and the Clearing. 
I made 2 videos for the 2 songs that use that method, “Revelation” (previously posted here) and “Hidden in the Current”.  The voiceover tutorial is up on Moog’s Youtube channel, and is featured with a patch sheet as part of the written interview I gave on their website. I love seeing the overhead shot video without the voiceover though, and listening to this more than a year later, I’m actually floored by how similar this sounds to the album version (headphones for bass content please), which shouldn’t surprise me given that my methodology was indeed to record live and not use any plug-in, but still…
I hadn’t really dug deep into synthesis at that point, and now that I’m 1 year deep into exploring the Grandmother, I would say that even though the limit of this approach is that you *have* to be in drone mode for it to work (to process the external sound source via the synth’s mono input), it does open the beautiful possibility of having a chord-capable instrument (Reface YC here) on top of the monophonic synth, which immediately takes into another territory. I am really taken by the “washes” of sound on this song, as I am by the textures I got on “Revelation” without even using the oscillators and basically just using the Grandmother as if it were an LFO/Lowpass Filter/Spring Reverb giant unit.
I also remain a massive fan of manipulating parameters rhythmically by hand, both for the sonic result and for the sheer joy of doing it. There will be plenty more of this in LP8 which I’m currently recording.
“Hidden in the Current” setup: 
Reface YC auxed to Grandmother
Grandmother auxed to MF-104M Analog Delay, with both outputs Mix and Delay to get a stereo effect.

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