How are you using Frames?

Curious to see how Frames owners are utilizing the module.

I seem to be using it as a modulation source most of the time.

Sometimes I just use it as a 4 channel mixer, sometimes I modulate the mix.

Animated mod source, Quadrature Wavetable VCO…

https://soundcloud.com/bennelong-bicyclist/mutable-instruments-frames

See also http://www.muffwiggler.com/forum/viewtopic.php?t=112743

I enjoy sending drums through and mangling it with the frame rate. Mega fun is mxing the anushri drums and the peaks drums together. So awesome

All of the above? Definitely a versatile and fun module. I want another one.

thanks for posting that muff’s link bannelong - it’s always interesting to see how people are using these modules, i tend to get in a bad habit of going to the same “function” with these very abstract modules sometimes and threads like that are certainly inspiring to break that pattern

One strategy is to ignore it, do a patch, and then unplug 4 random connection and route them through each of Frames’ 4 channels.

Another stragegy: whenever you are in an either/or situation with respect to a parameter, control this parameter by Frames. Do that until you run out of channels. Create frames with different combinations of “sweet spots” for all parameters. Use in sequencer mode.

Frames user guide

Overly long demo recorded in a single take of Frames in quadrature LFO mode modulating timbre and colour parameters on Braids and LP4 and BP2 filter frequency in Ripples. There’s no modulation or variation in pitch here at all, nor are any envelope generators or VCAs used (the VCAs in Ripples are bypassed).

https://soundcloud.com/bennelong-bicyclist/tim-tam-burrs

Doing this did make me wonder if it would be possible to use the graft the PLL code from Tides into an alternative LFO mode for Frames, in which the period of the LFO synchronises to the period of pulses received on the Frame input jack, possibly with the big Frame knob controlling clock division (as in the PLL mode in Tides). In both LFO modes, an start-of-cycle pulse could be output on the frame step jack. That would allow the Frames LFO mode to be integrated into all manner of clocked patches.

olivier, thanks for the suggestions - fine tips for the “patching pedagogy” that are always welcome to a dummy like me :wink: cheers.
im very much into the either or dependent paches from in the modular from a compositional standpoint these days. one of the best pieces of advice i was ever given on arranging the orchestra was “pay attention to the interplay in good pieces to what ceases to happen when something else does, and to what happens with the unison - both compositionally and sonically”. often times we tend to hear syncopation with woodwinds and brass - call and response low brass sustains yielding to woodwind trills in the old trope. frames is excellent for this sort of application. i usually use the mod wheel on my keyboard to sweep through the key frames without interpolation to sweep through different “sections” of the patch in conjunction with tides making use of the freeze function to introduce sequence trills or runs into sustains and drones. what can be done with interplay between tides and frames is remarkable. weird modules that pair; but damn, they can be inspiring to use.
and bannelong, is that one instance of braids youre working with there? i just zoned out on that piece for 10 minutes

@livefreela, notes from SoundCloud on Tim Tam Bears (pardon the puns):

Drone using three Mutable Instruments Braids oscillators in VOSM, WMAP and FOLD modes, fed through six Mutable Instruments Ripples using LP4 and BP2 taps each panned to a fixed position in the stereo field, with timbre and colour on the Braids and filter cut-off on all six Ripples each individually modulated by 12 CVs from three Frames, each running in quadrature LFO mode with voltage offset enabled. LFO speed and the four parameter knobs on each Frames slowly tweaked. No pitch modulation or variation whatsoever - it is completely atonal, a purely timbral piece. Recorded live in a single take, no post-processing except a little stereo reverb.

3 braids and 6 ripples!?

All these modules have plural names, which I took to be advice.

@bannelong - cheers man, you use them well. i thought i had picked up on a buchla 291 sort of vibe concerning the stereo image; although the frames driven implementation seems much more elegant - especially given the complexity of the band splits routed through six filters!

considering to get one

does anyone sometimes use it as a multi sequencer?

mr_freeman, while thats a possible the 10v range scaled over the travel of one pot makes tuning particular steps challenging. additionally - unless im mistaken, while interpolation can be disabled, the progression of stepping through frames cant be done with triggers or gates so clocking the steps to the ramps of a slow running function generator in the traditional step sequencing paradigm would be be very widdly indeed. especially without clock or reset. still i suppose step sequencing technically can be done, but is really a suboptimal use for the frames imo. now as a programmable cv modulator - well thats very different story :wink: in that case, frames is killer

If you want one channel of Frames to have a range of, say, 1 octave, just feed 1v into the input for that channel. Use a quantiser (or quantiser mode on Braids), and you have 12 semitones spread over the full range of the pot for that channel. Or use the 5V internal offset and an attentuator on the output to divide down the range to just one or two volts and thus one or two octaves. If you have three or four oscillators, you can sequence chords that way, one channel of Frames per oscillator. The resolution of Frames is easily high enough to record melodies over several octaves range if required with good tuning.

livefreela: you can configure Frames so that the FRAME CV input works as a trigger input instead to switch to the next frame.