The theme of this tune is to blur the line between machine and human. It is a synthetic drone, but the engine that makes the song progress is a foot pedal.
Every modulation and movement in this tune are human generated with this foot pedal. The length of the song is predetermined by a number of cycles.
It also uses the ambiguity of voices recording and granular processing. Guitar electric bowing and self-resonance.

Making of: The song is a one shot performance with an electric guitar and VCV rack.

- Electric Guitar:
the strings are rubbed with a two-euro coin and a 5-cent coin. The metallic interaction brings out harmonics.
The guitar is recorded through an analogic flanger (Mooer ElecLady) stomp box with a fixed frequency. It acts as a resonant filter manually tuned in B.
The guitar is then recorded and processed with amp simulator software (IK MultimediaAmplitue).
The guitar is sent with a variable level to a reverb (Soundtoys Little plate) with a decay around 32 seconds.

- VCV Rack:
The main engine of the patch is a CV signal coming from a midi expression foot pedal.

PART I: the synth
This CV signal is lightly disturbed by Audible Instruments Marbes.
It is then dispatched randomly through Geodesics Pulsars to bring up the volume of different harmonics of 2 Squinky Labs Chebyshev oscillators (one tuned in B and the other one in F#).
At each cycle of foot pedal, a new harmonic is faded with another.
The sounds of those two oscillators are then sent to various parallel treatments (Alma Filters, MSM Dual Delay, Geodesics Black Holes as ring modulation, Befaco spring reverb...).
All those different versions of the source signals are sent back into the Pulsars.
Then the Pulsars are used left and right channels.
At each cycle of foot pedal, a new treated signal is faded with another.

PART II: The voices
Two Nysthi Complex simplers are used to play a loop of my voice (one sang in B and the other one in F#).
The voices are sent in each channel of Audible Instrument Cloud, chopping the voices in little fading pieces.
The foot pedal control the freeze button, alternating between ethereal frozen audio part and random bouncing pieces of voices.
The controls of the Cloud are midi controlled by faders.

Blending of part I and II:
Thanks to Nysthi developer Antonio Tuzzi who especially created this feature for this recording. The blend between the two parts is programmed to progress a little bit more at each cycle of foot pedal.
The cross fade is set using Nysthi Timex, to be operated from the first to the 60th pedal cycle.
The composition is not set by a time value but by a number of actions. It is up to the performer to decide how long he should take to execute these actions.