Well on “Synthetic Metals” specifically the kicks are the blue lantern asteroid BD v4 and Tiptop BD808, the main snare I made from the epoch Benjolin and then the metal clank snare that comes in later on is the Noise Engineering Basimilus Iterus. Hats are the SSF Quantum Rainbow with a maths expo envelope. The more microtonal melodic metallic percussion stuff is the MI elements that’s sequenced / performed on the circadian rhythms and z8000.. For the album as a whole, percussion sounds are coming from a variety of places, I tend to lean on kick modules such as the blue lantern Bv4, audio damage neuron, jomox mod.brane 11 for kicks and often wind up making the snares from various sources though I do use the hex intvertor mutant clap, ALM dinkys, MI peaks and jomox mod.brane 11 for “snares” too. Sequenced percussion I often used fro the cylonix shapeshifter and MI Braids in Meta mode both which I use additional envelopes for more control and variance.
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Out of curiosity as this is something I'm considering at the moment - are you using compressor modules as part of either the creative process creating sounds or as part of the mixing within the modular system?
Yea ill use the L-1 stereo micro compressor but for a very different more utilitarian purpose.. The stereo out of my modular goes through a recording chain before hitting the convertors. In that recording chain is an API compressor that I use to get ultra tight and sharp transients. The downside to this is that it can suck out all your low end as its making the linear bass envelopes hyper exponential. To counter this id use the L1 to really push the bass envelopes into heavy logrhythmic territory so when they hit the external compressor they level out to more linear. That said the L-1 is great creative tool as well. You can get really cool pumping and sidechaing effects going. You can hear this done really well on Surachais new one “Instinct and Memory”. His use of the L-1 here is amazing and inspired me to pick one up.