Here is the setup on this vid: Moog Music Inc. I have the Moog DFAM as my master clock and the patch is based on their “Tribal Drums” template which comes with the unit. The clock of the DFAM is routed into the multiple of the Grandmother then patched into her clock-in control. The other multiple is patched to the clock in of the Moog Mother32. This enables me to very easy scroll through accompanying sequences and divide values of time with the gate length dial on the Mother 32. Creates lots of thematic contrasts quickly and effortlessly... The same kind of time/clock fun can be had with the Grandmother clock tempo when she is slaved to the DFAM as a master clock. It divides and locks into different times with a flick of the wrist. If your piano chops can’t mirror a 200+bpm? No worries, just dial up the tempo knob and the clock will lock it in place as you play your favorite triad. Only thing that matters is the music. That’s what makes a classic synthesizer System like this the ongoing wave of the future. It allows those with musical hearts and minds the opportunity to explore the vast galaxies of music and sound with or without conventional technique. Ain’t no one judging, get in there and start dialing it in. Twist, turn, and shape the sounds and music you wish to make. It’s all attainable now... Ok... Here I have the Grandmother in arpeggio mode up until the end where I switch it to Sequencer mode so I can focus on the finale with the fx pedals. This is a wonderful opportunity because in arp mode I can play whatever chord shapes or lines that I feel while mirroring the tempo of the clock. Using the octave switch on the Grandmother not only changes octaves, but allows you to extrapolate the time once again in a unique way. Depending on the number of notes that you arpeggiate divides and decorates the figures of time and phrasing. When using your computer/DAW, this can get insanely fun and inspiring if you print a MIDI track along with your initial performance. Because the same rules apply, the MIDI clock from that track can then become the master clock for the rest of your tracks. It’s this kind of opportunity that can make you want to go to bed later and get up earlier to create and record music with your time available. Also on the Grandmother I have a gate from the clock controlling the LFO. This keeps my arriving UFO’s in a horizontal line as they break through the skyline into our dimension (inverted sawtooth waveform into LFO / Mod wheel control). Sometimes I will route this LFO wave into the inverter on the Grandmother and dial it’s potentiometer while increasing the modeheel. This allows each UFO to quickly shift destinations and psyche out the onlooking earthlings below. With a gate from the clock controlling the LFO, everyone still grooves. In Sequencer mode, this enables me to orchestrate sounds and create lush, rich stereo images of the synthesizers with this beautiful collection of EarthQuaker Devices I have on the front line. It’s crazy what comes to life when you incorporate them... Earthquaker Devices pedals I feel are head and shoulders above the rest to keep up with the sonic quality and richness of classic instruments. Nothing is lost. The low end doesn’t asphyxiate and higher frequencies do not get mangled and sent to the cutout bins... They’re hi fidelity signal processing pedals that can take any studio situation up to a higher elevation or absolutely Annihilate any large PA system performance. Trust me, I’ve brought full rooms to attention with just pink noise and the Pyramids running in stereo. It enables me to create an “album experience” live. Which is one of many things that continually excite and inspire me with music. I put EQD pedals to the test in with almost every instrument imaginable and every style of music conceivable. They’re legit. They can hang with anything and bring another dimension forward into your music or sound design. I urge you to try them ~ find me if you have questions. Love to all. http://lisabelladonna.com/

Here is the signal path to the EQD line:
Mellotron M400 ~ EQD Ghost Echo ~ EQD Afterneath
Moog DFAM ~ EQD Levitation Reverb
Moog Mother 32 ~ EQD Space Spiral
Moog Grandmother ~ EQD Avalanche Run ~ EQD Pyramids

In this particular situation I have a designated signal chain for each instrument in this demonstration. However, there are many times on stage and in the studio that I will set up one or two pedal set ups that I have routed to their own individual buses on my mixing desk. This allows me great flexibility in advantage of immediate possibilities as the music changes and transforms. Also, and live situations you are forced to adapt to the room you are performing in. There are times where this also becomes a great advantage. If anyone has any questions about this particular set up please feel welcome to do so in the comments. Also my sincerest gratitude to the wonderful people at Guitar Center for their kindness and great enthusiasm. To Jay Daniello and Trent Thompson from Moog for their inclusion and support. My love to Jamie Stillman, Julie Robbins and EVERYONE at EarthQuaker Devices for being the most fun, creative, talented, consistent and badass group of humans to work with. Shoutout to Jeff France for rolling this entire session like a BOSS with a total skateboard destroyed arm. Fej rules. Plain and simple. ❤️ Love, LBD ✨