Intellijel — Atlantix

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Modulating the Intellijel Atlantix for Unique, Interesting Sounds

Below are tailored patching/modulation strategies for three styles: distorted percussive sounds, crazy basslines (dubstep/drum & bass), and haunting pads and atmospheres. Each approach is based on details and creative routings described in the Intellijel Atlantix Manual.

1. Distorted Percussive Sounds

Characteristics: Fast attacks, clicky envelopes, overdrive, heavy filter resonance, sync, ring-mod, glitchy S&H, and use of noise.

Patch Ideas & Modulation Strategies

• Envelope for Percussive Shapes:
• Use the [ENVELOPE RATE] switch to FAST.
• Set ATTACK and RELEASE sliders low for very fast transient.
• In ENV/GATE mode, try both for snappy/organ-like contours.
• VCA Distortion:
• Engage the [DRIVE] switch in either SYM (symmetrical) or ASYM (asymmetrical) positions for clipping; ASYM sounds raw and glitchy.
• Filter Excitation/Resonance:
• High [Q] setting on VCF for ringing/peaky attack.
• Modulate [VCF cutoff] with both envelope (hardwired) and/or S&H from MOD section for random filtering effects.
• Try inverted ENV polarity for aggressive "sucking" percussive attacks.
• Oscillator Hard Sync:
• Set VCO A [SYNC TYPE] to HARD for classic punchy transients.
• Sync VCO A to VCO B (use GATE or VCO B SAW as source).
• Noise + S&H for Snap:
• In the MIXER, ride the [NOISE] slider.
• Patch [NOISE OUT] from MOD section to modulate VCF cutoff or PWM for glitch.
• S&H: Modulate VCO A’s frequency or VCA level with stepped/random voltages for digital-glitch percussion.
• Ring Mod for Metal/Noise:
• Use ATLX expander's RING MOD output (sum/difference of two VCOs or VCO + noise).
• Patch this back into the VCA or directly to output.
• Pulse Width/Amplitude Tricks:
• Modulate VCO A PWM deeply for clicky, silenced pulses (100% pulse width kills oscillator).
• AUX Routing for Parallel Processing:
• AUX 2 set to VCA position for layering external/processed sounds.

Bonus Patch:
- Patch ENV INVERTED ([5.E]) to VCA LEVEL IN [5.C] for unusual dynamic response (transient ducking).

2. Crazy Basslines (Dubstep, DnB)

Characteristics: Aggressive filter movement, FM growls, sync, metallic/talking timbres, harmonically rich bass, stepped/chaotic modulation.

Patch Ideas & Modulation Strategies

• FM Bass Growl:
• Set VCO A FM 1 to TZFM mode (AC for pitch tracking, DC for wild modulations).
• Use VCO B in audio-rate, patch its output to VCO A FM 1 IN or FM 2 IN.
• Modulate FM INDEX slider with envelope or S&H for movement.
• VCF Movement:
• Run envelope and MOD Y into both FM 1/2 of VCF; invert polarity for "wub-wub" effects.
• Patch S&H OUT to one of VCF FM inputs for stepped/random wobbles.
• Ride the [Q] slider for “scream” effects; high resonance, maybe self-oscillating.
• Pulse/Sync Tricks:
• Sync VCO A to VCO B and detune for aggressive harmonics.
• Modulate pulse width deeply (envelope, MOD X/Y, S&H, noise).
• Parallel Processing / Sub Layer:
• Use SUB oscillator set to -2 for deep bass foundation.
• Send part of the sound post-filter (AUX 2 to VCA), and use another version pre-filter (main mix), for clean sub + distorted top.
• Distortion/Drive:
• Use VCA DRIVE in ASYM for extra filth.
• VCO B as LFO:
• Modulate VCF or VCO A FM for slow/fast rhythmic bass movement.
• MOD Source Cross-Patching:
• MOD X: Use VCO B Square/Saw or S&H as FM input to VCO A.
• MOD Y: Use NOISE or S&H as filter modulation for randomness.
• Use of S&H / T&H:
• Switch to T&H for looser, drifting “talking” bass modulation; S&H for clean stepped changes.

Bonus Patch:
- Patch audio from ATLX outputs (SAW, TRI, PULSE) through VCA, modulate amplitude with MOD X/Y or ENV for timbral bass shaping.

3. Haunting Pads & Atmospheric Sounds

Characteristics: Long evolving envelopes, smooth modulation, lush timbres, slow movement, stereo/parallel layers, shimmer, phase, subtle randomization.

Patch Ideas & Modulation Strategies

• Slow Envelopes:
• Set [ENVELOPE RATE] to SLOW.
• Use long ATTACK and RELEASE for evolving textures.
• VCF:
• Use BP (bandpass) or PHZ modes with modest [Q] for airy/washed pads.
• Modulate filter cutoff with slow LFO (VCO B in LFO mode), or MOD X/Y set to Sine/Triangle.
• Slight randomization: modulate ENV amount with S&H at low rate, or noise at low amplitude.
• Oscillator FM & Sync:
• Soft sync for organic instability; modulate FM at slow rates for subtle shimmer.
• Set VCO B as LFO and patch to VCO A FM for subtle drifting pitch/timbre changes.
• Parallel Harmonics/Aux Layers:
• Mix in TRI, SINE, or noise at low levels in MIXER section.
• Use AUX 2 routed to VCA for an ethereal layer bypassing the filter.
• Pulse Width Animation:
• Modulate VCO A PWM with slow LFO, envelope, or S&H for gentle undulating movement.
• VCF/Phaser:
• Switch to PHZ mode for phasey, haunting textures.
• Sweep filter cutoff (manual or CV) for moving notches.
• Self-Patching Feedback:
• Patch filtered output (ATLX BP/PHZ OUT) to external delay/reverb, return to AUX 1/2 for feedback.
• S&H for Subtle Unpredictability:
• At slow rate, use S&H OUT to gently modulate mixer levels or VCA envelope level.

Bonus Patch:
- Use MOD X and MOD Y both set to LFOs with phase offset (one SINE, one TRIANGLE) to crossfade/filter and FM for stereo/animated pad-like morphs.

Additional Tips

• Utilize MOD X/Y Unipolar/Bipolar/Polarity switches for nuanced control over modulation destinations.
• Leverage ATLX Expander for dedicated outputs, easy parallel/processing, or external re-injection.
• For all patches: experiment with cutting normalled signals and repatching for self-patching feedback and unique cross-modulation.

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