As well as Musical Compositions, Molly loves exploring the intricate ways you can begin to manipulate the world of sound around you, creating  intimate and very personalised  soundscapes and ambiences.


QUADRANT allows you to mess around with your work, making some really interesting or strange noises, adding a whole other layer to your sound.

You have the basic effects such as delay, filter, pitch, distortion and some reduction but all of these effects can be routed any way you want, patching these virtual cables between the modules. It was so interesting to sit creating a new patch, mixing the sounds to make something really wacky and wonderfully weird. 

Using their pre installed patch of ‘Systematic Vortex’ i added it to on of my more experimental compositions to see what effects I could get.


Next up will be from using the patching  from scratch to create a new sound bespoke to me and exploring the other modular synth samples and loops. I can see this is gunna be a lot of fun.


Below is the Audio from my original recording – Guitar with a space designer and delay to make an ambient drone effect 

Now listen to the effected track with the QUADRANT plugin


So this was something a little bit different. No fancy plug in just your bog standard effects that you find on Logic or other DAWs.

Lots of crossfades and automation to make sure there was this long movement down to the sea, like a car journey to the beach.

At the time I had a Se Electronic  Condenser Microphone or my phone, wrapped  in a condom and taped up with duct tape. Yup. You read that right…a condom and some duct tape.

I hung this over a bucket or submerged it slightly so I could get some undertones of the water when I poured it into the bucket. All done in the small room of my University Halls.   What more could any budding Sound designer need.

Have a listen to how I tried  to portray the journey of water in the opposite way. Hinting on the idea that what you use does effect the wider picture 


Messing round with Logic can lead to some very interesting things. One of them is creating sounds needed for a film or media when you might not have the time or equipment to go and sit in a field and wait for the wind to pick up.

So heres a little trick.

Your setting the Mix to Sub only because the Sub oscillator is the only one of the two, of the ES1, that offers white noise –  a sound containing a blend of all audible frequencies. Set that Sub Oscillator to Noise, the random squiggle.                      

If drive was higher that 0 then there would be a bit too much distortion, and would make it sound a little fake. If you have a look at the filter I set it as the 18dB. This is really personal preference – Have a look and see which one you prefer for that swept rush of wind sound.

With the Resonance, this is where the critical ear is important. Too much resonance and you’ll start making it sound pitched…not natural with wind, it doesn’t self resonate. However,  if you get it right you can get that “whistle” sound that you need to add on the feeling that its rushing around a building.

The Key setting is where you’ll find you can get the stacked effect, multiple registers to really get the sense of the rushing sounds.

One of the most important is the Low frequency Oscillator! Get that set to the smoothed random waveform – this means you’ll get that automatic vary of the pitch and give the wind sound some movement. 

Finally have a look at the ADSR Sliders. This is where you’ll make sure you have the long slow attacks and decays. Wind doesn’t just start on a beat and end on a beat! 

Have a look at the video below where I am simply using an ES1  and manipulating the cutoff. Stick a Reverb on the top to add an extra layer.