VERY COOL Per, I loved the peice.. would it be possible to control this with a footcontroler and improvise on other instrument.. Or even cooler could the strength of signal and pitch of a input instrument på set to do what the joystick does. Sort of letting all these patterns be controlled by audio.. sort of..|
Thanks for sharing..
> Date: Sun, 24 Jan 2010 22:19:44 +0100
> Subject: Re: Shared recording uploaded (Re: mac vst builder(Synthedit) thingy??)
> From: firstname.lastname@example.org
> To: Loopers-Delight@loopers-delight.com
> On Jan 23, 2010, at 6:36 PM, Per Boysen wrote:
> > http://www.box.net/shared/9f6cov0qh2
> On Sun, Jan 24, 2010 at 8:51 PM, Mark Hamburg <email@example.com> wrote:
> > How much preparation do you put in before an "improv" like this and how much are you really able to pull together on the fly?
> I would say that the general flow of the piece, understood as
> directions and movements, is all improvised. Poly rhythm is partially
> improvised while tonal pitch is not improvised at all, rather
> automized with a little help of random.
> The balance between how much you prepare in advance vs how much you do
> during performance is really totally open. I'd love to explain the
> process behind this tune, since live sequencing is a big interest of
> mine. Those not interested can just skip over this mail. ;-) Here are
> the steps:
> 1. Discrete sequencing.
> I don't know where this term comes from originally, but in musical
> terms it is what King Crimson does a lot in many tunes; you use two
> patterns of different length where pattern one is the pitches and
> pattern two is the accents. To achieve this I used
> A: an Interval (pitch) sequencer of 16 steps. This pitch sequencer's
> positions for the 16 steps is partially randomized ("partially"
> meaning not all steps are changed) by a Modulation Sequencer now and
> then. This modulation sequencer runs at 15 steps to randomize the
> randomization frequency (yay! how deep can you go...).
> B; a Gate Sequencer that runs at five steps with all steps active and
> values gradually going down from beat 1 to 5. While the Interval
> Sequencer gives the pitches to be played this one gives the note
> duration. What we get here is a changing 16 note pattern with a note
> duration pattern repeating every fifth beat.
> C: a Velocity Sequencer that runs at 6 steps. Values are like
> "High-Low-Mid-Low-Mid-Empty". This creates an accent pattern in the
> above reminding of a Waltz rhythm, and with a paus at the last beat.
> Ok, the MIDI generated by these three sequencers are tonally quantized
> into a C minor dorian scale. This was all automatic precess prepared
> in advance. Oh, I also set the synth to juste intonation in C.
> Here comes the live performance part:
> The synth sound is programmed to go into a bell like timbre on higher
> velocity values and more pad like sounding with slower attack at lower
> velocity values. On the Faderfox I can control the following:
> 1. base for the velocity sequencer (the fundamental value it starts out from)
> 2. scaling for the velocity sequencer (how "much" its pattern shall be
> implied on the generated MIDI)
> These two control parameters are assigned to a joystick. By turning
> down the "base" to zero I get only only the three beats "High-Mid-Mid"
> in half tempo (since it is every second beat and the ones between are
> silent). This is the typical Waltz rhythm. The "scale" parameter now
> works as an attack/level control for the synth. If I bring up the
> "base" value a bit the silent notes between the waltz notes comes
> alive and the rhythm may as well be experienced as a four beat
> 3. Groove tremolo. In the audio path after synth 1 there is a groove
> tremolo effect. I use one knob to fade between full bypass and full
> tremolo treatment. The tremolo is a little delayed on every second
> beat ("groove factor"), actually the same groove factor I have set
> Numerology's global groove clock sequencer to (forgot to tell that
> initially, but it's just a preference setting). The more this tremolo
> is applied to the sound the more 4/4 it feels.
> I added a second synth, bass sound, with a similar setup but now
> tremolo. Then I also added a drum sequencer that loop a 16 bar "song"
> containing 8 one bar patterns.
> These three instrument recourses were then manipulated with the
> processes described above plus simple volume mixing. As you hear I
> kept the waltz feel of synth 1 all the way until fading in the 4/4
> drums, because I found it cool with that odd feeling of the drums
> appearing like that; for a second you don't "understand" it until your
> hearing switches over from 3/4 to 4/4.
> This was a dirt simple example of "discrete sequencing". The cool part
> of Numerology is that you are not limited to sequencing notes only -
> you may in fact sequence any sound parameter of a synth, a looper, a
> sampler or filter plugin. This is why I asked Mark Francombe why he
> thinks he must program his own plugins, because to me it would be an
> easier solution to us Numerology that already offers a drag n drop
> patching matrix to jiggle any parameter in any plugin in any way.
> Greetings from Sweden
> Per Boysen