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Guide to the Example Files

The Examples directory in AudioMulch contains a range of documents that demonstrate different ways you can use AudioMulch. To open the directory, go to the File menu, select Open, and double-click on the Examples folder. These files are a good starting point for experimentation with AudioMulch as they provide pre-built contraption combinations for you to practice on. By moving the knobs and sliders, each of the individual contraption parameters can be changed so that you can experience the changes that these make to the sound in real-time. You can also connect new contraptions to the example files, or dismantle each file to examine its individual parts.

Each example file is described briefly below. For further information about each file, read the Notes window that pops up when you open an example.

To hear an example file, press the Enable Audio button on the toolbar or select Enable Audio from the Control menu. To hear some of the examples you need to have the clock running. To do this, press the Play button on the toolbar or select Play from the Control menu.

Although these examples mostly demonstrate the capabilities of AudioMulch to synthesize sounds, many can be modified to take their input from a sound file instead by using SoundIn.

Basic Examples

The examples in the Basic folder primarily demonstrate narrowly focused techniques and/or basic AudioMulch functionality. These techniques, or Patches, may then be combined to create more complex compositions or live performance environments.


ArpeggioDrone employs a series of four Arpeggiators to produce an evolving pad or drone. While all four feature the same Pitch Set, each Arpeggiator is configured with varying Cycle Length and some degree of Skip and Repeat randomness applied. The resulting effect is one of a constantly shifting, though effectively static harmonic field. A pair of DLGranulators add some irregularity to an otherwise sustained texture.


As the name suggests, this example explores the use of AudioMulch for the processing of beats. The patch uses a Flanger->5Combs->DLGranulator chain to create a series of modulated chordal textures which evolve through the use of parameter automation. An automated SDelay contraption introduces a series of rhythmic variations. This patch also provides a good example of the use of Drums contraption presets to create a varied pattern sequence.


DrumLooper provides a simple demo of many of the samples bundled with this version of AudioMulch. A series of two and four beat patterns employing a varying selection of samples are played in sequence, composed through the automation of the Drums' contraption presets. This patch also demonstrates a relatively basic use of the LiveLooper. The Drums output is recorded using the LiveLooper, with each loop triggered via automation. At the completion of the initial sequence the loops are replayed independently by automating each LiveLooper track's Control button.


FlangerVsPhaser provides an example of the sonic differences between the Flanger and Phaser contraptions. It also demonstrates parameter automation in switching between the processed output of each contraption.


This example uses SDelay and FrequencyShifter contraptions within a feedback loop to create an upward cycling resonant feedback.


This example demonstrates the use of the DLGranulator to create a kind of flexible amplitude modulation. The granulator is applied to a sine wave generated by a TestGen. The regular interonset time of the DLGranulator creates a formant-like sound with the fundamental controlled by the granulator's interonset time, and the formant frequency controlled by the sine wave's frequency. Automation is used to create an evolving timbre.


GranPrix demonstrates the use of multiple SSpat contraptions to simulate a number of moving sound sources.


This example demonstrates the use of DigiGrunge as an effects processor. A Drums sequence is processed via a short automated loop. In this patch the DigiGrunge is augmented by RingAM and SouthPole contraptions and demonstrates the use of feedback and side-chaining. Solo the M*Mixer channels to hear the effect of each processing chain on the mix.


HappyPenguins provides an example of the possible uses of the Arpeggiator. Its primary aim however, is to demonstrate the use of the SouthPole filter. Through a sequence of automated changes the patch produces a range of the effects made possible by SouthPole. The inclusion of this automation sequence also allows the user to experiment with the concept of parameter automation.


Based on a patch created by Warren Burt, HarpoonedFeedback demonstrates a self-generating feedback loop using an MGain and a Flanger.


A jungle-inspired example, using automated LoopPlayer presets with different phase settings to achieve a sequenced cut-up of the beat. This patch also demonstrates the use of an automated TestGen distorted by a DigiGrunge to create a descending bass tone.


PolyRhythmic demonstrates AudioMulch's ability to accommodate different time signatures concurrently. A Drums (Drums_1) contraption acts as a metronome following the pulse of the automation timeline, via preset automation, while two other Drums contraptions (Drums_2 & Drums_3) play rhythms based on different time signatures. As Drums_1 follows the timeline time signature changes a variety of polyrythmic relationships can be heard.


This patch demonstrates one use of the PulseComb hybrid pulsar filter. Here it is applied to filtering a simple drum pattern. The automation sequence was recorded to demonstrate a variety of possible PulseComb effects.


As the name suggests this example demonstrates a simple ring modulation of two Basslines using a RingAM to create a different synth texture.


RissetSquelchBass demonstrates one use of RissetFilters to generate cyclic filter variations within a defined frequency spectrum. This is perhaps heard most clearly in the contraption chain processing the Bassline (Channel 1-2 of the S4Mixer) but is also reflected in the processing of both Drums contraptions.


In this example seven parallel RissetTones generators are panned across the stereo field to create a sonic effect. Each of the RissetTones move at a different rate causing the tones to slowly move in and out of tune with each other. Don't spend too long listening to this patch otherwise you may find yourself entering the Twilight Zone.


This example explores the use of the Shaper contraption. In this patch the Input Gain parameter of the Shaper is swept over time using parameter automation leading to timbral changes. ShapeSynth also uses TestGens and 10Harmonics for source tones and a Bassline contraption as a pattern-based envelope filter.


SidechainingSouthpole demonstrates how the side-chain input of SouthPole (in this case, a pattern from the Drums contraption) can be used to "gate" a continuous (Arpeggiator & TestGen) signal fed into the main input so it effectively plays along with the side-chain source.


SimplePlugnPlay shows one approach to an entry-level live processing setup. The SoundIn is routed to a DLGranulator, SDelay, Flanger, and SouthPole in a parallel configuration. Follow the instructions provided in the Notes window to configure your live input or, if you don't have access to an external sound source, press Play on the SoundIn to loop a loaded guitar sample. Use the Crossfader to blend the dry and processed signals. An SLimiter is connected before the SoundOut as a master bus limiter; to avoid overloading the output.


This example demonstrates the use of four SSpat contraptions to create a warm and fat chorus effect. It also shows one of the ways AudioMulch users have creatively employed contraptions to expand the range of internal processing possibilities.


TechnoAutomation draws on a basic techno patch, employing Bassline, Drums, Flanger and SDelay contraptions, to demonstrate some possible uses of automation within AudioMulch.


This example demonstrates both the use of the Bubbleblower to achieve time-stretching effects, and the automation of Clock Tempo. For further information and explanation read the Notes window of this example.


This example primarily focuses on the use of DLGranulators as pitch shifters, generating a rich harmonic texture from two 10Harmonics sets, via automation, to simultaneously glide upward and downward to their final resting pitches.


TheBells creates bell-like tones by automating the amplitudes of the harmonics in a 10Harmonics contraption. The harmonics' automation curves use a simple bell-like decay envelope. The harmonics are ring modulated using a RingAM contraption to create inharmonic tones, and feed through Flangers and an SDelay to thicken and animate the timbre. This document also demonstrates the use of Automation cut and paste as a quick way to create similar control curves for different parameters.


Expanding on the ShapeSynth example, this patch recreates a classic trance synth sound, employing a novel way to generate chords by filtering noise from a TestGen with a 5Combs contraption. The continuous pitched output of the 5Combs is then fed to a Bassline via its external input to enable rhythmic pattern programming. To create a harder edge, the Bassline is patched to a Shaper and the clean and processed sounds are recombined before being routed to a Nebuliser for the all-important bandpass filter sweep. A couple of FrequencyShifters here act somewhat like a Phaser and help to create a richer, warmer sound. To complete the patch, an SDelay is inserted to achieve a rhythmic delay, another signature of this musical style.


In this example, eight 10Harmonics contraptions, all set to different waveshapes, are slowly crossfaded by the 8x8Matrix mixer to create an animated synth pad.

Applied Examples

The examples in the Applied folder demonstrate complete musical applications of AudioMulch. Some are demos while others show particular ways in which the program can be used.


This example demonstrates one way of creating an evolving synth pad within AudioMulch. A series of Arpeggiators, each producing a constant tone, are faded in and out to create a slowly morphing chordal drone. Filter sweeps are then provided by automated *ParaEQ, Phaser and Flanger contraptions. SDelays and a NastyReverb are used to fatten and smooth the pad.


As its name suggests, this example demonstrates the use of Bubbleblowers to create a rich evolving soundscape. A feature of this patch is the diversity of textures that can be created using only limited additional sound files - in this case less than 700kb. An SSpat and NastyReverb contribute a further sense of depth and movement to the soundscape.


A second BubbleBlower example, BBMultitracker creates a four piece BubbleBlower band. Drum, bass and guitar duties are handled by five separate Bubbleblowers each loaded with a small sample. The keyboard element is produced by a simple Drums sequence processed through a DLGranulator. This example demonstrates some of the rhythmic effects that can be achieved using the BubbleBlower. Note the use of automated Snare Quant (quantisation) grid via contraption presets to add an improvised feel to the drum performance. In addition, BBMultitracker demonstrates how multitrack recordings can be made within AudioMulch using the FileRecorder family of contraptions.


This patch is based on a transcription of an Mbira (Zimbabwean thumb piano) melody composed in the 1800's. It uses a series of automated TestGen and Arpeggiator->DLGranulator contraptions to create melodic and rhythmic patterns which have then been affected tonally using *ParaEQ and Shaper contraptions. Again, we see the use of the SDelay as a means of adding rhythmic complexity or variation. For further information and explanation, read the Notes window of this example.


This patch provides an example of how you can automate a chord progression in AudioMulch using Arpeggiators and Basslines. It also uses a Nebuliser to create strange but pleasant textures in harmony with the bass tones. For further information and explanation, read the Notes window of this example.


This example is designed to illustrate how AudioMulch can be used to enhance rhythmic sources and also to demonstrate AudioMulch's support of non-4/4 time signatures and compound rhythms. A percussion pattern is sequenced in a Drums contraption. These patterns are varied over time through the automation of contraption presets. The patch then employs an SDelay, two DLGranulators and a SouthPole contraption to vary the basic pattern with a variety of repeat, randomisation, transposition and timbral effects. An MCompressor is placed immediately after the drummer to control the dynamics of the clicky percussive source. An SLimiter is connected before the SoundOut as a master bus limiter; to avoid overloading the output.


Elementals is an attempt to model environmental sounds (water, fire, air). It demonstrates the use of a wide variety of contraptions and features the Metasurface as a means of moving between different patch states or Snapshots. An SLimiter is connected before the SoundOut as a master bus limiter; to avoid overloading the output. For further information and explanation, read the Notes window of this example.


Focusing on the LiveLooper contraption and the varying applications of parameter automation, this example demonstrates how materials can be effectively reinjected into a mix after transformation (by a combination of pitch shifting DLGranulators and RingAM), thus creating a complex, evolving looping machine. Rhythmic variations are introduced via the automation of SDelay contraption presets. LooperJam also provides an opportunity to experiment with external input sources via the SoundIn.


Using a FilePlayer, NastyVerb and multiple SDelays, this example applies the concept behind the piece "I am Sitting in a Room" by Alvin Lucier. For further information, read the Notes window of this example.


MetaSSpatosaurus is an improvised network based on a single sound source provided by a BubbleBlower and demonstrates Metasurface automation. The posthistoric behemoth is unleashed with the assistance of Nebuliser, DLGranulator, SSpat, 5Combs, NastyReverb and SouthPole contraptions. An SLimiter is connected before the SoundOut as a master bus limiter; to avoid overloading the output. For further information and explanation, read the Notes window of this example.


This patch demonstrates the use of the Metasurface. Click and drag the mouse on the colored Metasurface to glide smoothly between document snapshots.

MulchOnly01 & 05

The two example files entitled MulchOnly: synthesis without samples were created by Michael Upton ( They demonstrate how AudioMulch contraptions can be used to synthesize a range of drum sounds, basslines, chords, pads and evolving sonic textures. For further information and explanation, read the Notes window of each example.


This example demonstrates routing, mixing and recording signals in AudioMulch. Incoming signals are routed into the patch using SoundIn and AuxIn contraptions. Signals are then routed (Matrix) and mixed (P*Mixers and Crossfader) to a range of external outputs (SoundOut and AuxOuts). A multichannel FileRecorder at the heart of the patch allows for the capture of input signals prior to their mixing for Live Monitor and/or Playback outputs. For further information and explanation, read the Notes window of this example.

NoiseResearch01 &02

A pair of examples created by DDN exploring the use of AudioMulch in the creation of noise music. In these patches you will find clicking beats (NoiseResearch01) and squelching grooves (NoiseResearch02). For further information and explanation, read the Notes window of each document.


This example is a combination of two separate patches. In one patch, a series of parallel DLGranulators, each with different settings, is used to create a 10Harmonics drone, resulting in rich, granulated textures. In the other patch, a second 10Harmonics is filtered by a RissetFilters contraption and several Basslines, utilizing its pattern-based envelope functionality to create ascending rhythmic textures.


Pondlife is an example comprised of simulated frog, bird and flying insect sounds. PulseComb and SSpat contraptions feature in many of the simulations. Other animal sound models employ Bubbleblower contraptions with specific sound files selected to achieve the desired effect.


This example simulates the random plucking of a resonant string using feedback loops containing a FrequencyShifter->MParaEQ->5Combs chain. The patch then uses an SDelay, slight stereo frequency variation and PulseCombs to further animate the sound.


SelfSynthesis is a complex, atmospheric piece designed to demonstrate the use of feedback loops as sound generators. This example also features an extended automation sequence and thus evolves over a long period of time. For further information and explanation, read the Notes window of this example.


StayingSane provides an example of the use of parameter automation to create a sequenced track. Also note the use of the SouthPole contraption in the creation of the filtered drum parts.


TheButler is an example of a complex patch using an extended automation sequence. Due to its complexity, it is worth listening to all of this piece so that you can experience the full range of effects in the different sections. Affectionately known by its creator as "the beast", this piece would not have been out of place on the soundtrack of 2001: A Space Odyssey.


TxtStpBtBxr uses a variety of parallel signal chains to process the output of the Drums contraption, and demonstrates the use of various kinds of automation tracks (knobs, single and dual range sliders and contraption presets). This example also demonstrates the creation of a synth line through the processing of Bassline output. The synth chain also employs an SCompressor as a means of dynamic control. In this case it is applied heavily to create a power pad with constant amplitude. A LoopPlayer is included to provide an alternate or simultaneous input via Crossfader. An SLimiter is connected before the SoundOut as a master bus limiter; both to avoid overloading the output and to help glue the track together.

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