the neat thing about that patch is there's no delay or reverb or any effects, just the swooshy sync'ing of the envelope for the different oscs.
and YESH. love switching through different types of directions snd random with an empty spot in the 1-4 pattern.
I was lately thinking "what actually is delay and the purpose of it?" and how real orchestras achieve complex cascaded delay affects by essentially having many instruments just layering and hocketing..can any one weigh in on this..should I ditch my delays and just use shift registers? Dumb idea? Use both for insane multi layered mono sequences all with different timbres at different times?
Certainly don't ditch your delays in favour of shift registers. They're two completely different things. But for sure, both at once, and with a clocked delay to boot you're onto some potentially deep timbres.
kisielk wrote:My favourite instance of instrumentation as delay:
[video][/video]
I think this song is actually why I love delays so much, even though they never use any
I once looked at the tablature for this and thought, "sod this, I'll try Eurorack instead."
Anyway, great piece. Anyone who thinks Bach was good at counterpoint should listen to this.
I can actually play most of the parts, though not up to tempo and cleanly at this point without some practice. The trick is getting another person to play the other parts and staying in time
That's *less* wanky to you? I don't really understand... the KC track is just 4 guys playing some simple patterns that interact in interesting ways, the other track is basically non stop classic guitar shredding.
kisielk wrote:That's *less* wanky to you? I don't really understand... the KC track is just 4 guys playing some simple patterns that interact in interesting ways, the other track is basically non stop classic guitar shredding.
pieter wrote:I can imagine that Passion, Grace & Fire playing in the lobby of a cheap hotel at 3am. But then again, Eno made music for elevators...
A cheap hotel..in which all your dreams come true upon encountering three of the greatest guitarists of the past century..are we talking about "room above a motel" like the one in Twin Peaks?
kisielk wrote:That's *less* wanky to you? I don't really understand... the KC track is just 4 guys playing some simple patterns that interact in interesting ways, the other track is basically non stop classic guitar shredding.
kisielk wrote:That's *less* wanky to you? I don't really understand... the KC track is just 4 guys playing some simple patterns that interact in interesting ways, the other track is basically non stop classic guitar shredding.
Its ok they are both equally wanky
If John Mclaughlin is wanky then so is Miles Davis. The ghosts are coming for you.
pieter wrote:Haha, yes the only thing cheap was my shot at that piece. Got a light?
The magician longs to see..
How do you like that variable slope VCF?
It is great! especially with audiorate modulation of the slope you can get some very interesting and unpredictable results. Sweet spots when it suddenly starts to growl...
Just got Shifty and I'm a bit confused. Suppose I connect Shifty to 2 oscillators. And I want to rotate between each oscillator every clock/4 (1 bar). but the incoming sequence is playing 16th notes (clock *4) . Is this impossible? Seems the incoming gate tempo is what Shifty uses to send the gate outs. It would be amazing if the Gate input told shifty when to switch, but the gate outs followed the tempo of the original sequence coming in. Right now it seems the switching has to be the same tempo as the gates coming out. Am I correct?
If so, is there some way you guys can think of, where I can switch slowly, but still send out fast gates? Maybe some kind of logic module?
zerodivide wrote:Just got Shifty and I'm a bit confused. Suppose I connect Shifty to 2 oscillators. And I want to rotate between each oscillator every clock/4 (1 bar). but the incoming sequence is playing 16th notes (clock *4) . Is this impossible? Seems the incoming gate tempo is what Shifty uses to send the gate outs. It would be amazing if the Gate input told shifty when to switch, but the gate outs followed the tempo of the original sequence coming in. Right now it seems the switching has to be the same tempo as the gates coming out. Am I correct?
If so, is there some way you guys can think of, where I can switch slowly, but still send out fast gates? Maybe some kind of logic module?
Sure, try using a clock divider module if you have one?
It helps to think of "gates" literally - i.e. something that lets things though. If you use Shifty's gate to open a VCA you could pass anything through that VCA. In this case you could have whatever trigger pattern you like going through a VCA on its way to the envelope, and Shifty's gate opening the VCA to allow it through.
thanks for the replies guys, I explained my original post pretty poorly. I have a clock divider (Pam's new workout) and understand how gates work. What I'm trying to do is switch which oscillator is playing my melody at a rate that is slower than rate the melody is playing at. I have a melody that's 16ths notes, but I want the gate outs to fire much slower than that, not at 16th note intervals. If I send a melody that hits 16 notes per bad as my gate input, the rotation of the oscillators is on 16ths also. I need the switching to happen slower, but still output gates at the faster interval. Make sense?
It helps to think of "gates" literally - i.e. something that lets things though. If you use Shifty's gate to open a VCA you could pass anything through that VCA. In this case you could have whatever trigger pattern you like going through a VCA on its way to the envelope, and Shifty's gate opening the VCA to allow it through.
ah I see your point. use the gate out not to trigger each note but to open and hold a VCA value, and feed a normal 16th note pattern from Pam's to trigger my osc directly. This seems obvious now that you say it thank you.
zerodivide wrote:thanks for the replies guys, I explained my original post pretty poorly. I have a clock divider (Pam's new workout) and understand how gates work. What I'm trying to do is switch which oscillator is playing my melody at a rate that is slower than rate the melody is playing at. I have a melody that's 16ths notes, but I want the gate outs to fire much slower than that, not at 16th note intervals. If I send a melody that hits 16 notes per bad as my gate input, the rotation of the oscillators is on 16ths also. I need the switching to happen slower, but still output gates at the faster interval. Make sense?
Shifty is designed to hocket (deal out) individual notes to different oscillators: it’s a tool for polyphonic patching (of sorts). (It also can sample/hold, track/hold and be a shift register.)
If I understand, you want to decouple your gates from your melody, and you want to switch back and forth between two oscillators periodically (but not on every note event). There are various ways to do that. Most of us would probably reach for a sequential switch (or two). You might be able to do it with a few VCAs and some other basic utilities.
zerodivide wrote:thanks for the replies guys, I explained my original post pretty poorly. I have a clock divider (Pam's new workout) and understand how gates work. What I'm trying to do is switch which oscillator is playing my melody at a rate that is slower than rate the melody is playing at. I have a melody that's 16ths notes, but I want the gate outs to fire much slower than that, not at 16th note intervals. If I send a melody that hits 16 notes per bad as my gate input, the rotation of the oscillators is on 16ths also. I need the switching to happen slower, but still output gates at the faster interval. Make sense?
Shifty is designed to hocket (deal out) individual notes to different oscillators: it’s a tool for polyphonic patching (of sorts). (It also can sample/hold, track/hold and be a shift register.)
If I understand, you want to decouple your gates from your melody, and you want to switch back and forth between two oscillators periodically (but not on every note event). There are various ways to do that. Most of us would probably reach for a sequential switch (or two). You might be able to do it with a few VCAs and some other basic utilities.
right, i want the note events to hit at the same rate as the melody coming in, just distributed not per note event, but per longer clock coming in. The VCA idea mentioned above could work I think
zerodivide wrote:right, i want the note events to hit at the same rate as the melody coming in, just distributed not per note event, but per longer clock coming in. The VCA idea mentioned above could work I think
The cleanest way is going to be to set up your two voices, then use VCAs (or a sequential switch) to control which voice receives triggers. PNW may be able to create two out of phase pulses for you that will CV the VCAs, enabling or preventing none, one, or both of the voices from getting triggered.
