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.
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?
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
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…
Well that got me going onto YouTube and going back to Revolting Cocks, KFMDM, My Life with the Thrill Kill Cult and back to the source Clock DVA! Thank you so much.
Any module ideas how to create that Industrial bass sound?
But they used all the different synths and even real instruments… Like in Glass Houses (another song by Skinny Puppy), i think, there was a fretless bass… Also, they used layered stuff, like one bass over another, so no idea how to replicate all of that, haha.
Thank you so much for this patch picture, a truly wonderful way to get very heavy EBM Bass!
Much appreciated, now I got to find loads of odd speech samples, sure I’ve got some!
Would distorting the samples add to the growliness? Gonna try.
Potentially funky though
