Andrew Huang

Featured in this December 18, 2019 video at 21:49.

Gifted to Huang by Earthworks, as featured in this October 22, 2020 video at 1:30. The particular section of the video is dated October 4, 2019.

Used on “7”, as can be seen in this October 27, 2020 video at 4:57.

Specified in the description of this January 21, 2021 video.

Getting somewhere with my self-playing patch goals - no samples, all synthesis! I'm enjoying this patch for its breadth of dynamics and sonic variation. There's a lot going on here but I'll share the main points and major principles:

Mutable Instruments Marbles provides the main clock. An ALM Busy Circuits Boss Bow Tie randomly switches between the negative and positive LFO output of a slowly cycling Make Noise Function, and that signal modulates the clock rate - sometimes launching it into audio rate or slowing it to a crawl. At times the clock rate remains steady when Function's Hang input is engaged by a gate from a 4ms Quad Clock Distributor + Expander, which itself is being clocked by Marbles.

Sacrament Cursible switches between six sound sources: Synth Tech E330, After Later Juggler, two channels from Endorphin.es Furthrrrr Generator (one going into Intellijel Rainmaker), Mutable Instruments Ripples self-oscillating into Monsoon (left and right channels). Each voice has varying degrees of random modulation dialed in.

Cursible's output is fed into a VCA opened by a Make Noise Contour. This is the only envelope in the entire patch! Its attack and decay are both being randomly modulated but with a bias toward shorter gestures. An interesting chain triggers it: Marbles' t3 output, fed through Branches for random skips, clocking a 4ms Pingable Envelope Generator with its clock division being randomly modulated, and taking the Half-R gate output from there.

The signal is then multed to both sides of a 4ms Dual Looping Delay, both at half wet, with their delay times being modulated independently. This results in some of the glitchy sounds you hear.

Those two signals are then sent through different but mirrored chains - a modulated high pass filter followed by a compressor. In one case it's Random*Source Serge VCFQ into Audio Damage Kompressor, and in the other it's Ritual Electronics Altar into 2hp Comp. Both filters' frequency and resonance parameters are being modulated with smooth random. The signals are then mixed with Make Noise X-Pan, with a little modulation over pan amounts.

X-Pan's outputs go to a Make Noise Mimeophon, mix at about 40% wet. Skew is on so the two channels' delay times differ from each other, and most parameters are being modulated so that delay times might be tiny or huge and have varying levels of feedback. This is also the reason why multiple sounds are often layered in the patch even though Cursible is only spitting out one at a time. Halo (Mimeophon's reverb) is swelling in and out with semi-random timing.

Modulation sources not mentioned above: Instruo DivKid OCHD, ADDAC VC Transitions, Vermona Fourmulator, Qu-Bit Bloom, NLC Triple Sloths, Moffenzeef Deviant, SSF DivKid RND STEP, Doepfer A-148, Make Noise Maths, Make Noise Telharmonic, 2hp LFO.

Specified in the description of this January 21, 2021 video.

Getting somewhere with my self-playing patch goals - no samples, all synthesis! I'm enjoying this patch for its breadth of dynamics and sonic variation. There's a lot going on here but I'll share the main points and major principles:

Mutable Instruments Marbles provides the main clock. An ALM Busy Circuits Boss Bow Tie randomly switches between the negative and positive LFO output of a slowly cycling Make Noise Function, and that signal modulates the clock rate - sometimes launching it into audio rate or slowing it to a crawl. At times the clock rate remains steady when Function's Hang input is engaged by a gate from a 4ms Quad Clock Distributor + Expander, which itself is being clocked by Marbles.

Sacrament Cursible switches between six sound sources: Synth Tech E330, After Later Juggler, two channels from Endorphin.es Furthrrrr Generator (one going into Intellijel Rainmaker), Mutable Instruments Ripples self-oscillating into Monsoon (left and right channels). Each voice has varying degrees of random modulation dialed in.

Cursible's output is fed into a VCA opened by a Make Noise Contour. This is the only envelope in the entire patch! Its attack and decay are both being randomly modulated but with a bias toward shorter gestures. An interesting chain triggers it: Marbles' t3 output, fed through Branches for random skips, clocking a 4ms Pingable Envelope Generator with its clock division being randomly modulated, and taking the Half-R gate output from there.

The signal is then multed to both sides of a 4ms Dual Looping Delay, both at half wet, with their delay times being modulated independently. This results in some of the glitchy sounds you hear.

Those two signals are then sent through different but mirrored chains - a modulated high pass filter followed by a compressor. In one case it's Random*Source Serge VCFQ into Audio Damage Kompressor, and in the other it's Ritual Electronics Altar into 2hp Comp. Both filters' frequency and resonance parameters are being modulated with smooth random. The signals are then mixed with Make Noise X-Pan, with a little modulation over pan amounts.

X-Pan's outputs go to a Make Noise Mimeophon, mix at about 40% wet. Skew is on so the two channels' delay times differ from each other, and most parameters are being modulated so that delay times might be tiny or huge and have varying levels of feedback. This is also the reason why multiple sounds are often layered in the patch even though Cursible is only spitting out one at a time. Halo (Mimeophon's reverb) is swelling in and out with semi-random timing.

Modulation sources not mentioned above: Instruo DivKid OCHD, ADDAC VC Transitions, Vermona Fourmulator, Qu-Bit Bloom, NLC Triple Sloths, Moffenzeef Deviant, SSF DivKid RND STEP, Doepfer A-148, Make Noise Maths, Make Noise Telharmonic, 2hp LFO.

Specified in the description of this January 21, 2021 video.

Getting somewhere with my self-playing patch goals - no samples, all synthesis! I'm enjoying this patch for its breadth of dynamics and sonic variation. There's a lot going on here but I'll share the main points and major principles:

Mutable Instruments Marbles provides the main clock. An ALM Busy Circuits Boss Bow Tie randomly switches between the negative and positive LFO output of a slowly cycling Make Noise Function, and that signal modulates the clock rate - sometimes launching it into audio rate or slowing it to a crawl. At times the clock rate remains steady when Function's Hang input is engaged by a gate from a 4ms Quad Clock Distributor + Expander, which itself is being clocked by Marbles.

Sacrament Cursible switches between six sound sources: Synth Tech E330, After Later Juggler, two channels from Endorphin.es Furthrrrr Generator (one going into Intellijel Rainmaker), Mutable Instruments Ripples self-oscillating into Monsoon (left and right channels). Each voice has varying degrees of random modulation dialed in.

Cursible's output is fed into a VCA opened by a Make Noise Contour. This is the only envelope in the entire patch! Its attack and decay are both being randomly modulated but with a bias toward shorter gestures. An interesting chain triggers it: Marbles' t3 output, fed through Branches for random skips, clocking a 4ms Pingable Envelope Generator with its clock division being randomly modulated, and taking the Half-R gate output from there.

The signal is then multed to both sides of a 4ms Dual Looping Delay, both at half wet, with their delay times being modulated independently. This results in some of the glitchy sounds you hear.

Those two signals are then sent through different but mirrored chains - a modulated high pass filter followed by a compressor. In one case it's Random*Source Serge VCFQ into Audio Damage Kompressor, and in the other it's Ritual Electronics Altar into 2hp Comp. Both filters' frequency and resonance parameters are being modulated with smooth random. The signals are then mixed with Make Noise X-Pan, with a little modulation over pan amounts.

X-Pan's outputs go to a Make Noise Mimeophon, mix at about 40% wet. Skew is on so the two channels' delay times differ from each other, and most parameters are being modulated so that delay times might be tiny or huge and have varying levels of feedback. This is also the reason why multiple sounds are often layered in the patch even though Cursible is only spitting out one at a time. Halo (Mimeophon's reverb) is swelling in and out with semi-random timing.

Modulation sources not mentioned above: Instruo DivKid OCHD, ADDAC VC Transitions, Vermona Fourmulator, Qu-Bit Bloom, NLC Triple Sloths, Moffenzeef Deviant, SSF DivKid RND STEP, Doepfer A-148, Make Noise Maths, Make Noise Telharmonic, 2hp LFO.

Specified in the description of this January 21, 2021 video.

Getting somewhere with my self-playing patch goals - no samples, all synthesis! I'm enjoying this patch for its breadth of dynamics and sonic variation. There's a lot going on here but I'll share the main points and major principles:

Mutable Instruments Marbles provides the main clock. An ALM Busy Circuits Boss Bow Tie randomly switches between the negative and positive LFO output of a slowly cycling Make Noise Function, and that signal modulates the clock rate - sometimes launching it into audio rate or slowing it to a crawl. At times the clock rate remains steady when Function's Hang input is engaged by a gate from a 4ms Quad Clock Distributor + Expander, which itself is being clocked by Marbles.

Sacrament Cursible switches between six sound sources: Synth Tech E330, After Later Juggler, two channels from Endorphin.es Furthrrrr Generator (one going into Intellijel Rainmaker), Mutable Instruments Ripples self-oscillating into Monsoon (left and right channels). Each voice has varying degrees of random modulation dialed in.

Cursible's output is fed into a VCA opened by a Make Noise Contour. This is the only envelope in the entire patch! Its attack and decay are both being randomly modulated but with a bias toward shorter gestures. An interesting chain triggers it: Marbles' t3 output, fed through Branches for random skips, clocking a 4ms Pingable Envelope Generator with its clock division being randomly modulated, and taking the Half-R gate output from there.

The signal is then multed to both sides of a 4ms Dual Looping Delay, both at half wet, with their delay times being modulated independently. This results in some of the glitchy sounds you hear.

Those two signals are then sent through different but mirrored chains - a modulated high pass filter followed by a compressor. In one case it's Random*Source Serge VCFQ into Audio Damage Kompressor, and in the other it's Ritual Electronics Altar into 2hp Comp. Both filters' frequency and resonance parameters are being modulated with smooth random. The signals are then mixed with Make Noise X-Pan, with a little modulation over pan amounts.

X-Pan's outputs go to a Make Noise Mimeophon, mix at about 40% wet. Skew is on so the two channels' delay times differ from each other, and most parameters are being modulated so that delay times might be tiny or huge and have varying levels of feedback. This is also the reason why multiple sounds are often layered in the patch even though Cursible is only spitting out one at a time. Halo (Mimeophon's reverb) is swelling in and out with semi-random timing.

Modulation sources not mentioned above: Instruo DivKid OCHD, ADDAC VC Transitions, Vermona Fourmulator, Qu-Bit Bloom, NLC Triple Sloths, Moffenzeef Deviant, SSF DivKid RND STEP, Doepfer A-148, Make Noise Maths, Make Noise Telharmonic, 2hp LFO.

Specified in the description of this January 21, 2021 video.

Getting somewhere with my self-playing patch goals - no samples, all synthesis! I'm enjoying this patch for its breadth of dynamics and sonic variation. There's a lot going on here but I'll share the main points and major principles:

Mutable Instruments Marbles provides the main clock. An ALM Busy Circuits Boss Bow Tie randomly switches between the negative and positive LFO output of a slowly cycling Make Noise Function, and that signal modulates the clock rate - sometimes launching it into audio rate or slowing it to a crawl. At times the clock rate remains steady when Function's Hang input is engaged by a gate from a 4ms Quad Clock Distributor + Expander, which itself is being clocked by Marbles.

Sacrament Cursible switches between six sound sources: Synth Tech E330, After Later Juggler, two channels from Endorphin.es Furthrrrr Generator (one going into Intellijel Rainmaker), Mutable Instruments Ripples self-oscillating into Monsoon (left and right channels). Each voice has varying degrees of random modulation dialed in.

Cursible's output is fed into a VCA opened by a Make Noise Contour. This is the only envelope in the entire patch! Its attack and decay are both being randomly modulated but with a bias toward shorter gestures. An interesting chain triggers it: Marbles' t3 output, fed through Branches for random skips, clocking a 4ms Pingable Envelope Generator with its clock division being randomly modulated, and taking the Half-R gate output from there.

The signal is then multed to both sides of a 4ms Dual Looping Delay, both at half wet, with their delay times being modulated independently. This results in some of the glitchy sounds you hear.

Those two signals are then sent through different but mirrored chains - a modulated high pass filter followed by a compressor. In one case it's Random*Source Serge VCFQ into Audio Damage Kompressor, and in the other it's Ritual Electronics Altar into 2hp Comp. Both filters' frequency and resonance parameters are being modulated with smooth random. The signals are then mixed with Make Noise X-Pan, with a little modulation over pan amounts.

X-Pan's outputs go to a Make Noise Mimeophon, mix at about 40% wet. Skew is on so the two channels' delay times differ from each other, and most parameters are being modulated so that delay times might be tiny or huge and have varying levels of feedback. This is also the reason why multiple sounds are often layered in the patch even though Cursible is only spitting out one at a time. Halo (Mimeophon's reverb) is swelling in and out with semi-random timing.

Modulation sources not mentioned above: Instruo DivKid OCHD, ADDAC VC Transitions, Vermona Fourmulator, Qu-Bit Bloom, NLC Triple Sloths, Moffenzeef Deviant, SSF DivKid RND STEP, Doepfer A-148, Make Noise Maths, Make Noise Telharmonic, 2hp LFO.

Specified in this January 28, 2021 video at 17:22.

Developed in collaboration with Huang.

A Kilohearts content bank designed by the one and only Andrew Huang. Featuring over 30 presets for Phase Plant and Multipass, this collection will give you a refreshing sip of Andrew's sound, his workflow, his philosophy. Synth leads, pads, basses, FX... multiband processing for electronic or acoustic sources... the creative fun is just about to begin.

Visible throughout this December 1, 2019 video.

Used on “Nomad”, as featured in this December 17, 2018 video at 2:33.

Featured in this March 4, 2021 video.

featured in this May 23, 2023 video

Visible in a couple of shots, namely the beginning!

Visible at 0:38 of this older video

Whole video uses the Push!

In Andrew's blog post on home mastering, this plug in is the first to be mentioned. Andrew Says, "This is the workhorse for volume and punch. I generally only touch the left two dials, with input between 1.2-2.4db and shape between 50-100% on most tracks. Extremely soft songs, like ballads, will be the exceptions where those numbers will be significantly lower."

Second on Andrew's blog post for home mastering. Andrew says, "The curves on this EQ just seem to have a very musical shape. I give a boost around 60hz for my low end presence and I like a broad bandwidth lift at 12khz to make things sparkle. Both of these I'll dial in to taste, but on the boost knobs I rarely go above 3 for treble and never above 2 for bass. The occasional mids-heavy track will also benefit from a mild dip at 500 or 700."

Number three for Andrew's list of home mastering tools. Andrew says, "Most of the time I just stick this on to to get a clean low cut of everything under 20hz, and that's it. After having put in the work to make everything sound as good as possible with my mic placement, my mixing, and my individual track EQ, plus having the Pultec shape things immediately before this in the chain, there's usually very little left to improve. However, as it can exert more precise control than the Pultec, I will sometimes dial in small values to help with small things that are still sticking out - I'm talking 1db or less here."

The fourth and final item on Andrew's list of home mastering tools. On the plug in, Andrew says, "The easiest thing of all 'cause it's just one dial. I'll have it land anywhere between 0.75-3db but in most cases it hovers somewhere near 2db. On a track where not a lot of compression is needed I might keep the Maximizer settings lower and have the Limiter bring up the volume. For the most part though, this is where I adjust for balancing loudness between tracks grouped on the same release."

Another plug in Andrew says he uses in the linked blog post. "This might come into play before or after the Pultec if I feel a track needs a little more compression on top of what the Maximizer can give me. It handles complex, dynamic material well."

From his blog post on home mastering. "This thing can really make things shimmer. While it's capable of much more, I tend to use it to bring out high end clarity and energy when a track is a bit muddled - probably the only instance where I'm using a tool to combat a problem I couldn't or didn't solve in mic'ing or mixing. Usually first up in the chain."

From Andrew's blog post about special pug ins, where he illustrates the tools he uses for specific tasks in production. "I've had Ocean Way for a couple years and I'm still so pleasantly surprised every time I use it. It seems to completely transport recordings into different, and much nicer sounding environments. It's been a lifesaver when the tone of an acoustic instrument hasn't landed quite right, and it's also great in place of a reverb when you're looking to create spaces that are small but not totally dead."

From Andrew's blog post about special pug ins, where he illustrates the tools he uses for specific tasks in production. "This has been an essential tool for when I find myself recording in less than ideal locations, like a dentist's office. It almost magically removes any consistent background noise. Air conditioning, refrigerator hum, amp buzz - smell ya later!"

From Andrew's blog post outlining his plug in staples. "A super transparent EQ with some steep curves that will really get rid of the frequencies you don't want. I put this at the end of every channel to carve out low end space in my mixes, as well as for making any final adjustments."

From Andrew's blog post outlining his plug in staples. "The best "character" compressor. There aren't a lot of settings to worry about; you can instantly dial in some rich, thick warmth." Also seen in the linked video if you pause at 00:00 and look at his effect rack. It is however unclear whether or not it is an original or a clone.

At about 3:20 of this studio tour video, Andrew mentions his Native Instruments keyboard ("the 61 key version").

In this video you can see Andrew using Roli Blocks.

Andrew Huang mentions upgrading to an Apple iPhone 6 in 2015 in his YouTube video, where he discusses creating an album using only an iPhone.