My Live Set Journey

Live patching, designs, and techniques that push the performance envelope.

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Ypsi Kid
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Post by Ypsi Kid » Fri Sep 07, 2018 8:24 am

Another run at it, really like this one in terms of the sound, just needed a bit more dynamic movement as I think it gets a bit stale in parts. Probably the first jam where I haven't screwed up in terms of pitch. Really liking where my drums and percussion are right now and getting there with the pitch CV. Didn't do any stuff with time signatures on this one so I think that's why it doesn't move as much as some of my other jams.

Let me know if you have questions, always up for discussing what I'm doing and also looking to chat about approaches that can be used in a live setting.

[video][/video]

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Post by Ypsi Kid » Wed Sep 12, 2018 12:57 pm

Have another jam to post, getting better at minimizing my mistakes. Slowly getting my modulation matrix back together along with adding 2 new filters to the mix (Jove 80 & A-106-6). Playing a bit more with samples (chord stabs) and getting some pretty good results. I keep saying I need to write down notes, have been writing down good patterns, but also need to write down the different areas I can 'play' with during the set as I tend to forget about all of the different avenues I can effect when playing, having a reference would definitely help to extend it.

[video][/video]

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Post by Ypsi Kid » Thu Sep 20, 2018 9:36 am

Hey guys,

was able to get back to the rig last night after a bit of a hiatus due a bad week. Was able to add in a couple of new filters to the rig - Xaoc Belgrad and Doepfer A-106-6 - both great filters! It was an interesting jam as I had 2 takes, the first take I did not use any pitch CV info and kept all OSC's at their tuned key/note and just used filter modulation to create movement. In the 2nd jam, I was using 1 'channel' from the precision adders to feed pitch CV info into the Oscillators (the source of the CV info was different that the trigger sequencer and had a different time signature). The only other difference for the 2nd jam was using the Oberheim SEM which added a really nice bass line to the jam. I found it really interesting as nothing else changed outside of what I mention above, but the jams sound pretty different considering. I think this highlights the power of this patch, so fun and versatile while also giving you a ton of different results. Fun stuff.

Really need to now try and change the trigger sequences during the set to extend beyond my 15mins. It's coming!

Let me know what you think!

1st Jam:
[video][/video]

2nd Jam:
[video][/video]

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Post by hlprmnky » Sun Sep 23, 2018 9:52 am

Thank you for posting these; I'm very new to this method of making music and having a set to watch/listen to and commentary alongside about what you're thinking, what's working for you, what you want to change is very illuminating. The sets also sound really good to me, so, keep it up!

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Post by Ypsi Kid » Mon Sep 24, 2018 11:43 am

hlprmnky wrote:Thank you for posting these; I'm very new to this method of making music and having a set to watch/listen to and commentary alongside about what you're thinking, what's working for you, what you want to change is very illuminating. The sets also sound really good to me, so, keep it up!
Thanks man, glad you're enjoying them. Definitely been learning a ton doing these videos and just generally jamming with the patch - such a fun way to approach it. Feel free to fire any questions you may have my way. The biggest thing I'm focusing on now is the adding and subtracting of pitch CV info. Trying to think in terms of ratios rather than actual notes so I've been restricting the range of the CV, along with note masking on my quantizer so as to get just a few different ratios when adding and subtracting. Not quite there yet, but slowly coming into focus. The last jam, which I'll post here, I was able to get to 27mins and the one thing I did before hand was what I mentioned above, restricting the range of the CV and then trying to select appropriate notes within the note masking to get the results I want. Definitely not easy, but the results are definitely driving me to get this nailed down as it comes with some great results when done right.

Fun stuff, glad you are enjoying!

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Post by Ypsi Kid » Mon Sep 24, 2018 11:48 am

Finally broke the 20min mark on the weekend and was able to jam for 27mins and included a few different drum kits and different trigger patterns. I was missing the vocal samples in this one which I think will help extend even further as it will give me more time to change the various trigger patterns for the next song/part/whatever. I did also write some things done so I have a bit of a map as to the things I can play with or change to get a more dynamic feel - but ofcourse I didn't touch half the things I had wrote down, so encouraging as it means I can extend things more, but it's weird, when I start jamming I'm totally 'in the moment' and it's hard for me to kind of break out of that mode of thinking to check notes - something I'll need to get better at.

Once again I managed to minimize the mistakes which was awesome. Overall pretty happy with 27mins and looking forward to pushing this more!

Pulling this vid as the recording will be released for the Data Cult Audio Podcast series this weekend (Nov. 17th, 2018).

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Post by Ypsi Kid » Thu Nov 15, 2018 4:12 pm

Had a bit of a set back as I had some surgery 5 weeks ago that literally took me off my feet (can't walk for 6 weeks). I did manage to pull some racks into the living room before surgery so I could explore some ideas while fighting off the cats (damn to they love patch/power cables - already had 2 module casualties that need their power cables replace . - thanks Charlie!). Haven't been able to record much, but have since found other ways to implement the overall idea of the live patch. One part I changed a bit after watching a video from Mylar Melodies was just leveraging 1 pitch CV source, but using a 2nd and/or a completely different gate sequencer - works really well and keeps both sound sources from getting out of control, but also costs a bit of variety in terms of pitch CV. Also only using 2 sound sources - Erica Synths Black Wavetable VCO & Make Noise DPO - Bitbox is still on drum duties.

I've been looking at my Eloquencer which can take incoming CV and add it to the selected tracks and will quantize to the selected scale (one of the options for the CV input) - found this to work really well when feeding it another pitch CV source while also using some other gate sequencers.

I then also tried the er-101/102 combo which I'm really warming up to as it offers a lot of flexibility, especially with the voltage tables (something I need to look at more). And the Math functions - wow!!!

So a few different ideas to overlay on the main idea. The reason why I was looking at this was to pair down what I need in order to make the rig more portable so I can take the live set on the road easily. My initial patch is proving to be too big to try and travel with it unless it's local.

Stay tuned for more info, vids and clips coming soon (I get my cast off next week!). I do have a set coming out on Data Cult Audio this weekend if folks want to check it out. The set is based off of my original live set patch which I had going for a few months. A few clips up on Instagram as well.

Anyways, more to come. Feel free to ask me any questions you have!

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Post by Ypsi Kid » Fri Nov 16, 2018 12:21 pm

Here's an example with the changes I was discussing above. Big difference is once pitch CV source but different gate/trigger sequencers. Also using no computer, and using sends from my mixer to send whatever channel I want over to clouds in reverb mode (each sound source has it's own channel on my mixer). freeing myself up from the computer also let me use the swing function on the Winter Modular Eloquencer which I'm using as my master time source. Working really well I think!

[video][/video]

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Post by Tummler » Thu Nov 29, 2018 9:58 am

Ypsi Kid wrote:1. Drums - Need to find a way of making the drums more varied and interesting and how to change up kits between sections/songs/whatever.

As far as drum sound variation:

I use 3 Erica Pico Drums. One dedicated to Kick, one for Snare and one for HH. I'm only using the Trigger 1 input, on each. You can CV control the Drum 1 sample selection, So I have Horstronic Arcade Button routed to a S/H and the S/H multed and routed to the CV in on each Pico Drum. Now anytime I want a new drum "kit", I hit the Arcade Button and the S/H chooses a random new drum sound on each Pico Drum.

I can also automate that whole process by feeding a trigger into the arcade button Gate In and sequence that trigger to fire off every 64 bars or whatever desired amount I want.

For rhythmic variation on drums:

My main drum sequencer is Circadian Rhythms. My secondary drum sequencer is grids. I route both through a Noise Engineering Confundo Funkitas, which is a probability crossfader. I program the main drum beat that I want into the Circadian Rhytmns, Set the Confundo Funkitas crossfader mostly to the side of the CR, so it mostly plays the rhythms I programmed into the CR, but sparsely switches over to the Grids rhythms, adding subtle variation.

I also take mults of the S/H from above and route them to the Map X and Map Y inputs of Grids. So everytime I hit the Arcade Button to switch drum sounds, its also changing the Grids Rhythm, to add more variation to the drum rhythms.

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Post by Ypsi Kid » Thu Nov 29, 2018 12:23 pm

Tummler wrote: As far as drum sound variation:

I use 3 Erica Pico Drums. One dedicated to Kick, one for Snare and one for HH. I'm only using the Trigger 1 input, on each. You can CV control the Drum 1 sample selection, So I have Horstronic Arcade Button routed to a S/H and the S/H multed and routed to the CV in on each Pico Drum. Now anytime I want a new drum "kit", I hit the Arcade Button and the S/H chooses a random new drum sound on each Pico Drum.

I can also automate that whole process by feeding a trigger into the arcade button Gate In and sequence that trigger to fire off every 64 bars or whatever desired amount I want.

For rhythmic variation on drums:

My main drum sequencer is Circadian Rhythms. My secondary drum sequencer is grids. I route both through a Noise Engineering Confundo Funkitas, which is a probability crossfader. I program the main drum beat that I want into the Circadian Rhytmns, Set the Confundo Funkitas crossfader mostly to the side of the CR, so it mostly plays the rhythms I programmed into the CR, but sparsely switches over to the Grids rhythms, adding subtle variation.

I also take mults of the S/H from above and route them to the Map X and Map Y inputs of Grids. So everytime I hit the Arcade Button to switch drum sounds, its also changing the Grids Rhythm, to add more variation to the drum rhythms.
Thanks for the insight man, love the S&H hold trick to change drum "kits", brilliant idea man! Also like the approach to getting a bit of variation (I use the step probability function on the Eloquencer to get a bit of variation to the 16 step patterns).

What kind of pitch CV setup do you have - just a straight sequence or are you leveraging any 'tricks' to get the most out of pitch cv (adding pitches together to create new values / using 1 pitch cv source but multiple gate patterns for different sound sources / etc). Always interested to hear how folks approach pitch CV.

Cheers!

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Post by Tummler » Thu Nov 29, 2018 12:48 pm

Ypsi Kid wrote:
Tummler wrote: What kind of pitch CV setup do you have - just a straight sequence or are you leveraging any 'tricks' to get the most out of pitch cv (adding pitches together to create new values / using 1 pitch cv source but multiple gate patterns for different sound sources / etc). Always interested to hear how folks approach pitch CV.
Cheers!
My main Pitch sequencers are Catalyst Audio Time's Arrow and Stillson Hammer MK2.

I use the Time's Arrow as my bass line sequencer. CV out goes to a buffered mult, a copy goes out to my Bass osc, and 2 copies go out to 2 other melodic elements. I send the gate out of the Times Arrow into the A input of a CMOS party logic module. I then send the gate out of a Doepfer A 160-5 clock ratcheter into the B input of the CMOS. Then I send different outputs from the CMOS to the gate ins on the Bass and other melodic elements. Also to HiHats when I'm going for that Trap hihat vibe.

The Times arrow also has a secondary random CV output that differs from the primary CV out. I mult that and send it to the CV input on the Stillson Hammer, the Model input on Plaits, the surface input on Fracture, CV input on the Clock Ratcheter and other stuff.

That way when I generate a new bassline on the Times arrow, it simultaneously changes all of the sequences on the Stillson Hammer, and changes the sounds on Fracture and Plaits, and the gate rhythms being sent to the CMOS.

I can combine that with the Drum Kit changing method described above, so literally with the press of one button, practically an entire new "song" is generated. New Melodies, new Rhythms, new Sounds, BOOM! Its like a macro control.

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Post by Ypsi Kid » Fri Nov 30, 2018 2:22 pm

Damn man, sounds like a really fun set up to play with! I love the idea of having 1 small change branch out into other changes which all add up to something complex. I'm getting there, so info like this definitely helps, so thanks a million for sharing your approach, I appreciate it!

Do you have any recordings I could check out? Cheers!
Tummler wrote: My main Pitch sequencers are Catalyst Audio Time's Arrow and Stillson Hammer MK2.

I use the Time's Arrow as my bass line sequencer. CV out goes to a buffered mult, a copy goes out to my Bass osc, and 2 copies go out to 2 other melodic elements. I send the gate out of the Times Arrow into the A input of a CMOS party logic module. I then send the gate out of a Doepfer A 160-5 clock ratcheter into the B input of the CMOS. Then I send different outputs from the CMOS to the gate ins on the Bass and other melodic elements. Also to HiHats when I'm going for that Trap hihat vibe.

The Times arrow also has a secondary random CV output that differs from the primary CV out. I mult that and send it to the CV input on the Stillson Hammer, the Model input on Plaits, the surface input on Fracture, CV input on the Clock Ratcheter and other stuff.

That way when I generate a new bassline on the Times arrow, it simultaneously changes all of the sequences on the Stillson Hammer, and changes the sounds on Fracture and Plaits, and the gate rhythms being sent to the CMOS.

I can combine that with the Drum Kit changing method described above, so literally with the press of one button, practically an entire new "song" is generated. New Melodies, new Rhythms, new Sounds, BOOM! Its like a macro control.

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Post by Tummler » Fri Nov 30, 2018 8:00 pm

Check out www.instagram.com/WeAreFAWWN

Its a project I’m working on with a friend. We do improvised jams with both my modular system and his, plus other synths and instruments.

joesdeals

Post by joesdeals » Sun Dec 02, 2018 4:31 am

Subscribed and followed. Really great sounds

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Post by Tummler » Mon Dec 03, 2018 1:35 pm

joesdeals wrote:Subscribed and followed. Really great sounds
thanks!!

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Post by Ypsi Kid » Mon Dec 03, 2018 2:05 pm

Tummler wrote:Check out www.instagram.com/WeAreFAWWN

Its a project I’m working on with a friend. We do improvised jams with both my modular system and his, plus other synths and instruments.
Thanks for sharing - sounds great, will definitely give you a follow - cheers!

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Post by Ypsi Kid » Mon Dec 03, 2018 2:13 pm

Alright, still rocking the floor sessions right now as I wait for my surgery to heal. Here's another way of implementing the same type of technique where I'm using 1 main CV pitch source (er101) and then using the er301 and a new bespoke unit which was just shared - voltage bank - which allows you to capture a voltage at one of the inputs which is triggered by a gate/trigger. This allowed me to manually "sample" 8 different pitch CV voltages coming from the main sequence and then sequence these capture voltages with another sequencer. Works really well and paired with the right OSC's has made, what I think, is a positive move forward in terms of the overall sound I'm trying to push. Tried this technique a few times now and has worked really well. The other pad/chord stab that you hear is a sample from the 1010 Music BitBox which is running into a modulated filter. The other cool thing is I can mix and match trigger sources for interesting variations and changes (the one change on the video below isn't great, but gives a sense of what can be done by just flipping switches). Slowly coming along and excited to get back in the studio to try and nail down my final approach and then start recording some more live sets and tracks.

Fun stuff!

[video][/video]

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Post by Ypsi Kid » Wed Dec 19, 2018 11:38 am

Hey folks,

been having some really good floor sessions as I'm still recovering from surgery and have my modular in the living room (makes for a nice light show with the Christmas Tree - LOL). I've been looking at the Orthogonal Devices ER-301 more with respect to playing samples (breaks) and chopping them up a bit. Had some really good results, the sampler units on the ER-301 are pretty intuitive, so that's been a ton of fun. Also integrating the Befaco Muxlicer to the rig with some really good sounding results as well.

The first jam (which is recorded with a bit more volume than #2) is just me exploring playing samples with the ER-301 and some fun with the Muxlicer. The second jam is kind of putting it all together using my live set framework (1 CV source, multiple gate/trigger sources and the ER-301 "sampling" pitch CV from the main pitch line and then being able to sequence those "sampled" pitch CV's which are driving OSC's in the ER-301 (I typically stack 2 or 3 OSC's for use with the 301). Turned out really well besides some crackling noise which I'm not sure whether is the ER-301 being maxed out or a sound I have going into the Muxlicer - either way, pretty happy with the result.

Gonna try and record at least a 30min set incorporating the stuff I've learned over the past 2 months! Getting there (but man am I learning a lot on this journey!). Let me know if you have any questions.

[video][/video]


[video][/video]

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Post by Ypsi Kid » Mon Jan 14, 2019 12:49 pm

Been a while since I posted anything. Moved back down into the studio and added a Digitakt to the mix - this and focusing on the Orthogonal Devices ER-101/102 combo means I've been a bit distracted from the main goal of a 60-min live set. However, I've been learning some powerful things that I think will add to the live set - mainly the groups and parts from the ER-102 will help, just need to understand these a bit more so I can figure out the best way I can use them for the live patch.

The below is my basic template which includes 2 main OSC's deriving pitch from the ER-101, another "voice" which is basically 4 OSC's that are sequenced by a VC switch for some bleeps and bloops, the Eloquencer driving the main drum patterns and then another VC switch which is driving 4 other percussion elements for some variety and then then the ER-301 for additional breakbeats (did not record it in this clip) and also voice samples and bass samples to round out the template. Been working pretty good so far, need to now focus on extending it and jamming. Need to re-focus!

[video][/video]

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Post by Ypsi Kid » Wed Jan 23, 2019 1:38 pm

Just thought I would post a quick update. After several months in the living room and running through my floor session because I couldn't walk, I moved back down to the studio last month and continued to experiment with variations of the main idea for the live set patch. Although I kind of distracted myself and was getting a bit too far away from the main concept. This week I decided that I needed to get back to the original idea and then think about how to modify it based on what I've learned over the last 3 months.

Easier said than done - LOL. I did make sure to make detailed patch notes and have started to re-patch the rig in order to get back to the precision adder/multiple sequences being added/subtracted. Had a pretty decent jam with part of the new patch on Monday (Instagram Post) that I posted to instagram, but I'm currently trying to think of a way to limit the range of pitch cv being feed into my quantizer so I don't get a crazy range of pitch, I'd like to be able to to limit the range to 3 or 4 octaves. So I'm looking at a couple of different ways of doing this along with looking at what I want to use as the 2 gate and CV sequencers. I'm thinking of the following:

1. continue like I was before using 2 ladik 8 step sequencers for the gates/triggers and also use these sequencers for pitch. I can try to limit the range of CV coming from these by using the trim pot on the sequencer (I'm sure I tried this before but wasn't happy with the results, so need to try again). So the way I control the range of pitch CV is with the sequencer itself (I believe Steevio can do this as the Doepfer sequencers have the ability to select between 3 different ranges of CV output).

2. begin to look at other sequencers to take the place of the ladik sequencers (I can look to use the Doepfer Darktime set to 2x8 step / the eloquencer as it's nice and easy to enter gates / er101 although this is not very conducive to jamming on the spot and would require me to program some sequences ahead of the game which kind of defeats the purpose / BSP). In terms of using the same sequencer as the pitch CV source, this is definitely a possibility, but I've found some interesting results using different CV pitch sources, so I can look to mix and match here to see what works the best). How do I limit the pitch CV range with this approach? I think there are a few ways to accomplish this - using an attenuator may work (I need to try this), or using something like O&C in quartermain mode and using the built-in CV sources like the turing machine where you can limit the CV ranges.

So I have some things to think about and try, but I think getting back to this framework has the most benefits when it comes to improvisation.

Lots of work to do, and I'll be sure to post some further updates as I work through this stuff. If anyone has any ideas or an approach that your using that is similar or may help, please don't hesitate to let me know - would love to hear from fellow wigglers!

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Post by Ypsi Kid » Tue Jan 29, 2019 12:25 pm

Been getting some good results going back to the original framework of the live patch where I have at least 2 sequences going into the precision adders and then use the precision adders to select which sequence of pitch CV an OSC is receiving (or using both sequences at the same time, either adding them together or subtracting them). The other nice workflow piece from this is being able to select which trigger sequence to use for either of the OSC's by using the switched multiple (nice little performance trick, just flip the switches so the triggers get swapped and instant change for those elements).

I decided to pair things back a bit in that instead of trying to send 2 full sequences to the precision adders, I would send 1 main sequence and then have 1 or 2 other very short sequences (1-3 beats in length) that can be added to or subtracted from the main sequence. This was yielding more predictable results (obviously!), but I still felt like I wasn't getting the range I was looking for so decided to add another sequence to the precision adder (I used the cv's being sent from the ladik S-183). This definitely spiced up the sequence in a good way, but I need to add a VCA or gate for this second sequence, to again, get more control what comes out the other side.

The other piece I'm looking at is the quantizing - where in the chain makes the most sense for the quantizers (using O&C in Quartermain mode). Previously I had the pitch cv's coming out of the precision adders then into the OSC's. This time, I moved the quantizers to before the precision adders - this ensures I can get the right values for the precision adder, and also allows me to select which notes are being feed to the precision adders. This leads me to the other work for the patch, doing some math and adding the pitch values for the various notes in my chosen scale to determine which notes will work the best when adding and subtracting. Looking to really limit the amount of notes used to maybe 3-5 notes at the most - the math work should help me to determine which notes within the scale will work for this method.

I'll have some audio/video coming over the next few days of the results of the above.

Sorry for the novel, just trying to document this stuff, mostly for my knowledge, but hoping someone else can take something from this journey.


Cheers!

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Post by needto » Tue Jan 29, 2019 3:59 pm

Hey just wanted to drop in and say - loved your Data Cult Audio set, great beats, hell, the whole thing sounds awesome! Interesting to read on how you evolve your improv rig.

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Post by Ypsi Kid » Wed Jan 30, 2019 12:01 pm

needto wrote:Hey just wanted to drop in and say - loved your Data Cult Audio set, great beats, hell, the whole thing sounds awesome! Interesting to read on how you evolve your improv rig.
Thanks man, appreciate you letting me know - I need to get more sessions that are more than 20mins! Hopefully a lot more coming - cheers!

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Post by Ypsi Kid » Thu Jan 31, 2019 12:23 pm

So I had a pretty decent session last night. Went ahead and pulled the patch cords to makes things as simple as I could and then build out from there. I was just using 1 OSC (Erica Synths Black Wavetable) and the SEM as sound sources and then using 3 different pitch CV sources (Darktime, Ladik S-183 & ER-101). The reason I was using these pitch CV sources was because I could easily control the range of CV that would be sent from these sequencers. I wanted to keep the ranges between 1-2V in order to keep things somewhat consistent and not wildly vary pitch when adding together sequences. All these were routed to the Ornament and Crime in Quartermain mode and using the Blues Minor scale with a root of A. I selected only 2-3 notes per channel except for the last channel which I enabled all notes in the scale. The outputs of the O&C were routed to the doepfer precision adder. I did some math in terms of what pitch values I would get when using a few of the notes in this scale with a root of A (and being the impatient bastard that I am, I didn't finish the calculations for all note combinations as I just wanted to jam!).

Definitely got some good results with adding or subtracting the sequences together in a number of different combinations. The trick is really getting detailed with the notes you use (I know this is pretty obvious!), so a lot of planning to be able to pull off the improvisation piece and have it sound good.... I'm not great at planning so really need to force myself to try and finish the note calculations to better understand which notes I can use in order to have things come out the way I want.

The other piece to this was the gate/trigger patterns and the best way of using these, especially in the context of the quantizer as you have the choice to either use the 'native' gate/trigger pattern to trigger the quantizer or you could use another gate/trigger pattern (or the 3rd option is to not use gate/triggers and have the O&C quantizing all the time without the need for a gate/trigger). This is somewhat important as if you don't do it right, you can get instances where the quantizer is till between notes so you get a bit of slew between values. This also means you have to pay attention to the gate/trigger patterns as well to try and avoid this problem.

The other lesson learned on this jam, I suck at dialling in reverb amounts - LOL. Way too much reverb on this jam. Full jam was about 14mins, I may post on YT just to document, as it has some pretty good parts, but also some parts that just don't sound right respect to pitch.

Word.

Instagram Clip

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Post by Ypsi Kid » Sat Feb 09, 2019 11:23 pm

Pretty stoked! Last 2 jams have been the best yet in terms of using the precision adder and 4 different sequences and have everything make sense.

How did I do it? Started by simplifying what I was doing with the quantizer and also picker a better scale that helped get the results I wanted. Each channel of the 4 channel quantizer (quantermain mode on Ornament & Crime) only had 1-2 notes active, each channel then went into it's own channel on the precision adder and then out again into another quantizer with the same scale, except all notes were active.

This really helped to control the changes and make them something more musical. I was only using the AJH MiniMid VCO and the Oberheim SEM as synth voices - and they both sounded great (was really loving how I'm getting the SEM to sound, exactly how I want).

The way it's patched, I can play with the 4 different sequencers feeding each channel of the quantizer to change the feel and melody with a very hands on approach, perfect for what I want to be able to do. 2 straight jams that I've been really happy with, both about 10mins, now just to extend it!

Here's the first two jams, did a crappy job encoding the video, but the sound is fine. Pretty excited about this!

Let me know what you think and let me know if you have any questions. Cheers!

[video][/video]

[video][/video]

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