No chord progression, just a C major chord.

There are three unfinished patches on my computer. Working on them has been a bit of a struggle. Getting the chord progressions to play nicely over the different voices, looking for interesting melodic voices that go along with it, trying to figure out how to sequence everything, etc.
So I decided it was time to cleanse my palate a bit. Work on something completely different for a while. No chord progressions, no melodic voices, no sequencing. Just pick the most basic starting point that I could think of and build up from there. Just a C major chord. Instead of having to worry about chord progressions and melodic voices, it's purely down to the modulation of the different voices to bring movement into this patch.
What it comes down to is that it's supposed to be a boring patch (no chord changes or melodies to draw your attention), but not to boring (otherwise you can just as well play some white noise)

To start off, all notes in this patch are either coming from the C, E, G and B (i.e. Cmaj7) notes that have been programmed into the Bogaudio Polycon8, or are quantized to those notes by the Lazy Susan and VCV QNT quantizer modules. So that's the C major chord taken care of.

The main bass voice is the most simple one in this patch: a C and G are sent over a polyphonic cable into a Dark Energy module that has one of its oscillators set to LFO mode. Modulation is applied to both the self and cross modulation, and the result is sent into the main mixer.

In a second voice, the four chord notes are connected to the different inputs of an Instruo Saïch module and a TsL module (in LFO mode) is used to move over those inputs. The resulting sound is sent into an Io47 filter, from which both the low pass and the band pass outputs are sent into a wetonly reverb, blending it all together into a low to midrange buzzing sound

Above that, the triangle output of an LFO is quantized to notes by the Lazy Susan, resulting in relative quick note changes. These are played by the Prodigal Son supersaw module, which is sent into a (modulated) filter and a reverb. The result is somewhat reminiscent of a big choir that sings o and asounds at an ever changing volume.

To get some longer notes in the higher range into the mix, a Sample and Hold is triggered every now and again (trigger randomization courtesy of a Bernoulli Gate). The S&H output gets quantized to the chord notes, and is played by a Cloud Generator module that goes into another filter module. The trigger that went to the Sample and Hold module also triggers an ADSR envelope that lasts a couple of seconds. In order to make the notes fade in and out smoothly, they are sent into a Tap Dancer delay and a reverb module.

A second voice brings some sound variation into the high register. This voice picks pairs of high(er) notes at random and plays them using a Macro Oscillator (i.e. Plaits) module into a filter and reverb combination. Contrary to the previous voice, this one is constantly playing its notes, so it is faded in and of the overall sound by modulating the volume on the main mixer.

There is one voice in this patch that is playing audible distinct notes. The notes are generated by the stepped output of a Bogaudio LFO. The offset of this LFO gets modulated over time, so the notes that it generates move slowly up and down. After being quantized, they get played by a pair of FMOP modules (one module performing frequency modulation an octave below on the other module). The result is sent into a Tap Dancer delay, through a Vult Freak filter and into a reverb that is set to 3/4 wet. So although the voice does become a bit of a wash, the separate notes can still be heard.

The only voice in this patch that is not following the C major chord rule is a noisebased voice. Pink and red noise are sent through separate filters that are modulated independently. This gets mixed together with the "Particle Noise" output of a Macro oscillator to form a wind/rain/waves sound. As the filters used here get modulated over time, the sound of this voice fades in and out of the overall mix.

To bring movement into the sound, several Vult Caudal and an Instruo Ochd module are utilized throughout this patch to modulate filters, volumes and panning of the different voices.

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__ Setup __
VCV Rack 2.5.2 on Windows
All audio generated internally within VCV Rack (no external connections)
Video is captured by OBS
RAW FLAC Audio output from VCV Rack
Audio recording synced to OBS, and fade added at the end with Reaper
OBS video and Reaper audio are merged and cut to length using Shutter Encoder.

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