The Bellbounce sparse bell pattern

arp · bright · 96 BPM (88–108) · A major · 8 bars · 64 steps

Bellbounce7.1Delay-driven bell pattern

Every patch on the Moog Muse

The technique

Four chords, eight bars, one bell strike a chord and two over the third, always on beat three. The delay does the rest.

Two notes a bar at most. The delay supplies everything else, and anything denser turns the repeats into a wash instead of a pattern.

Enter two beats in. The chord has changed, the delay from the last bar has thinned, and then the bell strikes. The repeats fill the front of the next bar.

Over the first chord the note is the key’s second, the chord’s ninth. Over the second it is the key’s third, the chord’s fifth. The delay holds each one against the chord, so choose notes that can be held.

Never play the key’s fourth while the first chord is sounding. It is the avoid note against the third, and the delay repeats will hold it there for the rest of the chord.

Over the second half of the cycle, the key’s third falls a tone to the second over the IV major seventh, the second a bar after the third, then the root over the suspended V. The pattern is the rhythm; the notes follow the chord.

Set the delay to a dotted eighth and let the repeats decay over a bar. The pattern is written for that spacing and sounds cluttered at anything shorter.

The chords

4 chords over 8 bars, in A major.

DegreeChordNotesBarsUnder the figure
IAA · C# · E1–2●
viF#mF# · A · C#3–4●
IVDD · F# · A5–6●
VEE · G# · B7–8●

The figure is played over these chords; supply them separately if your rig allows.

The rules

  • Over I, never the 4th — it is the avoid note against the third, and the delay repeats hold it there.
  • Enter each chord at least 8 steps after it lands — the chord changes first and the delay from the last bar thins before the bell strikes.

The notes

8 bars in A major. Each note is in force across the steps shown.

  • steps 9–12·over I A·B5·degree 2·MIDI 83
  • steps 41–44·over vi F#m·C#6·degree 3·MIDI 85
  • steps 73–76·over IV D·C#6·degree 3·MIDI 85
  • steps 89–92·over IV D·B5·degree 2·MIDI 83
  • steps 105–108·over V E·A5·degree 1·MIDI 81

The grid

Every step below strikes the note in force at that point. The grid is where the figure is played.

The grid is 4 bars and the figure is 8: play it round 2 times.

  • —9 (vel 96), 73 (vel 96)
  • —41, 105

On the Moog Muse

Muse · Timbre 1

Settings for this voice

Settings for a arp · bright voice on this box, written here. They are not the preset’s own values: load the preset to hear it as it ships.

Settings

VOICE CONTROL

  • UNISONOFF

    Stacks every unused voice onto the first note held, so the timbre plays one note at a time

  • MONOOFF
  • DETUNE20%(0…100 %)· MIDI CC 92

    Between voices when poly, between stacked voices under UNISON, between the two oscillators under MONO

  • TIMBRE A VOICE COUNT8(0…8)

    The counts always sum to eight, so setting this sets the other — TIMBRE B gets the rest

    VOICE CONTROL, then MORE

  • DYNAMIC VOICE ALLOCATIONOFF

    Its printed default. On, a busy timbre steals from the other and the count above stops holding

    VOICE CONTROL, then MORE

PROGRAMMER

  • MIDI IN CHANNEL1

    TIMBRE A listens here

    PROGRAMMER, MENU, MIDI

  • MULTI IN B CHANNEL2

    TIMBRE B listens here under MULTI MODE. Both default to 1, so this must differ or the two timbres double on one channel

    PROGRAMMER, MENU, MIDI

  • RECIEVE CCON

    Defaults to OFF, so the box ignores CC until this is set. The manual's spelling

    PROGRAMMER, MENU, MIDI

OSC 1

  • OCTAVE8'
  • FREQUENCY0st(-7…7 st)

    Bipolar, in tune at noon; a perfect fifth either way

  • TRI/SAW100%(0…100 %)· MIDI CC 46

    Triangle fully counter-clockwise, sawtooth fully clockwise

  • PULSE WIDTH50%(0…100 %)· MIDI CC 47

    A square wave sits at noon

  • WAVE MIX0%(0…100 %)· MIDI CC 48

    The slider: triangle/sawtooth on the left against the pulse wave on the right

OSC 2

  • OCTAVE4'
  • FREQUENCY2st(-7…7 st)
  • TRI/SAW100%(0…100 %)· MIDI CC 51
  • PULSE WIDTH50%(0…100 %)· MIDI CC 52
  • WAVE MIX0%(0…100 %)· MIDI CC 53
  • SYNC 2▸1OFF

    Locks oscillator 2 to the phase of oscillator 1

MIXER

  • OSC 165%(0…100 %)· MIDI CC 58
  • RING MOD0%(0…100 %)· MIDI CC 60

    Sum and difference tones of the two oscillators — inharmonic as they detune

  • OSC 260%(0…100 %)· MIDI CC 59
  • MOD OSC0%(0…100 %)· MIDI CC 61
  • NOISE5%(0…100 %)· MIDI CC 62

    White noise

  • OVERLOAD0%(0…100 %)
  • OVERLOAD RANGELOW

    LOW narrows the drive range for finer control

    Press MORE in that section

FILTER

  • ORDERPAR

    SERIAL, STEREO or PARALLEL — with HIGH PASS this decides bandpass, stereo lowpass or notch

  • LINK FILTERSOFF

    Off, so FILTER 1 CUTOFF is an absolute cutoff rather than the spacing between the two

FILTER 1

  • HIGH PASSON

    Highpass: the knob is fully open counter-clockwise, the opposite of lowpass

  • CUTOFF140Hz(20…20000 Hz)· MIDI CC 67
  • RESONANCE25%(0…100 %)· MIDI CC 68

    Self-oscillates into a sine fully clockwise

  • ENVELOPE AMOUNT0(-100…100)· MIDI CC 69

    Bipolar, no modulation at noon

  • KB TRACKING1:1

FILTER 2

  • CUTOFF7000Hz(20…20000 Hz)· MIDI CC 72
  • RESONANCE30%(0…100 %)· MIDI CC 73
  • ENVELOPE AMOUNT40(-100…100)· MIDI CC 75

    Bipolar, no modulation at noon

  • KB TRACKING1:1

FILTER ENV

  • ATTACK0s(0…10 s)· MIDI CC 79
  • DECAY0.6s(0…10 s)· MIDI CC 80
  • SUSTAIN5%(0…100 %)· MIDI CC 81
  • RELEASE0.3s(0…10 s)· MIDI CC 82
  • LOOPOFF

    Looping, the envelope runs like an LFO

VCA ENV

  • ATTACK0s(0…10 s)· MIDI CC 86
  • DECAY0.5s(0…10 s)· MIDI CC 87
  • SUSTAIN5%(0…100 %)· MIDI CC 88
  • RELEASE0.3s(0…10 s)· MIDI CC 89
  • VELOCITYON

VCA

  • LEVEL70%(0…100 %)· MIDI CC 7

    Light TIMBRE A or B first

  • PAN0(0…100)· MIDI CC 10

    Bipolar, centred at noon — the screen reads 100L through 0 to 100R

  • PAN SPREAD55%(0…100 %)· MIDI CC 9

    All voices sit at the PAN position fully counter-clockwise

  • PAN SPRD MODEL/R

    Press MORE in that section

ARP

  • ONON
  • DIRECTIONRND

    ORD plays the notes in the order they were pressed; PTN follows the MORE menu pattern; RND is random

  • OCTAVE RANGE4(1…4)

    How many octaves the pattern spans

  • GATE LENGTH22%(1…99 %)

    One length for every step, as a proportion of the step

  • SWING50%(25…75 %)

    50% is straight

    Press MORE in that section

  • CLOCK DIVCOMBO

    Which divisions the CLOCK DIV knob is allowed to reach

    Press MORE in that section

DELAY

  • CLOCK SYNCON

    Both TIME knobs jump between divisions of the global TEMPO

  • SYNC TYPECOMBO

    Its printed default — every division rather than only straight, triplet or dotted ones

    Press MORE in that section

  • LINK DELAYSOFF

    Off, so TIME-L is the left delay time rather than an offset against the right

  • TIME - L1/8· MIDI CC 93

    Straight, against the dotted right

  • TIME - R1/8 D· MIDI CC 94

    Dotted, so its repeat falls between the left one’s

  • FEEDBACK40%(0…100 %)· MIDI CC 103

    Single repeat through to infinite

  • CHARACTER50%(0…100 %)· MIDI CC 104

    Noon, where the default DJ-style filter on the repeats is doing nothing

  • MIX30%(0…100 %)· MIDI CC 105
  • TIMBRE A / TIMBRE BON

    Two separate buttons, one per timbre — engage the one for the timbre this part is on. Disengaged, this part bypasses the delay on a fully analog path

This block draws on the Muse User's Manual v1.4.0, pp.27-111 and the instrument at firmware 1.4.0; its values are starting points.