Jul 042017
 

Piano Keyboard

Today is the first time in my life that I played piano, of course saying I played piano is relative to the fact that I’m just coming to grips with the idea of where the notes are. Regardless of how poor of ability I am, I still was able to identify the keys, play the chords and strike the notes for a tune nearly anyone could recognize. Whole notes, half and quarter notes, measures, bars, tempo, keys, chords, these are my Lego’s that I’m trying to fit together.

 Posted by at 9:10 pm  Tagged with:
Jun 282017
 

Attack

Took a random clock signal from Ultra Random Analog into Pamela’s New Workout that was clocking the Stillson Hammer and the Eloquencer. The Stillson was driving the Mutant Bassdrum, BD9, Snare, and Hihat while the Eloquencer ran the 808 Maraca, 909 Clap, DuKRPLS, and Basimilus Iteritas Alter. The percussion was mixed on a couple of Levit8’s and fed into the Expert Sleepers ES-8 on its way to Bitwig where I added a tiny bit of reverb from the Fabfilter Pro-R.

Jun 262017
 

Stillson Hammer MK2

Let’s talk about DNA and sequencing though what I really want to discuss is rhythmic sequencing. It won’t be a deep discussion about genetics, just a note or two. While I certainly respect the work and have learned more than a little about our double helix blueprints from Kary Mullis to Craig Venter, matter of fact they are icons in my book of people who have inspired me, there is nothing from their body of work that will help me and whatever deficit of genetic material and gray matter I would wish I otherwise possessed that might help me better understand this wild beast known as music and more specifically sequencing.

There is a correlation I see between our DNA and music and that is; patterns. Our genetic base pairs are made of Thymine, Cytosine, Adenine, and Guanine known as TCAG and these four molecules are organized into patterns that repeat billions of times in order to bring sense and meaning to the building blocks of our very being. In popular music we are typically working with 4 beats per measure and 4 measures (4/4 music) and it is through these repetitions that the order of music and its rhythms become the most common sequencing’s of sounds that are appealing to us humans at this time in our history’s.

If you think that the study of genetics is difficult, that is where my mind is currently at in regards to building my first musical sequences. To the listener they may hear 120BPM and never give a second thought to the fact that they are listening to two beats per second, but a second is a lot of time. Try counting as high and fast as you can in one second, I can get to seven or eight as I speak the numbers out loud. So between the beats are pulses where things like snares could be triggered.

When you consider that it is not uncommon for a song to have upwards of over 100 voices that come in and out of the mix during the course of the track, you have to understand that all 100 of these have their own time signatures and hence they get sequenced in to the mix at a particular moment or their individual elements are conforming to the timing that has been dictated by the sequencer and clock timings.

While it might be too ambitious for me to begin considering even two voices simultaneously, just understanding one sequenced voice has been a hurdle. Yesterday I wrote about clock signals, it is from these timing devices that the master clock is used to set the rest of the voices in the track to work off the same beat structure. Okay, so what gates and triggers in what sequence make for interesting rhythmic patterns? This is where I need to start experimenting with the basics such as a bass line or pattern for a kick drum. I could use an already written midi track and set it down as the basis to start building a song upon, but then I don’t feel that I’d fully understand the fundamentals.

And so I struggle trying to learn the basics of when to trigger a pulse, send a gate to a voice, or attenuate a voice that was just triggered or modulated for pitch. Someday I will come to grips with this genetic soup of sounds and timings that feel like they are just beyond the horizon of my comprehension.

Jun 252017
 

Pamela's New Workout from ALM

Music to the casual listener is mostly about rhythm, melody, and lyrical content. To someone learning how to make music one of the first lessons that becomes obviously apparent is that music is all about timing. Clocks, triggers, gates, pulses, PPQN (Pulses Per Quarter Note), randomness, steps, and modulation of all of these play a central role in how the Eurorack modular system is going to stay in sync, create and evolve rhythms, and move your piece forward, even when going in reverse.

I’ve chosen Pamela’s New Workout (PNW) from ALM as my master clock, I had tried the Arturia Beat Step Pro before deciding I wanted everything in the box. Once settled on a clocking device there is still an incredible depth of knowledge that will have to be acquired due to details regarding the division and multiplication of the signal, if you will apply a Euclidean rhythm, or maybe you’ll choose to randomize its timing signature.

The PNW has eight outputs and each of them can be independently clocked. As the master clock I patch out from this source to sync other modules that need to stay in time with each other. Even a random clock event should typically be in time with the rhythm of the piece that is being created.

Each of the eight outputs can in turn be divided or multiplied from within the PNW and by routing a clock signal to something like the Doepfer A-160-2 Clock Divider or the Animodule Tik-Tok Divider/Multiplier. If I want a random synced clock I have a couple choices here too by taking a PNW output into the SSF Ultra Random Analogue or into the Makenoise Wogglebug, both specialize in random clock signals. I can take one of these external clock outputs into my Stillson Hammer sequencer and adjust the timing on a per track basis right within the Stillson, same goes for many sequencers. In all I currently have more than a few dozen devices that benefit from having a clock signal sent to them, while nearly everything else that follows these modules is the recipient of those perfectly or randomly clocked timings.

It’s daunting to try and think about the potential of which modules and sounds would benefit from particular timing signals. While I have more than a few passive signal multipliers also known as Mults (clock signals do not benefit from powered mults as CV signals do, as clocks send pulses that are not reliant on perfect voltage signals to convey their information accurately), I will still need to come to an understanding about which devices I want to send every manner of timing in order to achieve whatever it is that is stewing musically in my imagination.