ROB WARMOWSKI: Okay. Now, what we've done so far is we have created a chordal filtering onto some noise source. The noise source, let's remember, let's actually just run the main output from the Test contraption out to channel 8 and listen to it along [ROB PLAYS TEST CONTRAPTION DRY], and there's our noise.

So, that's what the noise sounds like unprocessed but when we run the noise through the five combs filter with these particular notes selected as the frequency positions, and these gain points in decay to points selected [ROB PLAYS TEST CONTRAPTION PROCESSED], sounds like a chord. Pretty neat stuff.

Now, what are the things that we can do to maybe introduce some little bit of rhythm to this chain would be to insert after the five combs filter, you can add -- let's see. Let's just try something made out of semi-random here. We have a Baseline contraption that is now standing in between the output of the five combs filter and the mono mixer. So, since we can't hear anything, let's increase its volume [ROB INCREASES VOLUME ON BASSLINE]. We still got nothing [ROB STARTS TWEAKING ON BASSLINE]. Now we got something.

Because the bassline is a contraption that is relying, that relies on the internal clock of Audiomulch, we have to actually start it in order to get our filter action to actually take place. And as we can see here or here, our noise is getting through the five combs filter and into Bassline and then being chooped up according to the notes and ties that bassline has put together here. And I created these notes and ties just by banging at the random buttom. We can change this right now. Actually, if we like this, one of the things right away we can do is we store it in a preset in this Bassline contraption and then we can hit random again. There's another random pattern. If we don't like that, we can just go right back to the Arp preset.

So, there is an example of building a synthesis chain of the -- an audio chain in Audiomulch starting with just absolutely raw source, using raw noise as a source, filtering it with the comb filter, moving it into the Bassline contraption, and suddenly you got something actually kind of interesting and a nice jumping off point for some more work, either in Audiomulch or outside of Audiomulch.

In terms of production technique, one of the things that I like to do is I like to fire up Audiomulch to arrive at an unexpected, happy sort of sound like this and then take its output, record it, and feed it into a digital audio workstation for further manipulation down the road.

Well, thanks a lot for watching. This has been a series of Gearwire videos on synthesizing in Audiomulch. Watch for Gearwire.Com for more cool videos.