Electronic Music & Tool Building Entry: Techno Date: Wed Apr 21 02:01:00 EDT 2010 Found a bunch of goodies on Youtube: - Starfish Pool - Unit Moebius - Hardfloor - Damon Wild & Morph - Joey Beltram Entry: Getting Pure Data back up and running Date: Wed Apr 21 12:40:07 EDT 2010 It's been a while. Currently debian squeeze has Miller's latest version: Get:1 http://ftp.debian.org squeeze/main puredata 0.42.5-3 [1673kB] ( I'm not sure if this is the community version or Miller's though.. ) First, setting up jack. At this time it's possible to run it as non-root. Update /etc/security/limits.conf as suggested: @audio - rtprio 100 @audio - nice -10 @audio - memlock unlimited After starting "jack -d alsa", I get this: JACK: unable to mlock() port buffers: Cannot allocate memory JACK: unable to mlock() port buffers: Cannot allocate memory To start pd with jack, apparently it needs the number of channels: pd -jack -channels 2 Works good enough for now. What I need next is a way around the "array" type: i.e. allow an array to be an external memory object, i.e. a shared memory segment. Let's put that aside. The most important thing is to make an interface for re-loadable C code. Something that can load a new code library in the background and switch it with a running instance in real-time. Entry: Music without melody? Date: Wed Apr 21 20:40:07 EDT 2010 There is only harmony. [1] http://www.slate.com/id/2250793/ Entry: Distortion Date: Fri Apr 23 17:59:23 EDT 2010 Polynomial composition instead of oversampling and filtering? f(x) = x(x-1) g(x) = x(x-1) (f * g)(x) = g(x)(g(x)-1) = x(x-1)(x(x-1)-1) = ...(x^2-x-1) Entry: I want one Date: Sat Apr 24 10:48:25 EDT 2010 Thinking back to the years of playing with synths, I think I was stuck between two extremes: on one hand wanting to just play and not be bothered with an iterative edit process, on the other hand wanting to understand some musical style and be accepted/confirmed in it. Entry: BCR2000 Date: Sat Apr 24 10:54:00 EDT 2010 [1] http://bc2000.pingdynasty.com/index.php/Introduction_to_BCL Entry: No more sequencers Date: Sat Apr 24 11:38:09 EDT 2010 I'd like to stay with loops, but move away from sequencers, apart from creating raw material. I'd like to get more into the geometry of loops. It seems that what I'm looking for is more about user interface design than DSP per se. The overall architecture is going to be what determines the ultimate sound. This means: - database of sounds (with search?) - sample display? - `basic codec' I.e. standardize the effects that can be used, such that sounds can be encoded in raw material + operation. One thing is clear: Pd is not what I want. Pd is great for sound design and clean-slate approach, but I really want 1. language control: abstractions and combinators (something that Pd really misses), and 2. better handling of loops, i.e. sample loops as functions. So, these are the ground rules: * phase 1: database of sounds, all treated as loops (pre-edit them). later in the implementation, replace them by "virtual loops" ala ableton live. * a loop is a function from angle -> time. parameterization of this manifold should be abstract, ala [1]. * write the whole thing in haskell, but allow for abstract interpretation to compile subsets (the sound generators & processors) to C. Question: is a loop the same as a periodic sound? A loop is a sort of metaloop. Actually, it's a projected torus (basis of the dynwav model). Anyways, let's leave that to later. Problem: where to put the AI? I.e. scaffold the whole deal in Haskell, including array references and subsampling? Should work fine, as there is no mutation going on. So, first: a beat chopper. [1] entry:../math/20090620-152527 Entry: Process Based Music Date: Sat Apr 24 14:15:46 EDT 2010 Maybe that's the most important thing to remember. Given a limited number of options and tools, make something that ``sounds about right''. I need a production tag: FNCMP or funcon. The process: function composition. Entry: Step 1 : cut up a sample Date: Sat Apr 24 16:32:57 EDT 2010 Ingredients: sample array, `needle' function + way to playback. Entry: NRPN BCR2000 Date: Sat Apr 24 18:06:35 EDT 2010 NRPN is encoded as: CC 99 PARAM MSB 89 PARAM LSB 6 VAL MSB 38 VAL LSB This works very well. The B-Control Rotary knobs are accelerated for fine scales. Entry: Samples really suck Date: Tue Apr 27 19:33:53 EDT 2010 I like loops, but I don't like samples. Maybe it's because I like polyrythm and a bit more synth-like unpredictability.. Also, samples are a real pain to manipulate, edit, ... That never really worked for me. Another thing: once you have a loop as a sample and you pitch it up/down, it looses its character. It becomes ordinary or something.. Difficult to express.. So, back to synth-only? How then to capture these modulation-based rhythms? Looks like I digged myself a hole again.. Let's make that the real objective this time; not to do that. The real point seems to be to keep the parameter space simple and keep the configuration manifold smooth, so you can walk around in it. I.e. if there are not too many degrees of freedom, an instrument is born. Too much freedom is no good. So: only cycles. In pd, simple: only phasor~ objects, both for tone and rhythm (modulation). No events. Working title: no events - only cycles Something to think about: - build network, - find some pot motion that works well - abstract the motion into an oscillation Entry: Tone beats Date: Sat May 1 20:10:55 EDT 2010 The beats from slightly detuned perfect intervals seem to be more natural or beatiful than constructed ones. I.e. beats are one kind of allowed inharminic rhythm. Is it possible to shift between the two? Have beats be synchronous to the main rhythm? Entry: Jazz & 7th chords Date: Sat Jun 19 19:44:53 CEST 2010 Some of the things I learned about scales and chords recently. 1. Where do the basic chords come from? From the diatonic scale: T T s T T T s C D E F G A B C' 1 2 3 4 5 6 7 8 It's simplest to do this on the (piano) keyboard, using the white keys only (key of C major). Transposition to other keys give rise to more sharp/flat (black) notes in the scale. This is largely a technical issue (and imho a disadvantage of music notation when equal temperament is used..) Western music is largely based on these 12 tone intervals. Here they are annotated with their occurence in the diatonic scale: m2 Semitone s M2 Whole tone T m3 Minor third Ts, sT M3 Major third TT 4 Perfect forth TTs, TsT, sTT b5 Tritone TTT, sTTs 5 Perfect fifth TTTs, TTsT, TsTT, sTTT m6 Minor sixth M6 Major sixth m7 Minor seventh M7 Major seventh One of the most remarkable properties of the diatonic scale is that it contains a large number of perfect fifths: only the one starting at the 7th contains a flat fifth (B-F' or 7-11). The same goes for their inversions the perfect forths. Chords can now be built by stacking two major and minor 3rds (= third and fifth) Building them directly from the diatonic scale gives: C Dm Em F G Am Bdim Three major/minor chords containing a major/minor third, and one chord with a minor third and a flat fifth: a diminished triad. Triads stack root + interval Major M3 m3 M3, 5 Minor m3 M3 m3, 5 Diminished m3 m3 m3, b5 2. What about jazz? Use quads by adding a 7th. 7th chords are 3 3rd intervals on top of each other, or a 3, 5 and 7 from the root. The most important components in a 7th chord are the 3 and 7, which are called the color tones. They are a 5th apart. It's often OK to leave out the 1 or 5 if the harmonic context is clear enough. A 7th chord can also be though of as a triad extended with a bass note. I.e. with a clear bass note C context, an Em chord sounds like a Cmaj7 chord. ( Music is inherently ambiguous! ) There are more possible combinations for 7th chords. There are 5 with perfect fifths: root intervals ex third stack name ------------------------------------------------- 1 3 5 7 Cmaj7 M3 m3 M3 Major seventh 1 b3 5 b7 Cm7 m3 M3 m3 Minor seventh 1 3 5 b7 C7 M3 m3 m3 Dominant seventh Lowering the 5th and 7th gives 3 more with flat fifths: 1 b3 b5 b7 Cm7b5 m3 m3 M3 Half diminished seventh 1 b3 b5 bb7 m3 m3 m3 1 3 b5 b7 M3 2 M3 The first 4 come from the diatonic scale by stacking thirds: Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bm7b5 The other 2 do not occur on the diatonic scale. So, a 7th chord is: - bass note + 5th (color interval), stacked at 3rd - stack of 4 3rds - two thirds, separated by a fifth 3. Progressions In western music the cadence V-I is an important base for many chord progressions. The II-V-I in jazz is two 5ths down (4th up = 5th down). I don't have a very clear picture here, but it seems to boil down to progressions within a key (i.e. that stay in the same scale) and those that modulate to a different key. [1] http://en.wikipedia.org/wiki/Musical_mode Entry: Scales & Keyboards Date: Fri Jul 30 16:38:15 CEST 2010 For reference: The HN thread[1] and some other links [2][3][4]. [1] http://news.ycombinator.com/item?id=1559838 [2] http://en.wikipedia.org/wiki/Janko_keyboard [3] http://en.wikipedia.org/wiki/Solfege [4] http://www.youtube.com/watch?v=82xaEGgiiRs [5] http://www.c-thru-music.com/cgi/?page=layout_cshapes Entry: 1, m3, 4 Date: Fri Jan 7 17:24:55 EST 2011 The "Ambient music chord"? Minor suspended? No[2], suspended is removed 3rd, repaced with 2nd or 4th. Chord names never made sense to me. I have my own copy of [1] now, so that's another multi-year project right there. [1] isbn://9781883217044 [2] http://en.wikipedia.org/wiki/Suspended_chord Entry: Cool post on HN Date: Sun Oct 2 22:10:20 EDT 2011 Follow links! So what's behind this? It seems to be mostly phase modulation of a sawtooth wave. The | operator is sort of like a distorted summation. One of the lines in the 2nd video in [2] sounds like aphex twin. This one: (t | (t>>9 | t>>7)) * t & (t>>11 | t>>9) [1] http://news.ycombinator.com/item?id=3063359 [2] http://countercomplex.blogspot.com/2011/10/algorithmic-symphonies-from-one-line-of.html Entry: asdf Date: Tue Nov 15 17:42:54 EST 2011 I'm thinking about making music again... At least I'm listeing to music again.. Something went wrong in the last couple of years, brain shifted towards a different kind of aestetic.. I got interested in programming. I'm listening to two kinds of music: guitar and electronic. Both have a different sentiment to them. Guitar is usually more about people. The electronic isn't. Wether I want to listen to either depends on whether I'm pissed off by someone or not :) Anyway. Music. Interface. The thing is that, while I have all this technology available to make music, I still don't feel that I can make something that comes from within. Actually I can, when I make it severely limited, minimal.. Maybe that's the path to go then. So, interface. Trouble with these spurrs of motivation is that some kind of incremental approach needs to be happening after an initial convoluted hacking session... How to get there? Maybe I should just continue what I'm doing.. Get my damn DSP compiler code into Pd. Entry: Cycles Date: Tue Nov 15 18:35:04 EST 2011 So, I'm looking for loops on a manifold, or maybe non-loops for variation. The trick is to write down the update equation / evaluation and to find a good mapping. The path of incremental update might be most useful as I imagine this can generate more interesting trajectories than simple wave-shaping.. The core problems there are evaluation of elementary functions and constructions of derivatives (through autodiff). Entry: My loops Date: Thu Nov 17 16:50:54 EST 2011 I got tons of unprocessed techno recordings that might be repurposed for making new tracks. It would be nice to find a good way to index them. i.e. perform beat matching etc. It's about 8G of FLAC. The whole won't fit into memory. It would fit in compressed form though. I tried mixxx again and I get depressed by the overall messy feel of that program. Maybe I'm being an ass, but I really can't get it to work after a couple of minutes; that shouldn't be.. This looks pretty much like a dead end. I have no thinking substrate. I need a way to think about "context" in a music file, and based on that context, derive things like BPM, current 4 beat window, ... Let that be the seed idea: represent context in a music file, and perform computations on it. Entry: Generative music Date: Thu Oct 25 13:48:34 EDT 2012 Been thinking about music a lot lately. Mostly about where I left off: confused by too many possibilities, and a disappointment with pure algorithmic music. The trouble is that there is always going to be some "edit" or "tweak" that takes a compressed (algorithmic) structure and turns it into music. So why stop there and not make everyting a tweak, and use the algorithm just as a compositional aid. A. pure algorithmic B. (re-)assembly algorithm Pure algorithmic just doesn't exist. So what do I want? I want a composition tool. A sequencer. Something that I can trust, that I can extend and bend, but not something where the extending and bending becomes the only thing I do. Entry: Modes of the major scale Date: Sun Nov 4 12:36:12 EST 2012 On the keyboard I'm playing melodies most naturally in the Phrygian(E) mode, but in the key of F, which makes the keys easier to identify (all black + 2 white C/F). Modes[1] C - Ionian (major) D - Dorian E - Phrygian F - Lydian G - Mixolydian A - Aeolean (natural minor) B - Locrian Chords[2] C - Cmaj7 3 5 7 D - Cm7 b3 5 b7 E - Em7 b3 5 b7 F - Fmaj7 3 5 7 G - G7 3 5 b7 A - Am b3 5 b7 B - Bm7b5 b3 b5 b7 Harmonic minor starting at A has a G->G+ 5th mode of this, starting at E, is Phrygian dominant. [1] http://musictheoryblog.blogspot.com/2007/01/modes-of-major-scale.html [2] http://www.mypianoriffs.com/487/wanna-play-pop-rb-or-jazz-then-you-must-know-the-diatonic-7th-chords-too/ Entry: Chord harmonizer Date: Mon Nov 12 15:44:54 EST 2012 What about a chord interpreter that adjusts tuning to fit the key? Entry: Distorted chords Date: Tue Nov 13 21:55:58 EST 2012 This is going to be vague.. Distorted chords can sometimes sound messy, but if you know the frequency ratios, it's probably possible to synthesize a "perfect" chord that still sounds good as a square wave. This is related to "locally correct" tunings, i.e. the notes layed out against the current tonal background so they fit best in the current chord / key. So, what is a chord really, other than a suggestion of a deep subharmonic through high-value harmonics. This works for harmonic chords, but what with inharmonic ones? It would be nice to investigate this a bit.. Entry: Riff Date: Wed Nov 14 18:44:48 EST 2012 I like this one. Reminds me of someting. Anyway, time to analize. I can only play keyboard in a specific key, I don't even know which one it is, but it has all the black keys + C/F. Easier to remember visually. It's a diad sequence in 4/4 1 . 2 . 3 . 4 . C G# G# C# F F F C I like those minor seconds, probably because they are impossible to play on gitar, at least for me. 1. What key is this? 2. What scale is this? 3. What are the chords that go with this? 1. F 2. Phrygian @ F 3. The intervals are: 5, m3, m2. The 5 and m3 are maybe best interpreted as coming from the same chord: minor triad. For the m2 the C# is clearly dominant, it is also a fifth below the 3 note in the m3. The minor second is this best interpreted as a major 7th. It looks like the chords are Fm, C#maj7, the root and fifth of the Phrygian @ F scale. It might be easier to play this one semitone lower, rooted at E, since it's a major scale mode. Entry: List of synths (sput) Date: Thu Nov 15 20:59:46 EST 2012 Some of this can maybe run on uC. Now just playing with keyboard. - saw stack - squares, XOR-modulated -> very bleepy. chords can be used to create a wide range of squeely cross-modulated tones. very reminiscent of early 8-bit game sound effects. - squares, OR(AND)-modulated -> more like distorted guitar chords. diads (power chords) are fine, but triads already sound quite busy. nitendo-ish (i wonder if that's what they used[1][2]). [1] http://en.wikipedia.org/wiki/2A03 [2] http://nesdev.com/2A03%20technical%20reference.txt Entry: Just intonation Date: Thu Nov 15 22:53:40 EST 2012 6:5 = Ts (minor third) 5:4 = Tt (major third) 4:3 = Tts (perfect fourth) 3:2 = TTts (perfect fifth) 2:1 = TTTttss (octave) Melodic distance between these are 16:15 = s (Semitone) 10:9 = t (Minor tone) 9:8 = T (Major tone) The ratios of these 3 intervals are not essential as they are not themselves used in harmony. They are the "cruft" that's left over as 3 different "adaptor ratios" once a grid is made with the major third and fifth and their inversions. These intervals are only used in melody, where only their relative proximity is important (next to their integration in the harmonic background). Looking at the major triad: 1, 5:4, 3:2 gives the harmonics 4 5 6 of the 2 octave down subjarmonic. This is why a major chord is so "heavy": it suggests a subharmonic of the tonal. A full harmonic series misses only the octave (2) and a fifth above that (3). The minor triad: 1, 6:5, 3:2 suggests a common subharmonic at :10 which s 3 octaves and a major third down. Not counting the octaves, this is a major third down, which will essentially give back a major triad with a 7th stuck at the end. This is why a minor triad resolves to a major triad a major third down, making that "suggested" tone more clear. [1] http://en.wikipedia.org/wiki/Just_intonation Entry: The Jazz Theory Book Date: Sun Dec 9 22:28:32 EST 2012 Can do two things at once: - proper MIDI velocity curve for SPUT - start playing stuff from The Jazz Theory Book[1] by Mark Levine[2] to move from "deciphering" to reading music. [1] http://en.wikipedia.org/wiki/The_Jazz_Theory_Book [2] http://en.wikipedia.org/wiki/Mark_Levine_(musician) Entry: MIDI velocity curve Date: Sat Dec 15 11:45:16 EST 2012 Conclusion: - physical velocity -> midi velocity is not linear. Remaining questions: - where did this originate? what is the rationale? - how to map physical velocity -> energy/amplitude? [1] http://www.strongenging.com/papers/VelocityCurves.pdf Entry: Sidechained kick Date: Mon Dec 24 19:14:51 EST 2012 Essentially, wire, (part of) the mix through a compressor and use the kick channel (possibly with reverb) as the side-chain compressor input. This brings out the kick. For the sheep monosynth, this happens automatically: there is nothing else but the kick since it is monophonic. I wonder if it is possible to take this to the extreme: no mixing, just sidechaining. Entry: Neat: Electronic Music Guide Date: Thu Dec 27 23:15:17 EST 2012 Found it on MF[2] [1] http://techno.org/electronic-music-guide/ [2] http://ask.metafilter.com/31696/Whats-the-difference-between-House-and-Trance Entry: I just started turning knobs Date: Fri Mar 1 21:44:40 CET 2013 In 1985, acid house[1][2]. The angry sibling, techno[3]. [1] http://www.youtube.com/watch?feature=player_detailpage&v=rw-tRL9PUNg#t=2443s [2] http://www.youtube.com/watch?v=OKbLI8EufNo [3] http://www.youtube.com/watch?feature=player_detailpage&v=rw-tRL9PUNg#t=4190s Entry: Shellac Date: Sun Mar 31 19:34:04 EDT 2013 At Action Park - Crow[1]. he flies as a crow flies straight to her why? tell her something he promises her he will not do all the things he has already done to her she flies as a crow flies in a straight line straight to him why? listen time flies as a crow flies in a straight line through you not around you your life is only that with which time has its way with you in the corner of my eye on the tracks will not fly underneath cannot feel trapped beneath unafraid black streak in the corner wait until it gets warmer rain brain do the honor swing blade underwater dont eat the crow! dont eat the crow! in the corner of my eye in the corner was the sky in the corner with the bird final caw went unheard dont eat the crow! dont eat the crow! [1] http://www.youtube.com/watch?v=gPQIMA6H6F8 Entry: high tech soul Date: Fri Apr 5 21:09:27 EDT 2013 [1] https://vimeo.com/2342523 Entry: clicky envelopes and sawtooth Date: Sat May 4 19:10:08 EDT 2013 Interesting how this gives rise to rhythms when the metro trigger frequency beats against the sawtooth. Entry: Instruments and pieces Date: Thu May 16 22:06:40 EDT 2013 So I got the RAI stuff to the point that I can make usable synths and effects. Time to make some compositions. Piece 1: Oldschool Autechre ambient inspired piece - Simple sawtooth + reso filter - Delay/Verb : FDN reverb with taps: 13547 24557 35559 46571 - Feedback sum/dif weights: .9 .7 - Score: fast power chord arpeggios between octave - V - I. Point of the piece is to play with the harmonic, plasticman-style low pitched reverb, and the delay->verb spread of the attachs. I never get tired of delay, reverb, distortion, envelopes and reso filters. Entry: Abe Duke / Kirlian Date: Mon May 20 12:40:38 EDT 2013 I like Kirlian. Especially that bleeply poly-rhythmic stuff with stingy high-hats in "Portzellangasse Again" on "Pleasure Yourself". Entry: FDN Date: Fri May 24 19:58:04 EDT 2013 This FDN has some very nice properties for making "washing" drum riffs. (define (svn17tn-fdn x) (let-values (((a b c d) (unpack (fdn x (vector 21101 31310 41524 51737) fdn-filt)))) (values (+ a b) (+ c d)))) Entry: Getting back into Ardour Date: Sun Sep 29 15:12:04 EDT 2013 Have 2.8 on Debian which is relatively old. Trying to compile 3.4 from git now. Involves installing a lot of -dev packages from git, and updating boost as it gives a compilation error. Basic idea is the need for simplification. So I'd like to stick with Ardour, some plugins, and what I can build myself. OK, builds and runs! I see that since 3.2 it has video support. Great! There's also a separate video server: harvid. Hmm.. no video editing.. Maybe the idea is to use this for soundtrack production only. Oh, well. I won't get distracted then :) http://x42.github.io/harvid/ Entry: Youtube playlist Date: Thu Oct 3 11:10:17 EDT 2013 - Glenn Branca[1] [1] http://www.youtube.com/watch?v=biA2Y9XanfY&list=PLCA7655577884FB8F Entry: Noisia Date: Fri Nov 15 00:00:58 EST 2013 Mix[1], Stigma[3], Future Music interview[4]. TedX[5]. [1] http://www.youtube.com/watch?v=5f1aMTIepzs [2] http://en.wikipedia.org/wiki/Noisia [3] http://www.youtube.com/watch?v=xtppf3xkby4 [4] http://www.youtube.com/watch?v=ezh2BM2dh5s [5] http://www.youtube.com/watch?v=9Em2DIkQYAM Entry: Filthcast Date: Fri Nov 15 01:05:31 EST 2013 Youtube comments on Noisia lead me to Filthcast: [1] http://www.youtube.com/watch?v=k0yb1wmDihg [2] https://twitter.com/Filthcast [3] http://www.barcoderecordings.com/ Entry: Making tools Date: Sat Nov 30 09:13:48 EST 2013 I'd like to get back into music, but I feel a "tool attractor" roadblock, meaning that every time I try, I go back to wanting to build tools. Probably because it is easier.. There's been a tool I wanted to make for a long time, which is a sound database composer. I.e. compose things from a large collection of sounds. - Sound database. - Looper Entry: Bobby McFerrin in "World Science Festival 2009" (Notes & Neurons) Date: Sat Nov 30 18:18:01 EST 2013 http://www.youtube.com/watch?v=t8I2Xt54bwY Entry: Filthcast 40 Date: Thu Dec 5 15:50:32 EST 2013 http://feedproxy.google.com/~r/BarcodeFilthcast/~3/cNLIuRIs5vg/Filthcast040.mp3 https://soundcloud.com/filthcastpodcast/filthcast040 Nphonix & Counterstrike - Maverick (Original Mix) http://www.youtube.com/watch?v=3ctL_RW6q7s Black Sun Empire Dawn of a Dark Day feat. Foreign Beggars http://www.youtube.com/watch?v=YvgOJddVfrE (receptor) http://www.youtube.com/watch?v=6xruI0dC9zQ (original) Entry: Guitar pitch tracking Date: Sun Jan 12 20:37:33 CET 2014 Roland GR20 (Tim) Entry: Maybe the point is structural? Date: Tue Jan 14 17:29:40 CET 2014 Been thinking a lot about music and sound generation these days. I can't really get past the old ideas that sunk in already. I.e. patterns I like but are not terribly interesting. Is there a way to use the processing power available today in a way that is not trivial to see without explicitly looking for it? I.e. is there a way to make "expenisive" algorithms that create a lot of character, detail, without being simulations of real systems? Entry: Morph - Stormwatch Date: Thu Feb 20 14:28:44 CET 2014 http://www.youtube.com/watch?v=ZqLYBr8cmlo&list=PL_paig8xC2D17NYIM8so_yRv0nIGOdzOg I know this from one of the Gonzo Circus - Mind the Gap CDs. Entry: reverberation Date: Sun Apr 20 00:27:10 EDT 2014 I like echo & verb. Probably because I spend so much time in small rooms... Enjoyed Chicago Union Station Hall last week. The reverberation turns all that people noise into music. Since convolution reverb is a viable option these days, it might be good to write a small engine and write some code to generate IRs. Entry: soma Date: Sun Apr 20 01:14:29 EDT 2014 http://somafm.com/play/events64 DEF CON Radio: Music for Hacking. From DEF CON 21 in Las Vegas. Music Director / DJ: Rusty Hodge 2014/04/20 22:09:07 Tomas Barfod Python Salton Sea http://somafm.com/deepspaceone/songhistory.html 2014/05/12 14:50:41 Maya Zimmerman Moonlight Sonata (First Movement) Entry: pd data structures Date: Sat Oct 4 23:46:30 CEST 2014 I think I get it now.. It's much more general than just x=time. "If you want to make this time based, just send it to a delay line." Maybe give it a try? More interesting talk is [2]. - don't build environments (no more niche to fill) - what are interesting ways to "expand" a small set of controls - time is best left to humans Coming back to an old idea: the interesting part is in making controllers for things that are inherently not playable. The control connection is part of the interesting part of the sound. Miller makes a different point: the performer is part of the instrument through feedback - measuring just the control doesn't contain all the information. The state of the system being controlled is a very important component. This idea needs careful thought. Miller's answer is to rely on the instrument to provide that feedback. The real problem is physical: feed info back to the nerves. Another dare: a standard programming language that can survive and is expressive enough to provide reactive elements. [1] https://www.youtube.com/watch?v=uatt3K2IZCs [2] https://www.youtube.com/watch?v=ZLACjtOpe0Q Entry: Euclidian rhythm Date: Sun Oct 19 17:24:06 EDT 2014 http://en.wikipedia.org/wiki/Euclidean_Rhythm https://www.youtube.com/watch?v=KKbYdExy3jQ https://www.youtube.com/watch?v=YBnSEPng9h8 https://www.youtube.com/watch?v=NcXOz5vWqFc http://cgm.cs.mcgill.ca/~godfried/publications/banff.pdf Entry: Box of knobs Date: Wed Jan 21 13:20:09 EST 2015 BCR2000 with 3x8 directly accessible knobs and one 1x8 row multiplexing 4 rows. Controlling sound with this, what is the problem? - Connectivity of parameterized generators - Parameter scales The scales problem is actually the more important one. Dreaming up connections is easy and easy to encode: it's just stream operators. Getting the scales right is a real pain. So why not solve that problem in a systematic way? Scales are somewhat recursive. Apart from the lin, log or stretched exponentials[1], there is the "ends" problem. The ends should be sliders themselves. But what are the ends of the ends? [1] http://zwizwa.be/-/math/20130503-144443 Entry: microbrute Date: Mon Mar 16 21:39:37 EDT 2015 i'm in love :) this thing is really awesome to find good loops. now what i need is a way to capture those loops. requirements: - continuous recording - easy marking - automatic (online?) loop detection - syncing / pll - skip long looped parts. - find hits (as opposed to loops) Entry: mono Date: Mon Mar 16 21:54:37 EDT 2015 I would like to take monophonic synthesis to its extreme. It's amazing what the minibrute can do. Entry: Filters and distortion Date: Fri Apr 3 02:06:31 EDT 2015 I don't remember where I read this, but it was something like this: "There's a time in a guitarist gearhead discovering the simplicity of chained alternated distortion and filtering." When I found this I bought two Behringer EQ700 equalizer pedals and a OD300 distortion. That gave me lots of fun for a while. Then I tried to chain the EQ->DIST->EQ with another distortion, the Boss DS-1. It seems as if the boss acts as a gate, which gives a staccato dynamic to playing an otherwise wildly messed up sound. I love it! It seems that the gating is actually not due to the DS-1. I'm feeding 4 pedals from a single 9V using a daisy chain cable so this might cause some unusual effects. The gating is nice. Very expressive to have the silence vs. messed up whatever thing going on. Entry: samples Date: Sat Jun 27 11:29:16 EDT 2015 pixies - la la love you (initial drum) Entry: playlist Date: Sat Jun 27 13:21:53 EDT 2015 pixies circle jerks dri sepultura helmet shellac mad professor noisia filthcast bad company alec empire kenny larkin satie Entry: process Date: Tue Jun 30 02:11:19 EDT 2015 So I have no hope apart from setting up a process.. Where is this block coming from? Entry: kalamazoo Date: Tue Jun 30 12:54:02 EDT 2015 https://www.youtube.com/watch?v=tKVY0f6ykmA http://ditkalamazoo.com/ Entry: playlist Date: Fri Jul 3 23:54:16 EDT 2015 unit moebius zion train revolutionary dub warriors the congos lee perry I-F miss kittin the goats agathocles melt banana kap bambino Entry: metal pedals Date: Tue Jul 14 19:52:41 EDT 2015 The secret really is in EQ->DIST->EQ->DIST->... What I really want is a mixer with post-EQ direct out. Sprit SX has jumper. [1] http://thetoneking.com/wp/behringer-stomp-box-cross-comparison-chart/ [2] https://www.gearslutz.com/board/low-end-theory/383755-soundcraft-m12-direct-outs-pre-post-eq.html Entry: metal power chords Date: Tue Jul 14 19:53:01 EDT 2015 4ths (metal) vs. 5ths (rock/punk) Entry: so what is the problem? Date: Wed Jul 15 16:06:42 EDT 2015 it is really "creative energy". i don't need new tools - i need new energy. if the energy is there, the ideas flow by themselves. they take control of the situation. so fix that first. EDIT: cycles... things are connected again.. Entry: Black vs. Death metal Date: Sun Jul 19 02:13:46 EDT 2015 Brian Leong[1]. Death: bass, rhythmic, dynamic contrast, chugging (mute/play). Black: treble necessary, bass undesirable, little dynamic contrast, wall of sound, harmonic contrast, tremolo picking, alternating harmonies. Old metal: mostly parallel powerchords. Trash metal: palm muting [1] https://www.youtube.com/watch?v=z5CN5QW4xio [2] https://www.youtube.com/watch?v=U1PCoHGCHVw [3] https://www.youtube.com/watch?v=dOLUNHiUCbA [4] https://www.youtube.com/watch?v=ByB0SrHiLpk [5] https://www.youtube.com/watch?v=N7Ze3vhsehg Entry: playlist Date: Sun Jul 19 04:51:29 EDT 2015 slayer ( various metal i didn't like ... ) unearth megadeth anthrax metallica arsis carcass napalm death brutal truth nasum bolt thrower Entry: Boss MT-2 (Behringer UM300) Date: Mon Jul 20 13:02:18 EDT 2015 [1] http://www.freeinfosociety.com/electronics/schemview.php?id=138 Entry: recording setup Date: Mon Jul 20 18:28:29 EDT 2015 Problem: some fixed setup is necessary. Something I can leave plugged in to occasionally work on stuff. Background: build ardour (again), this time 4.1 on new zoo. Walking through dependencies. See pool.txt Pd is running. Ecasound words as well: see pool/bin/record Mixer channel setup: 1-8 direct out are delta1010 inputs 1: DI-1 guitar, clean 2: DI-2 effects 3: microbrute 5-8: delta1010 5-8 output. 9-12: delta1010 1-4 output. When recording guitar or bass, do both clean and effects chain (2 DI boxes). Entry: Ardour & Pd Date: Mon Jul 20 18:43:25 EDT 2015 Maybe it's best to use a single chroot / VM with all the music software. It seems just too hard to keep everything synched with other development going on.. Copy a working one and scale it down? Trying "apt-get install ardour". It might just work actually.. Entry: Generating sound-producing ciruits Date: Sun Jul 26 14:58:36 EDT 2015 ( Raw except from an email conversation. ) There is something "unnatural" about digitial signal processing. This is somehwat related to the idea of "digital synths sound worse than analog", but I suspect there is a way to make this idea more precise. If you think about generating random circuits with analog networks vs. digital processing by just hooking up a bunch of primitive building blocks, the former would produce a different quality of sounds than the latter because of a different structural bias. It has something to do with the difference between the model of impedance networks with the current/voltage interplay (force/momentum in classical mechanics) as opposed to just working with iterative number systems. This is very vague I realize but there is something about physical systems that you don't find naturally when just tossing numbers around. Otoh, it's not realistic to just keep building bigger analog synths :) Using simulation to explore this creates just enough bias where you can get into that physical world without leaving the number world, but it would allow exploring things that are only possible with digital computers. What I wonder is if it is possible to modify a SPICE engine in such a way to create some of this bias, while keeping it focused on being practical and real time. Not simulating any existing circuits in particular, but creating a set of primitives that when tossed around would give a less digital feel. I.e. suppose the primitives are engineered to not lead to bad conditioning in the linearized network matrices, i.e. make them less stiff. This would allow the simulations to converge faster. One would not need to work with diodes and transistors together with linear elements, but invent new primitives that keep the analog feel, but are easier to simulate due to better convergence properties. Entry: BW Date: Tue Aug 18 19:42:26 EDT 2015 SONG ARTIST ALBUM ------------------------------------------------------------------------------------ Aguaxire / Saleromi Carlinhos Brown Candombless 02:58 Secret channel Table Beat Science Tala Matrix 07:34 Kuku: Kuku We Ni Karo Bora E Mamady Keita Sila Laka 05:36 Chachalokuafun Wemilere Santeria 04:54 Hummingbird Shipibo Shamans Woven Songs of the Amazon 02:31 https://play.spotify.com/user/nickthastick/playlist/6XSLxkYicSDdJIYayql8Xs Entry: harmonics Date: Sat Oct 3 03:06:59 EDT 2015 Somethings interesting happens around 6,7,8,9 harmonic interval (octave-normalized) 9 M2 (P5+P5) 7 m7 5 M3 3 P5 What I'm looking for is the relationship between the stop notes and the harmonics. For harmonic frequency n, the stop note is the "remainder" n/(n-1) period 1/n (n-1)/n [1] https://en.wikipedia.org/wiki/Harmonic Entry: looper Date: Sat Oct 3 17:44:37 EDT 2015 what would be the next step? this really doesn't need much if it's done headless. Entry: modes recap Date: Sat Oct 3 18:04:40 EDT 2015 1 I ionian - M 2 II dorian - m (m6 -> M6) 3 III 4 IV 5 V 6 VI aolian - m (nat) 7 VII locrian Now is dub in natural minor? Yes. https://en.wikipedia.org/wiki/Mode_%28music%29 Entry: looper / sample db Date: Sun Oct 4 15:58:01 EDT 2015 Let's build a supporting application around the way I work most naturally: - Switch on recording during practice. This creates a lot of junk, interspersed with some nice riffs. The point of the application is to isolate those riffs. - Recordings contain two tracks: a clean guitar/bass track, and the output of the pedal chain. How to start? Build some low-level components. One dire need is a simple way to navigate a lot of recorded material. Once recorded, the material itself won't change, so a "functional" approach can be taken to indexing. Some features: - skip silence - find loops - display waveforms Entry: cycles Date: Fri Oct 16 11:42:20 EDT 2015 Take the BRC2000, and map each of the controls to a circular parameter. Mapping an N-torus to a soundscape. For parameters that have linear range, take a sine. For exponential range, map sine to exponential. Entry: Ambient, modulation cycles Date: Sat Jan 23 19:46:59 EST 2016 I like soundscapes. And as far as I've played with synths, it is fairly easy to get a basic set of 5-10 parameters that when changed at the 10 - 0.1 Hz range give an interesting path. Now, how to make interesting modulators. E.g a single motion through 5D-10D space that either has pleasing random qualities, or some (self-similar?) meaningful properties. Can you just keep on adding LFOs? What about making that simple in RAI? Anyways, a previous idea was to use hamiltonian systems as an ambient generator, either to generate sound (noisy) or to generate modulators. Entry: Let's fix time Date: Sat Jan 23 20:51:57 EST 2016 No events in RAI, but continuous control signals with rhythm. This is possible as square or triangle waves with phase/frequency modulation. Recently read somewhere that the trick in human-sounding rhythms is some self-similarity in the timing differences. Entry: 3-body modulation Date: Sat Jan 23 22:53:35 EST 2016 The chaotic behavior is a nice way to have things start out as unison, then diverge. Or backward (time-symmetry). Entry: Cycles Date: Mon Feb 8 18:21:57 EST 2016 Automatic handwriting clocks! https://twitter.com/TheMindBlowing/status/696775368175276036 Entry: Pete Namlook Date: Tue Feb 9 15:54:00 EST 2016 Chasing down a track I heard mid-nineties, before I knew how to find it. Vague memory, so going by the discography here: http://www.discogs.com/artist/1910-Pete-Namlook https://en.wikipedia.org/wiki/Pete_Namlook https://www.youtube.com/watch?v=BnxIhl3zg6M It was likely Silence I https://www.youtube.com/watch?v=3AvcerpAIFA&list=PLVljxsilks6ONvg05hQl9kFNv_GvFSnm6 Or not. I believe it was a 4 note sequence. Entry: navigation is the problem Date: Wed Feb 10 13:30:03 EST 2016 from imagination to instantiation. boils down to good primitives. always need to work with primitives and composition. too low-level primitives make too cumbersome manipulation. Entry: sequencers Date: Tue Mar 15 16:24:14 EDT 2016 http://wiki.linuxaudio.org/apps/categories/sequencers Entry: Music Date: Wed Feb 15 19:44:21 EST 2017 Maybe time is ripe now. Not sure what to call the style. Fast, with 5th & 3rd bass arpeggios. Drum bd/sd, simple with some frills here and there. Boem-chak. I'd like to do this live, with Ben. But until then, let's make it work electronically as well so I can practice bass and guitar and maybe make some recordings. Maybe a little like the underground soundtrack. I'm a little weary of listening to it now to not make it swamp. https://en.wikipedia.org/wiki/Underground_(soundtrack) No, definitely faster than that.. More like 180 bpm. Tried some and 175bpm seems perfect. Entry: Beer Date: Fri Apr 7 19:48:29 EDT 2017 Maybe I just need to not be sober from time to time to get less serious... Anyways, some druk wisdoms: The constant conflict I've been working with is the contrast between reproducibility and one-off recordings. To make this time-proof, I think it might be wise to aim for reproducibility, at least of starting points. Entry: Patterns Date: Sat Apr 8 16:46:42 EDT 2017 Got synth back up. Next thing I'd like to do is to send MIDI to the analogs. Try some algorithmics. Entry: Coltrane's circle of fifths Date: Fri Apr 14 09:53:53 EDT 2017 http://www.openculture.com/2017/04/the-tone-circle-john-coltrane-drew-to-illustrate-the-theory-behind-his-most-famous-compositions-1967.html Entry: Anticipation Date: Sun Apr 16 17:51:15 EDT 2017 Part of what music is, is what happens in the mind before sounds happen. Is there a way to look at music in a symbolic way like that as well? I've been thinking about "you don't see objects, you see use". In music, you see the making of the music, not the music. Music "is" dance. Entry: Combining intuition and symbols Date: Wed Oct 18 22:30:29 CEST 2017 This is what I miss in everything I do with music: there's a part I feel, the part that's in my fingers and just comes out in the same way as words form sentences to form stories, and there's the part that understands patterns, but they absolutely do not mix. Why is that? 25:50 people who understand harmonics gravitate to telecasters https://www.youtube.com/watch?v=lMzjEaNFbAk Roy's Bluz https://www.youtube.com/watch?v=DDOIL5OqvYs Anyways.. what might work, is actually playing something on the guitar, converting it to midi and playing with visual manipulation and finding patterns that way. On the guitar, the structure is mostly visual anyway. So let's build something for that. Entry: MD2 Date: Sat Nov 20 10:05:50 EST 2010 ( from mixes.txt ) MET: Meteor Recognizer md2.flac 11:00 - 12:00 MET 27:00 laatste_we.flac 10:20 40:00 bluemaster.flac 0:00 50:00 Sornfit: Forned Sits md2.flac 1:15:00 Sornfit Entry: Techno restart Date: Thu Nov 23 17:28:58 EST 2017 Listening to some DJ sets on Youtube by Amelie Lens. https://www.youtube.com/watch?v=RcVnqFxWMDM 1) Her-farrago 2) unknow :( 3) Prolecanites- Roberto 4) Bellatrix-Schelf 5) Revelation-Boston 168 6) Markus Suckut- Shibuya Crossing 7) Rigel- Schelf 8) Motion Denied -Edge Of Motion 9) Signal Response (Amelie Lens Remix) Michael Klein 10) Lowdown (Reprise) Psyk 11) Blade Runner- Dax J 12) Glasgow- David Temessi & Giovanni Carozza 13) Paling Trax 1 (A2)- Lenson 14) Rimming One -Rimming 15)Linearup -TorqueDj 16)Psalm-Slam  Wondered what the mixer is doing, as she seems to have a loop recorded in there activated by a button. What mixer is that? Pioneer DJ DJM-900NXS2 ? If so, that was a filter button. Guess is prob highpass filter to take the BD out. Entry: Stephan Bodzin Date: Thu Nov 23 18:13:58 EST 2017 https://en.wikipedia.org/wiki/Stephan_Bodzin "[...]after all it's the melodies that endure." And the pudding: https://www.youtube.com/watch?v=Hv_oF2ol_Ks :) Entry: spiral keyboard Date: Sun Dec 10 17:47:17 EST 2017 2 dimensions: - octave = up/down - scale = circular off-scale would be an extra dimension The thing is, the topology of melodies and harmonies still completely baffles me. There should be dimensions for octaves, fifths and thirds. Entry: lmms Date: Sun Nov 25 17:45:24 EST 2018 Simple sequencer. But first turn it into a system setup thing: I want to - restore jackd.$HOST for tp,zora,zoo,zoe Why doesn't it work on zoo? I'm guessing that it is just pulse. Entry: Hierarchical accents Date: Tue Nov 27 21:13:02 EST 2018 Start out with only a couple of rythmic anchor points, then fill it up with other bits. Entry: itch Date: Sat Dec 1 22:57:59 EST 2018 Is it time now, to tackle guis? 1. i want them to be snappy. this means widgets from scratch. 2. i want frp or something like it 3. some constraint based layout thing Entry: harmonica Date: Fri Dec 14 20:07:26 EST 2018 https://en.wikipedia.org/wiki/Harmonica_techniques Blues harp subverts the intention of this design with what is "perhaps the most striking example in all music of a thoroughly idiomatic technique that flatly contradicts everything that the instrument was designed for" This is because by playing the C harmonica in G, or A harmonica in E, the dominant or seventh chord is produced in place of the tonic chord, and in the blues, all chords are typically played as dominant (seventh or ninth) chords. Entry: Traffic sounds Date: Sun Mar 10 14:38:00 EDT 2019 I want to do something with those damn traffic sounds that have been getting on my nerves for half a decade already. Entry: Why is this dead? Date: Mon Mar 18 17:01:38 EDT 2019 There are two things that always get in the way: - approach is too brainy, not enough "feel" - lack of performance skills Entry: Looper Date: Sun Mar 24 16:33:38 EDT 2019 There is something on the other side if this. https://www.youtube.com/watch?v=7rnf35ukAs0 https://youtu.be/XMKJ9J1Lzf4?t=8 https://www.youtube.com/watch?v=O07QZwl8uac Entry: musicForProgramming Date: Tue Mar 26 18:59:37 EDT 2019 https://musicforprogramming.net/?fortyfive https://news.ycombinator.com/item?id=19490832 Entry: LMMS Date: Wed Mar 27 18:56:52 EDT 2019 Works quite well, so let's integrate with it. How do I make a synth plugin? Maybe first RTFM. This thing is not intuitive. Instruments are samples or presets. Presets are the star icon in the left bar. Entry: Stripping down zoe Date: Thu Mar 28 14:11:28 EDT 2019 I'd like to set it up to just serve the ICE24 and maybe set up some audio over ethernet network. Actually it is already fairly stripped down. It should probably just not run the user interfaces. Entry: Something for real Date: Mon Apr 15 21:17:23 EDT 2019 I've been chasing ghosts for all these years. Why is it that I think I am looking for something, but I can't find it? Why is music not intrinsic for me? And why do i want it to be? It has always been about sound. The combination of the mechanics, and the awe of the experience. Maybe I should just start doing something instead of psychologizing. It has been polluted for long enough. Anyway. It seems I fell into a low visibility day again. EDIT: There are two things to do: - Finish rust looper - EDSP Haskell language -> LLVM I've worked on the latter for the radiopos idea. Entry: AFX Date: Mon Apr 15 22:22:41 EDT 2019 Listening to Aphex Twin in an attempt to get unstuck. I like the Analord. I remember bits and pieces, but I don't think I've ever listened to the whole thing. Entry: TODO Date: Mon Apr 15 22:24:44 EDT 2019 - get the synths driven from erlang (volcas + brute). - fix the fatman replacement circuit - get the sheep up as well, midi controlled Remember that process is what is important. Entry: Wide mode Date: Sun Apr 21 15:35:27 EDT 2019 ( This is not going to make a whole lot of sense. ) I spend my life in "narrow" mode: thinking about very specific, mechanistic problems. I even approach music that way. It is time to find a way to spend more time in "wide" mode without getting hindred by "narrow mode obstacles". I've apparently littered my entire space with stuff that requires thinking. Apart from meditation, sex and watching TV, there is only a couple of things that seem to be wide-mode that I enjoy: - Rhythm - Exploring Sound effects How to free these two? Melody isn't one of them. Only rarely. Entry: Studio Date: Mon Apr 22 11:31:39 EDT 2019 I wired up the studio again. Next I need a custom recorder for making loops. In needs to do both MIDI and Audio. Not everything can be recorded due to the analog gear' state, but I guess that's ok. Next: fix practice.sh Entry: GUI? Date: Mon Apr 22 11:35:26 EDT 2019 I think I'm starting to realize that what I want is not a GUI. More like a monitor. I don't want to point and click with the mouse during performance. Just buttons and knobs. The "mouse gui" is for post-production. Be clear about separating live and post. Entry: And then there is squarepusher. Date: Wed May 1 19:14:26 EDT 2019 Listening to Ufabulum (2012). 4001 Entry: Too many possibilities Date: Sat May 4 19:51:18 EDT 2019 I wonder if this whole detour is just about finding limitations, or at least different perspectives, or to create some kind of meaningful substrate. The previous run had too many possibilities. Entry: RAI & sput Date: Sun May 12 18:50:14 EDT 2019 Sput is not up yet, but RAI is integrated in exo/studio. I've played a bit, but I'm not really feeling the vibe. It's been too long and it appears some things need to be re-learned. Entry: Controls Date: Sun May 12 19:24:18 EDT 2019 I need something different. Some different input. Something I can do when I'm too tired to think linearly. Maybe the wacom tablet? Though that is only 2-dimensional. The problem with the mapping approach is that the map still needs to be created. So what about concentrating on the process that creates the mapping? One thing that was very clear from the beginning, is that it is necessary to create a double logarithmic input: - A bounded control that interpolates between two extreme points. This is the "performance" setting of the control. Its range is such that expression becomes musical. - The lower and upper bounds are unbounded incremental controls that are set in relative increments/decrements of 10%. These represent the "development" control settings. Entry: Blues harp Date: Mon Aug 19 16:06:48 EDT 2019 Play it in G to get. Second position (cross harp), key of G. I need something to start with to orient.. https://www.youtube.com/watch?v=96bPprDlLoE -123 -2 +2 -2 -3 -4 +4 -3 -2 Slide the hand not the tongue. That's really the important part. Ok I found love me do. Haha! Here's the tab: https://www.youtube.com/watch?v=RqEC9VP-slw 1. don't blow too hard 2. play with both hands 3. don't move head, move hands 4. don't look at the harmonica Entry: Revisiting RAI Date: Sun Nov 17 17:07:59 EST 2019 So basically, unlimited modular synthesis. The trick is now to put knobs in certain places. Entry: Zoia Date: Sat Apr 11 20:54:46 EDT 2020 1. every connection has "attenuverters". 2. unlimited fanout https://www.youtube.com/watch?v=GLr_s3VsT6M What to learn? Basically you want every knob in the controller to have about the same sensitivity to the sound. Making a patch is tuning the sensitivity. Entry: brejcha Date: Thu Apr 16 20:41:11 EDT 2020 - no compressors except for kick side chain or pre-compressed samples - no sequencer, just play and copy to track - equalizer is most important tool. don't solo. use while rest is running. https://www.youtube.com/watch?v=2FefV3K5o94 https://www.youtube.com/watch?v=cBV0hKc-iOw Entry: write blog posts about rai Date: Thu Apr 16 20:43:54 EDT 2020 it's good enough as is. Entry: ego Date: Sun Apr 19 11:35:42 EDT 2020 https://v2.nl/events/young-radicals/view https://archive.org/details/Piksel-catkit_ws430 https://www.discogs.com/Various-Sonic-Acts-XI-The-Anthology-Of-Computer-Art/release/607837 Entry: what i want Date: Sun Apr 19 18:43:54 EDT 2020 Start with some kind of hook. Then I often want to add drums to it, but the drum machine is too thin to do that right, so I probably want some kind of collection of loops that are already available. Most importantly, just start a kick pattern on cue, and then just add stuff in. So basically, start/stop things. This fits in well with the state machine OS stuff. EDIT: I want basically drum computer interface. Just simple: select voice + step editor. Any other live tap recording can be done with the controller. Do I have the hardware for that? The BCR has two rows of 8 knobs, so that's 16. Then I really need to make a panel for it. I also want a decent 909 style kick. Can be done in RAI. Or I can use samples. Whatever. So, wish list: - a decent audio looper/sampler - a custom mixer & track/loop/synth spawner - a panel display - control for the midi looper - better routing control (GUI?) - some interface with pd? I need to turn this into project. Pd is fairly trivial to do, so maybe sornfit patches can be scavenged? I want to do the more complex code in rust, e.g. panel and looper. Entry: picking up techno again Date: Tue Apr 21 17:47:40 EDT 2020 Try some limitation. Use only the 3 volcas. I started out with the bass in 7/8 and the beats in 4/4. Entry: polyrhythm Date: Wed Apr 22 20:05:17 EDT 2020 I've been playing with the "active step" on the volcas, but it looks like that can't do this: Per 4 beats, another meter has beats notes. On 16 quarter notes this is almost 5-5-6 or 6-6-4 Entry: guitar pedal preset Date: Fri May 1 15:14:20 EDT 2020 Picture from today: two modes 1: - pre eq - gate - overdrive - post eq 2: - additional dist mixer eq flat, guitar in rhythm mode Entry: techno stuff Date: Fri May 1 15:49:41 EDT 2020 Wo what works? - definitely final mix on the analog - use simple patterns on the synths - design a digital drum machine. this is too limited. Entry: feedback with feedback canceller Date: Sat May 2 19:52:24 EDT 2020 What would happen if a (crude) oscillation suppressor would be inserted into a ridiculous gain feedback loop? Entry: van wannes Date: Wed May 6 12:34:18 EDT 2020 GoGo Penguin - Transient State Entry: listening to noise again Date: Sat May 16 00:19:06 EDT 2020 I missed this... Entry: Delay + Distortion Date: Sat May 16 00:20:05 EDT 2020 Set this up: a number of delay channels + feedback through the guitar effects. Should be easy with pd. Entry: one external per day Date: Wed May 27 20:56:55 EDT 2020 Time to get back into pd. Feedback things that are hard to do in pd. Basically a navigation through parameter space. Installation pieces. Entry: Bjork Army of Me bass line Date: Sun Jun 28 08:29:21 EDT 2020 [1,3,1,11,9,1,3,3-11] The last note is a tie that I added to make it sound better without vca, but it's not present nere: https://www.songsterr.com/a/wsa/bjrk-army-of-me-tab-s22092t0