Libra I (Ambient Doom Drone)

Hello to everyone,
After the helpful feedback to my last post in this thread, I want to share my last work with you.
 
Hope it is a pleasant 10 minute break from your current activities.
 
https://soundcloud.com/drvdd/libra-i

Nice drone Vdd, I think you are right David it is very similar to Gabriel's piece in that way.

Thanks for sharing.

First of all, I want to thank you all for your feedback.  I did not know neither the music nor the movie you referred to and after listening to it, I felt flattered. Andy asked how I did the track: Actually, it is nothing special so it is probably boring…
I will try to explain how I did it. Please beware: I am not Mr. Anderton (so my ability to explain stuff in a way that it is reproducible by readers is limited) and not a native speaker.
Nevertheless, there are two parts: 1. OTB Synth and 2. ITB SONAR work…
1. OTB Synth
I used my Microbrute with two additional oscillators from my A-100 and two LFO. Starting with the Microbrute: I used the pulse waveform with the pulse-width modulated via the internal LFO at the slowest speed (via the patch-points). The filter was switched to bandpass mode, about a third open and the resonance half open. To produce really wired artifacts, I turned the brute factor until the filter started to pulse. In a nutshell, the brute factor of the Arturia-filter is like a loop-back of the filter output to the input… The envelope was bypassed through the gate switch.
From the A-100 I utilized two VCO soft-synced together. Beware, that these VCO are not synced to the Microbrute VCO! From the master VCO I took the saw waveform, from the slave VCO an additional pulse waveform. These pulse was modulated (PWM) through another LFO at lowest speed. The LFO waveform was a sinus, cycle time ~ 3 minutes. Both signals went into a mixer and then into the audio input of the Microbrute. The triangle waveform of the LFO went through an attenuator to the filter input of the Microbrute.
The challenge was to detune the VCOs and change the LFO frequencies until something interesting was happening. Then: No touching and recording! The tone swells in the track are the result of intermodulation between continuously changing PWM and a not perfectly synced saw.
2. SONAR
I recorded just one audio track. These one was copied three times. Then I used the bundled Melodyne to transpose the hole track by a fourth, the seventh and by two octaves. Melodyne creates some interesting artifacts, if you use the single voice algorithms of the essential version at multiple voice tracks.
The original track was panned to the center and the PC-EQ LP was set to 1k. The first two transposed tracks were panned hard left and right. The high pitched track was cutted to some little clips to create some peaks within the track. To smoothen the sound of these clips, they went through an instance of the bundled Blueverb.
I know it is “evil”, but I throw some effects directly on the master track: The bundled BT Tempo Delay (tweaked program “Vintage 3-delays”) to get some rhythmic into the tonal changes and the Multivoice Chorus (tweaked program “ensemble”) to soften the overall sound.
Finally, I used PC-Breverb with a plate algorithm (8,5s time, 100% diffusion and 90%/70% wet/dry) to glue everything together.
 
I hope these info will give you an idea of how I did this track.