My first attempt to manifest sound using multiples of the number 13. This work springs as a direct result of my improvisations with Plato & The Western Tradition and conversations with Boyd about his growing integration of Kabbalah, Sacred Geometry, Sound, Manifestation, and multiples of 13.

ALM's Pamela's Workout in partnership Modcan's Quad LFO with did the lion's share of the lifting in this with Pammy's eight outputs each dialed into a multiple of 13. The main clock was set at 26 BPM (our "Here" Between Above and Below) and each of the 7 remaining outputs either added or subtracted 13 pulses to that starting number. These eight pulse streams were then moved around the modular with the first four streams sent to the four gates of the Quad LFO. The same four streams were additionally multed and distributed to the CV in of the Quad LFO. I then selected a variety of rates on the LFO to create multiplications or divisions of thirteen with a range of one to thirteen. With these signals in play, I routed them primarily to the E350 Morphing Terrarium which served as the only oscillator in this piece. All morphing inputs available were fed multiples of thirteen. The output of the E350 was first fed into the Pittsburgh Modular high pass filter (with all of its CV inputs influenced by multed LFO clocks) and then on to the Ecophon which was also clock synced to a division of thirteen. The feedback loop of the Ecophon was fed into a STG Sea Devils low pass filter whose resonance and cutoff were modulated by multed clocks from the LFO which had been slewed by an SSF Positronic Transient Gate. The Sea Devils filter was then fed into the Thonk Spring Reverb (in a proper homage to the Putney) and out. This created much of the upper frequencies in this work. The same signal path from the E350 was also sent to a Toppobrillo Sport-Modulator for a bit of sample and hold. The XY output of the E350 went to the top channel, while the Z output went to the bottom channel. The two CV inputs of the sport modulator took clock from multed LFO signals and the comparator output of the unit was used to feed the E440 low pass filter. The CV inputs of the the E440 were thrummed by multed LFO clock slewed through the other side of the PTG. This chain outputted the fairly steady bassline in the track.