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At 9:30 PM -0800 2/8/00, Andrew Pask wrote:
>Yeah, in MAX that would be possible,
>I've heard something like that already;
>a patch where a MIDI loop "morphed"
>into another loop, sounded pretty amazing, much more interesting than the
>actual loops sometimes.I don't know about the GUI though, you might have
>to
>deal with something a little less flamboyant ("nah man, I only dance on
>the
>inside")
>You could do it with MAX/MSP with actual samples if you worked with a
>bunch
>of preselected samples and composed transitions but I figure you are
>already
>doing that with a "real" sampler anyway.I imagine anything else would
>sound
>like a cross fade no matter how hard you made it for yourself.
>If I find those MIDI morphing patches, I think I have them somewhere, I'll
>put a note up on the list for anyone who wants them.
>
I remember doing this sort of thing with neural net objects for Max back
when I was taking computer music classes. People did lots of cool stuff,
morphing between different time signatures, different musical styles,
different harmonies, different grooves, etc. All of the most interesting
stuff happens somewhere in the middle, of course! Great fun.
I remember seeing a performance at CNMAT where David Wessel had a Buchla
Thunder for a controller, with different pakistani percussion grooves at
each ends of all the touch sensitive sliders. Neural nets were used in a
max patch to interpolate all the area in between, so as he slid his fingers
along the sliders, the grooves would be morphing between these two points.
The sliders are pressure sensitive as well, and he had pressure assigned to
density of the groove. So a light touch on the slider was a very sparse
groove, and more pressure would add more and more elements to the
percussion part, filling it in. So as you can imagine, this was a very
expressive, real-time approach to controlling sequences for performance. A
great way to control very complex percussion parts too. The performance was
very cool. In addition to David was a very famous Pakistani singer whose
name I can't remember at the moment, and Matt Wright playing drones with a
wacom tablet connected to more max patches controlling an
analysis/resynthesis synth running on an Indy. They were doing
"traditional" Pakistani/North Indian type music, very complex and
emotional, all improvised/performed live.
I always think about this whenever I hear people exclaim "Drum and Bass
can't be done live!" This was way more complex than most D&B, all with
real-time improvisations of sequences and samples. It just takes some
imagination applied to how the instruments work.
kim
______________________________________________________________________
Kim Flint | Looper's Delight
kflint@annihilist.com | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/ |