Galvanized

Like the acid jams, the only synth involved here is the MiniBrute 2S. I had set out to play triads on it by using its loopable AD envelope as a third oscillator, whose pitch I could track to the keyboard with careful tuning of either the attack or decay.

Back then, I was still making notes for my MiniBrute patches, as you can see above; though over time I came to know the instrument well enough to dial in any patch I wanted faster than I could photoshop, and gave that up.

I was a big fan of how the triads came out. The AD envelope tracked pretty well over at least an octave, and the imperfect analog nature of the whole thing ensured the chords came out sounding thick without any additional help, compared to merely setting pitch intervals on a soft synth.

Also, there’s a neat effect that occurs when you tune a third oscillator in this way. The attack and/or decay control the pitch and the waveshape simultaneously, thus changing the timbre of the sound as you play up or down the keyboard and creating more interest.

The only notable post-processing step was the addition of a dual-peak resonant filter, whose high-pass and low-pass cutoffs I played live over the raw recording to add a little variety.