4 Jun
2020
4 Jun
'20
3:37 a.m.
"Jeanette C." <julien(a)mail.upb.de> writes:
Jun 4 2020, Mario Lang has written:
...
Hey Mario,
what a chilly jam, congrats to your girl friend. This is nice.
Thanks. I'll let her know :-)
Out of idle curiosity: what's the drum synth?
I am using a number of TipTop Audio drum modules sequenced by a Acid Lab
Robokop. The Robokop has 12 trigger outs and an all-hands-on
interface. While it has some LEDs, there is no alphanumeric display and
the interface is complete eye-free. A button per step (16) which also
double as trigger selectors (1-12). A detented rotary to change pattern
groups and modes. Regarding the actual drums, I have to admit that I
forgot if I used a TipTop Audio BD808 or BD909. It was likely the 808.
Hats were done with TipTop Audio Hats808.
And the funny clap thing is a WMD Fracture. This is a sort of grain
sample player that has a number of different short clicky samples to do
claps and all sort of things. It is rather new in my rack, and I pretty
much love it. However, in this recording, it was set a little too loud
I am afraid. Could use a 6dB attenuation, but I don't have separate
tracks for the voices yet.
More to the point of this list: what do you record
with?
I have a pretty unusual setup I guess. I built myself a symmetric desk
composed of 4 tables arranged in a square such that I can sit in the
middle. I have Genelec active speakers on each corner, giving me a
quadrophonic listening area. Each side of the square is dedicated to a
stereo signal. To my left, I have a pair of turn tables, and looking
back I have my modular synthesizer. All these sources go into a MOTU
8A. I mix and route with a costum SuperCollider based setup. I use a
Behringer MOTÖR49 as the master controller for everything. With its
motorized faders, its perfect for a custom mixer. Each stereo channel
has its dedicated fader, and an encoder controls the panning. I
programmed it such that I can move the stereo signals in my quadrophonic
setup between 8 positions. So working with the modular, I can set the
channel to play on the rear speakers. But when moving back to my
computer keyboard/controller, I can move the signal back to the front
for better listening.
Long story short, all the audio signals in my setup end up on a bus in
scsynth. I do recording in sclang, which makes it extremely easy to
record a number of channels on demand. In general, these days, I do
*everything* related to computer music in SuperCollider. The language
is ace, and the separation between RT and NRT is just a wonderful piece
of software design. I solved all my "GUI" problems by making the
programming language the user interface. And if I need a control for
some parameter, I just assign it to a fader/knob/pad of my Behringer.
I assume that this is a live performance, seeing that
you have four
channels of sequencing for the chords. IRC the X0xB0x comes with its
own sequencer and the drums probably have their own seq.
Yes. In this setup, the x0xb0x was playing the master clock role. The
Robokop was slaved to it, and a bit of clock dividing gave the slow
pulse for the analogue step sequencers.
All in all: a nice relaxed track and a rather melodic
and harmonious one
for a modular jam.
Thanks for spotting this aspect of the exercise. While I am a pretty
hardcore acid head regarding my electronic music upbringing, I tend to
feel a little anoyed by the inherent atonality of many modular jams I
hear. I also think manufacturers could invest a lot more in doing
musical demos. But well, tastes differ. Still, I did this experiment
to figure out how harmonic content could be patched up without using a
digital sequencer.
Yes, I know that others can do melodic modular too.
Still, tuning
that stuff by ear for a modular novice is fantastic!
Yeah, I was all smiling when I watched her spontaneously understanding
whats going on there. Modular synths are so extremely hands on, its
fascinating to watch how the process influences the results.
--
CYa,
⡍⠁⠗⠊⠕