Definitely some wonderful worlds to explore!
Found this on YouTube:
Moebius Neumeier Engler - Other Places (Bureau B) [Full Album] - YouTube
Never knew Moebius was so prolific!! So many different styles!
you heard this old “classic”? I got it when it came out:
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Nope, looks I’m going to have go harvesting the Bureau B CDs when I get paid again!
The longest part is to listen to elseq’s and NTS sessions one more time once I’m finished, cuz I’m still kinda discovering the material. So yeah it’s a hell of a ride
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But totally worth it.
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Absolutely. Crazy stuff.
I listen to every music genre and as many pioneering musicians as I can since I’m a child, and sometimes I stick to an artist/genre for a few years and am usually done with it ; but Autechre is one of the few artists I consistently come back to since I first listened to them in 2006.
Now I’m into VCV Rack, I try things with sequencers to generate this rhythmical, ever-evolving abstract feeling ;
And I randomly learned today that one of my fav Autechre tracks - Fold4,Wrap5 - was using Risset rhythms. I stumbled upon a research paper ; unfortunately my math is very poor. I understand roughly how it’s done and what it does, but my take would simply a saw LFO on one sequencer, and the inverted saw on another, and it would be a musical disaster. So I kinda want to be able to understand what this paper says.
http://c4dm.eecs.qmul.ac.uk/papers/2011/Stowell2011icmc.pdf
A video replicating the rhythm part in SuperCollider :
So I might take math lessons, and not only for Risset rhythms, I feel constantly sweating while trying to intuitively replicating the kind of music made by people with a deep understanding of math. Over time I have in mind a very basic pseudo-algorhithm of the workflow I want, and I think I’m 50% done, but for the rest, I fear I have to dig deeper into logic first, then into maths to use better curves, more ‘organic’ movement and not just lfos’ and repeating CV feeds.
Anyway, I have consulted Google to see if somebody implemented Risset rhythms in VCV, and it happens that you are indeed working on a module : let’s say I am very, very interested by this project 
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Hmmm, Count Modula has a Shepard Tone Generator, maybe it can be used for a Trigger frequency? 
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Went to school with Guthrie Govan many, many, many moons ago. I was a little older and when I was in my final year we always had a school concert and Guthrie came on as a little 12/13 year old with his dad and brother I think and did a version of Purple Haze that absolutely blew the place away. This had much the same “may as well give up the guitar and go hod carrying” effect on me as the myth has it watching Hendrix had on Clapton, except mine stuck. I still played guitar, but never ever believed I would get ‘good at it’ and I never have.
This is the more laid back side of his playing, doing some jazzy standards with another guy, but I love his ability to find joy in improvisation.
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I’ve also stumbled across the same paper. I think it is the only one available online that explains how it works. But I also struggle to understand the maths involved. I’ve been attempting a Risset Rhythm generator in Rack for a while now, but have not mastered it yet. The biggest problem is still the LFO time, it’s not linear or exponential, but some other curve I can’t figure out. Anyway, I plan on using clocked with its 3 timing multiples and switching between them using a sequential switch on every LFO reset, then using probability instead of volume to fade. I really don’t know how Autechre did it in what? 1998?
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Potentially funky though
Hm, might do something interesting, I’ll try !
Yeah, it was before the Max era. There’s not a lot on information available on how they did EP5. And they could have make the whole metapattern with ramps controlling tempo on different patterns, but it sounds so pure and mathematical I seriously doubt it.
They always say in interviews that before Max, synchronizing all the stuff was a big challenge. But I also know that before Confield, they assembled a lot of things bit by bit.
So it might have been done only with audio in Digital Performer.
But what bugs me is the exactitude of the SuperCollider restitution. It’s the exact same timing. So, maybe they had another tool involved at least to calculate the exact timing, i dunno, maybe a weird, unknown Atari math software, and then used DP to place the sounds bit by bit and make the whole sequence. That would be my bet, having used extreme quantizations and polyrhythms in DAWs before, in symmetrical & asymmetrical bars, everything is possible. Even with an old Cubase you just have to be precise, with or without a grid
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Latest Alan Parsons “From The New World”. I still prefer his earlier albums.
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Yeah, it sounds like poor rehash compared to the really original stuff.
Now they’re classics 
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To me it’s this :
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And to me:
If you felt that something was missing from all those carefully crafted tunes and perfectly selected notes, it’s all hidden in this wonderfully imperfect song…