To save your patches, you can take a picture or do what synthesists in the 1970s did: make a patch sheet. If you’re unsure how to route everything up, refer to this piece on working with audio and MIDI. If you’re unfamiliar with the Moog Grandmother, see the run through in our previous tutorial. As always, click any image to see a larger version. We’re using Ableton Live but any DAW will do you. Once those sounds are recording as audio in a DAW, they can then be further manipulated and massaged. First, we’ll patch up some drum sounds, and then move on to bass, lead and a melodic drone. Today, we’re using a Dark Series edition Grandmother to create the building blocks for a Boards Of Canada-style ambient track. Sure, it’s a monosynth, which limits it to a single note at a time, but ol’ Grandma is semi-modular, meaning that her signal path can be disrupted and rerouted, enabling all kinds of synthesis possibilities. This is decidedly not the case with Moog’s Grandmother. They’re great for bass and leads and the occasional whooshy effect but for wildly deep synthesis, we’re more likely to turn to an all-singing all-dancing modern poly. We don’t often think of monosynths as being flexible. We use a Dark Series edition Grandmother to create a Boards Of Canada-style ambient track in Ableton Live. The Moog Grandmother is surprisingly flexible for a two-oscillator monosynth.
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