I won’t even bother uploading the patch as it requires an early private beta version of a new module. Also, paid modules and stuff I built for myself that I don’t think is released anywhere yet for Rack2.
My idea going in was to have 3 different voices running different modules, and there is that. And some simplistic drums. It isn’t really techno but I made it thinking of the style of Drexciya and other Detroit techno producers.
I sure can’t dance to it. Even with a four on the floor drum it would to tough. Oh, here comes the bass drum… Maybe… I don’t know much about Detroit techno. Do you know of my old friend Francois Kevorkian? He knew a lot about that stuff!
He’s the first person I know who was buying up vintage audio stuff. I probably haven’t seen him since the early 90’s… I think he might have been one of the first guys bringing a computer to DJ. They didn’t have “DJ” software back then so he would bring his pro-tools rig to clubs.
Francois had a very small but loaded recording studio above what used to be studio 54. I think he had a 32 track Mitsubishi digital recorder there.
I met him through my friend Fred Maher who was doing sequencing for the Kraftwerk record “electric cafe”. I think Francios was the producer (engineer?) and Fred was using my DOS sequencer to get the drum parts out of a Synclavier and onto tape in time.
After that Karl Bartos (their then drummer) bought a copy of my program to use back home. He was a nice guy (as were Francois and Fred).
Hey I really like this thread! Listened to a lot of these gems here.
You already told us that you are not so much into the colundi sequence stuff but since you are the only one who posted about colundi in vcv I just wanted to ask on the technical side: how do I properly load it up? I have Scala loaded up and I load the colundi .scl file into it. (Do I have to set a root note?)
Then I feed a clocked vcv seq3 into its input and the output to a sine oscillator. Everything seems to be working but I think Scala just does not extract the “correct” frequencies out of the .scl file. For example on the *****
Okay as I am writing this I just found out that if you put the root note to 10.8Hz on the Scala Quantizer and then shift the tuning on it to -0.60 you receive the “correct” tuning with the sine by bogaudio as oscillator tuned to 261.63Hz. If you then put in the lowest possible value via the seq3 you receive the 10.8Hz which is supposed to be the first tuning in the colundi sequence. And all the other tunings are “in tune” as well
tell me if I just overcomplicated it but I am just happy it’s working now
You simplified using the Colundi Sequence not overcomplilcated it. Colundi comes pre-complicated. I’m not even sure the SCL file format can properly handle Colundi.
For that matter, Grant & Aleksi could just release a proper table of the values and SCL files but they choose not to, instead putting spreadsheets out there that take 20 minutes to run a formula, then do not present the computed frequencies in any clear form.
If they’re so convinced of the healing power of the Colundi sequence, why aren’t they making it easier for people to use in music?
I think Aleksi’s work in particular is great music, but the more I try to understand it, the more I think it’s an elaborate prank.
well put, exactly my thoughts, it’s a well thought out campaign and people talk about it
although I have to say I just like to work with it and it’s sound, wether it’s mythical or not, it’s fun and can be inspiring.
I like this one a lot! And I hope I’m not the judge of “danceability” - I am very much not qualified for that. Strong delays - sounds great! Wasn’t that the secret sauce that made “I feel love” so good? I remember dancing to that one. back in 1975…
This one is – not music? Or rather I’m trying to work out what the outer limits of using Confusing Simpler as an Eff Shit Up device. There’s a SEQ3 feeding pitch to a confusing sampler that’s constantly resampling the guitar sound on the input and its own output in a feedback loop.
Since the playback pitch (and therefore speed) keeps varying there’s a chaotic amount of pitch change during record and playback. Often it’s just annoying and chaotic but there are some moments in there, if I just had the patience to edit…
All the Shapemaster envelopes are free running, meaning you could replace it with Shapemaster Free.
I like the effect. While nothing is synced, the sequences (and the volume envelopes) repeat predictably. So it has that fragrance of intentionality. At certain points I change the envelope lengths, which upsets the deterministic timing relationship between different voices.
I ended up with … 37?.. modules in each voice, so this would have been pretty painful in Rack1, though I could do the copying with Stoermelder strip.
Stoermelder 8Face is the meta-sequencer. It controls the SEQ-3s, VCV Quantizers, and Shapemaster Pro. A slow clock from Impromptu Clocked steps through the Stoermelder 8Face presets.
The live performance is me letting the 8Face run through all the presets until it circles back to the first, which gives it some closure by recapitulating the beginning.
I put the Wires on the master output bus and dialed in a nicely cruddy sound, which Wires is great at. Then I dial the wet dry mix to something like 10% wet where the overt crappiness of the sound is subliminal. It’s there but you don’t really hear it until you bypass it, and then you realize that funky stuff happening down around the noise floor makes it sound more three dimensional, like it was actual sounds recorded in a room.
You could do something similar with a signal chain with things like Squinky Labs Chopper, some filtered white noise and Hetrick Crackle. But Wires is there for you if you buy it, and I highly recommend it.
I uploaded the patch but this is yet another one that probably 3 people on the planet can just load and go. It needs
whatever paid package Vult Freak filter is in
Stoermelder 8Face, which isn’t yet available in the library yet.
I was exploring one idea: Using JW Gridseq drive a polyphonic voice with a VCV Chords module. But the CV output of the Chords module goes through an AS Signal Delay and is added to the input of the Chords module. I average the delayed CV out of the quantizer with the output of the Gridseq. It’s a feedback delay, but affecting pitch CV instead of audio.
The feedback pitch is scaled and then averaged with the Gridseq output and sent through the Chord and VCV Quantizer.
I also take the output of the VCV Chords and put each voice CV & Gate through a signal delay, so it turs the chord into an arpeggio.
All the sequencing is driven by the one GridSeq. You can take a simple sequence and use pitch and time offsets to make it play a duet or trio with itself.
An evolution of the patch directly above. I added drums and more effects because MOAR IS ALWAYS MOAR.
Don’t know how easy it is to pick up but there’s Hainbach/AudioThing Wires and GongAmp. Wires is on duty roughing up a delay feedback loop, and the Gong is there to just add a dreamy low fi reverberation that you only notice if it’s not there.
This one is sequenced in Ableton Live but it’s definitely influenced by the techniques I’ve worked out in Rack.
8 different channels of MIDI funnel into one channel of Kontakt. There are 3 rows of clips of various lengths between 3 meaures and 11 measures, each with one or two sustained notes. So I can play the arrangement triggering groups of clips. The notes drift past each other, occasionally lining up.
The vocal sample is an Italian radio DJ captured from Shortwave radio and processed through a bunch of effects.
The Piano is fattened up by runing it through Hainbach/AutoThing Wires and adding just a touch of warble & noise. Way in the backgorund you can hear a Live preset “Choir from Venus” or something like that, where I’ve filtered and added effects to until it’s just a vague dream.
Now the story can be told. New Vult Anima sequencer that’s kinda like a Turing machine but has different percursor hardware.
Anima is really musical in ways I think it has no right to be. - this is a workout for it with my usual obsessions: dub delays, making a chord pad by sampling notes from the main sequencer. Sequenced the drums with MuxSlicer.