Starting a new thread because the old one was getting long.
Some things that used to take several modules to implement - like adding the CVs of two different sequencers - are much simpler. You get to leave out the OR gates and math modules.
The main sequencer is two JW Gridseq sequencers. the CV from each is plugged into the input of the Frozen Wasteland Probably Note Quantizer. The gate from both GridSeqs are similarly plugged into the gate inputs as needed. Adding two gate signals is the same as doing logic ‘OR’ of the two signals, so you get triggered by both sequencers.
The sample is of a choral piece by Montiverdi from archive.org. I’ve hopefully mangled it enough to make sample clearance unnecessary.
I’ve started using the Frozen Wasteland QAR a lot for drums, and it’s warping my rhythmic sense. I like it when the rhythms aren’t square, and you can’t hear the bar lines. There’s a point around 3 minutes when it goes into what seems like a steady 4/4 beat, but it’s a Euclidean rhythm, so every 8 beats it skips an 8th note.
So the tuning is a combination of numerators and denominators, that defines a 13 note scale.
I didn’t post this when I made it last week because I thought it was the sourest, weirdest music I’d ever made. Then I was listening tonight, and had one of those weird perceptual shifts, where it started sounding like some out there jazz, and even sweet in it’s own way.
Math Nerd does a whole bunch of things I haven’t tried, but one of the most fun things is to dial in a 30 note scale (or 31, or 17…) and then use the option for scale mapping. You get that cool rational temperament sound but closer to a regular scale.
This was fun. I put a contact microphone on a Fisher Price xylophone and then used several instances of Confusing Sampler to record loops. This is a sub-optimal contact mic on a crappy plastic xylophone, so the thwack of the mallet (or in this case, a screwdriver) gives you a huge thumping attack, and the notes are much quieter.
Even better, the contact microphone taped the hollow plastic case turns the xylophone into a microphone that picks up room sound.
This is almost all done with @synthiNysthi Confusing Simpler, including an effect send, where I’m using a Bernoulli gate for record and loop start triggers to record and playback sample input.
The documentation for Confusing Simpler is mostly non-existent, but it’s not too hard
to figure out, and you can make it do insane things. Record audio input then trigger playback. It is double buffered, meaning it’s playing the last recording while you make the next recording, and when recording stops, it starts playing the just-recorded buffer.
You can turn on the sample grid, and it chops the sample into short loops, and you can skip around the sample, playing fragments.
