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April 30, 2016

160405

Working early today, before my forest walk. Tinkering with my schedule again to make it work more efficient. Tuesdays are sort of a new model I’m developing, coherent music days. I had a mentor many years ago and one of the valuable lessons I learned was that I have to create the time I want to create, it’s not given to me. An the most valuable time is coherent time. So I will try to make seamless Tuesdays.

The music, my gym hours and my forest wanderings are the prime source of the my most valuable asset, my health. Without that, nothing is going to be.

Made some changes to the Gestrument settings. Changed the scales from Hungarian minor and Japanese Pentatonic to C-major (Ionian) and C#-minor (Aeolian). And I did not save the preset as “Ghost ensemble” but overwriting my “Exponential Decay” window setting. I must forward my esteemed greetings of stupidity to myself. Again. King of the morons.

I’m still just experimenting. Came up with an embryo for a theme for the first movement. Pizzicato string at tempo 257 and using Rythm Randomness, Pitch Fluctuation and Pulse Density to make alterations and from there ease in the first violin. It’s just an embryo.

And at the moment with the “Ghostensemble” setting in Borderlands making the string quartet sound pretty new. Added Virtual ANS outside AUM with a picture from my forest wanderings as the score. Maybe I’m getting somewhere here? That gives me an idea of using different photos for each movement. A picture of myself sort of incorporates myself as a sounding digital image in the music. Why can’t the theme be a picture in Virtual ANS?

Almost time for my forest wandering now. Will listen a few more minutes. 

Raining all the way. Very muddy and wet. All in all a very pleasant walk. Tried to remember the lost Gestrument setting. I forgot to turn my phone off so I recieved a text. Invitation to grab a beer on Friday evening. Evenings are bad time for me. And I got the gym on Fridays and my forest wanderings on Saturdays. So I will propose Sunday instead. Daytime that is.

Kept working early evening. And I suddenly remembered my great discovery in the Exponential Decay Window setting. It was all in the rythm pattern setting in Gestrument. Invert is today’s keyword. Did my first test recording. Three minutes and I could hear snippets that sounded decent. Well, that’s something I guess. Tried out some rythm pattern settings for the first violin before I had to quit, my brain well on the way to implode.

 

160406

Made some discoveries this morning of some significance. I used invert in the rhythm pattern setting in Gestrument. I turned Borderlands off in AUM this morning to get a good listen at the source. I immediately run into problems with stuck notes. Which is funny at tempo 257 and full throttle on the Pulse Density- and Pitch Fluctuation setting. I’ve been working with Gestrument for well over three years now. I keep getting surprised. In what way can I take advantage of this behaviour? 

Once removing Borderlands from the AUM chain, I began testing patterns with the first and second violin in Gestrument. I worked quite extensively with patterns in Gestrument two years ago I think. I know it’s very powerful in ways to differentiate the tempo and the flavour of the instruments. I soon added the cello and changed its note values. My chain of thought here is to create a classical pattern for a string quartet. And the start breaking the rules. And most importantly developing my own set of rules.

I can do that with Borderlands and my Ghost Ensemble setting. And I have quite good control over it in Borderlands using the “Input loop duration”, “Input recording monitor level” and “Automation playback speed”. Besides the fact that I’m taking full advantage of the delay between the signal changes from Gestrument into Borderlands which I used to create the Ghost Ensemble.

For the pattern question I think I have to use many different pre sets, each with it own distinctive rhythm patterns and then switch between them. I can also use corresponding Borderland pre sets. I’m well ahead of my process here. But I think it’s important to continuously think ahead. That way I can try out new things and ask myself new questions. And without the wrong answers I won’t get anywhere.

It’s gym time now. And I have to pass by the recycling central on my way to get rid of some mental energy consuming stuff from my apartment.

Another rainy day. Came back from the gym to a clean apartment. “The Little Trooper” had done its job for me. The Botvac Connected will save me oceans of energy. Usual routine with a shower, eat and rest for one or two hours.

I continued to work with Gestrument and the settings. Didn’t get any wiser so I exported yesterday’s recording to Notion and listened. Some major revelations occurred. In my world the listening is almost the best way to create. It somehow sticks to the subconscious and evolves over time. I made some good observations. Nothing to surprising and earth shaking, but mild reminders of my inabilities at this stage. Notion got me listening to Mendelssohn.

I started to systematically change the settings for my quartet and apply some pattern thinking. And I guess that I in due time mathematically can decide how I want the rhythm for each instrument. And by using different playing techniques on the Playing Surface along with using a secondary finger to control the Rhythm randomness, Pitch fluctuation or Pulse Density controls, send my calculations into oblivion with the wonderful abilities I possess in Borderlands. Know the rules. Them break them. 

That is a kind of sad statement really. It just tells me that I’m using another instance of the original rules. That sounds not appealing at all come to think of it. Mathematics are rules. Music is work through creation. I’ve gone all philosophical again. Time to stop before I reach the conclusion of 42.

 

160407

I woke up today with an inner compulsion to restore the Exponential Decay Window setting in Gestrument. Or try to set it back as good as possible anyway. 

I have a setting called Exponential Decay Window in Borderlands, Gestrument and AUFX:Space. It is a setting just as the Continuous Tone, Ghost Ensemble, String Quartet and Tuning Violin 1 setting. They are there to help me and I’m responsible for not screwing things up. Like I did in Gestrument when I saved the Exponential Decay Window as Ghost Ensemble. And continued to make adjustments to it. No wonder I felt lost and things didn’t sound as I expected. I noticed the faux pas and today I had to take that step back.

Turned out that it was just minor adjustments in Gestrument and the real culprit was Borderlands. A most unexpected turn of events and a huge plot twist! I did for some reason turn the number of voices up to an insane level. I adjusted that and then loaded all my presets named Exponential Decay Window and suddenly my hearing memory made me happy and turned me to the right track again.

So this morning has been wasted because I didn’t follow my own rules. I have to be extremely overly organised to get anywhere. I don’t want this to happen again. I have little hope that my wish will be granted because I have to do with me. But let’s assume for the benefit of my good overall mood today that I won’t make this mistake more then three or four times the coming months. I’m happy with that. 

The Tuning Violin 1 setting was the second setting I worked on. The first one was the Continuous tone setting. The first and second violin uses the same tuning setting. So, in order to follow my overall plan what I should concentrate on is the tuning setting for the viola and the cello.

By testing different pitches and note values I can establish different idiosyncrasies for each instrument. Good ones and bad ones. Gives me a rough idea what I have to deal with. So as an example, how does the viola handle a quarter note with Rhythm Randomness, Pitch Fluctuation and Pulse Density with 0% impact, 50% and 100% impact? And what happens when I use an eight note or sixty-fourth note at different pitches? And what happens at different tempos?

When I started I wanted to do it from the ground up. And create a way to actually discover how the sounds of the different instruments can be used and taken advantage of. I’m not interested in mimicking atom based instruments at all. But I have to create a foundation of the overall sound I want to accomplish. It’s the same methodology as with applied statistics. Shit in, shit out.

I have to know my binary instruments inside out. Their weaknesses and their strengths. Their odd behaviour and their beautiful wacky behaviours. All will add to my knowledge base. And with this under my belt I can use Borderlands in a much better and more enlightened way. It was by doing this I discovered the Ghost Ensemble phenomenon in Borderlands. A binary string quartet can accomplish that sound and playing style effortlessly. An atomic based quartet doesn’t stand a chance.

Thursday’s are one of two days (Sunday is the other day) of rest a week. It means I don’t go to the gym or make a forest wandering. So today I’ve been doing laundry and slept for nearly two hours in the afternoon on. Than I found a brilliant article on ABI (acquired brain injury) and posted it on my FB wall. It sums up what I live with since my stroke in September 2014.

So tomorrow I’m off to the gym. Looking forward to that.

 

160408

Woke up this morning a little later than usual. Which meant I didn’t have the time to do music before the gym. Good workout today and I want to add a couple of minutes each to the rowing machine and the cycling. Saw at my statistics on my Tom-Tom, that measures me 24/7 (almost), I need to get my pulse up a little bit. I have to improve. 

Got home and made lunch, showered and rested for a couple of hours. Then starting to read the Frank Zappa biography by Neil Slaven. Pretty good so far.

My contribution to music today was a good practice session with my Ghost Ensemble settings. On the one hand I let it play for itself, automated music, and then I started to interact by using one finger techniques as well as two finger techniques. And it it really sounds like a string quartet. As on atomic instruments. 

I might even record some bits tomorrow and open in up in Notion. Always fun to change the instruments and see what happens. Or change the tempo in the score. Make odd combinations and hear it out. Eventually something interesting turns up. But that’s something I have to do in my spare time.

Tomorrow it’s my forest wandering. If everything feels okay I might go for a slightly longer distance. I usually walk around 9 km, but this will be well over 10 km.

On the agenda tomorrow are patterns in Gestrument. Just trying out different pattern ideas. The pattern settings will be my home for the next couple of days.

As for tonight I’ll read some more or watch a) The Drew Carey Show b) My Family c) Peep Show

Picture from one of my forest wanderings last year.

 

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Went for my forest wandering this morning. It lasted almost three hours and the weather was gracious to me. A little bit chilly when I started out, but warm and sunny when I got home. I took some pictures of this years first bluebells. And I recorded two horses I met on my way. After a shower, change of clothes and a good meal I fell asleep as I needed the rest.

Late afternoon I started work with the patterns in Gestrument. I’ve used them before, quite extensively, in conjunction with Alchemy. Turned out great results for the ambient pieces I was writing at the time (Shipping forecast – North Sea).  

This time I’m set out to seriously explore them in depth and figure out how different channel patterns can interact within the same preset as well as view an entire preset as a pattern. There’s two levels to begin with. 

Furthermore I can work out different patterned presets within the same movement in the string quartet. When I then start to play together with Gestrument there are more parameters coming into play. All of the surface controls can be used. Rhythm, Pitch, Pulse, Scale Morph, Tempo, Transpose and turning Channels on/off, the Glide and Hold functions. And I can combine all of these with different two finger techniques.

The different and vast combinations builds up quickly and gets overwhelming right from the start. I have to come up with and use some kind of sane approach to all this. On top of this I also have the Ghost Ensemble at my disposal in Borderlands. And the different possibilities in AUFX:Space. It facilitates instant jumping between acoustic environments.

The pattern window gives me 16 units. I used the two violin channels for my first investigations. First some basic combinations 1,3,5,7 and 2,4,6,8 on an eight length pattern. Then some odd and random combinations. Then I added the viola. I kept the violins at 8, but made the viola 16. When I started to randomly make patterns live on the three channels and running them through the Ghost Ensemble in Borderlands, strange and beautiful things started happening. And it got even more interesting when I used channel 2 and 3 which are fret noise and pizzicato. I’ll leave it at that tonight. My further inquiries into this fascinating matter continues tomorrow.

Saturday means popcorn for me. And some artificial flavoured water to go with it. I’m very conscious of what I eat and drink otherwise these days. Then I can either read for a bit or watch a good tv-show. Last night I continued to watch The Drew Carey Show. Otherwise I’m quite fond of British comedies. My brain seldom has the attention span for anything longer than 20-30 minutes.

 

160410

Today was pattern day. But I got a late start due to some mundane stuff called life that got in the way of my Sunday. On Sunday’s I don’t have any exercise scheduled. But I still have to do domestic tasks like cleaning and washing. Sunday’s are also the day when I plan my week ahead. So tomorrow I will switch tires on my way home from the gym. I need to buy a pair of good walking pants to start using on Tuesday. I will expand my forest wanderings in the coming 6 months. I have a grocery delivery coming in the afternoon and I need to prepare chicken breasts tomorrow evening. I make four or five at a time to reduce my time preparing food. They need to soak in marinade for at least 24 hours before I make them in the oven.

Today’s theme were patterns in Gestrument. So I created a new setting where I used only fourths on the ensemble instruments. I turned Borderlands off in AUM and got to work. I’m fascinated with numbers, especially prime numbers and Fibonacci sequences. So why not use them? 2,3,5,7,11 and 13 or 1,1,2,3,5,8,13 as the patterns in Gestrument reach 16. Now there are several ways to go about this.

I first made patterns of different lengths. So Ch 4 (1st violin) was 2 with the beat on 2, Ch 5 (2nd violin) was 3 with the beat on 3, Ch 6 (viola) was 5 with the beat on 5 and Ch 7 (cello) was 7 with the beat on 7. I then changed all note values to fourths and made them all work in the same pitch.

I got bored really quickly and changed the pattern to 13 on every channel. Better for a first listen. Made a short test recording and exported to Notion with AudioShare. Always interesting to listen to the result. But kind of boring. Turned on Borderlands. Boring. 

Then I lost patience and started to assign mixed note values and increased the pitch fluctuation range to really mental numbers. One interesting thing appeared. The instruments started to sound very different in a good way when out of their normal range. A C7 cello doesn’t sound normal. Great. A C2 sounds very strange on a violin. Atomic instruments can’t play those notes. But my Ghost Ensemble can. And that counts for today’s revelation. My intention was never to mimic the atomic counterparts of a string quartet. That is plain boring and Atomic instruments as is sounds beautiful in their own right.  

But I’m writing a string quartet for binary instruments and letting my Ghost Ensemble perform it. Part by themselves, part my me, part together. There is an element of an “ensemble within the ensemble”. Why not compare it to nature seed heads for instance, which shows perfectly aligned spirals, clearly arranged as Fibonacci sequences.

That would be a reason to use Fibonacci sequences instead of prime numbers. I will work on that thought tonight and tomorrow. The pattern days aren’t over. They are my friends for the days and weeks to come. But the important thing is methodology. Start small and build upon my findings.

I need a complete new set of rules to do this. Previous rules are entirely for atomic performances. I like the basic structure of a classic string quartet. And I like the classic environment for performing. Intimate. Dense sounding without any reverb. The dialog between the atomic instruments. There are things I want to reuse. But I don’t want to try to reproduce the sound. That is just corny and a waste of time.

 

160411

On my way to the gym I thought of taking up a thing I started a couple of years ago, “current studio view”. I remember the first reactions to the pictures in the glorious iPad musicians group here on FB. Very few got it from the start. At the time I was driving a cab for a living. And starting taking pictures with my iPhone 3 back in 2011(?) I started to take a picture through the front window whenever I was waiting for the next assignment. It was easy to just take out my iPhone, plug in the headphones and start iSequence. And I was making music. All over the place. There are still turning up photos labelled “current studio view” in iPad musician, one more intriguing than the other.

These days I don’t drive a cab. I’m recovering from a stroke in September 2014. It has turned my life upside down. But I guess I’m doing okey considering the trauma I was exposed to. I don’t get around much like I used to these days. I go to the gym three times a week and I do two forest wanderings. I take photos, videos and make field recordings on my forest wanderings and I kind of miss taking photos the way I did. Maybe I start with that again. 

The forest wandering material is coming to use in my next project. I don’t know how yet. Just hoarding material at the moment. I’m focusing on my binary string quartet. That will keep me busy the coming months at least.

Yesterday I left myself with a question. How can I use prime numbers or Fibonacci sequences to govern the patterns in Gestrument? It hit me today that Borderlands is an excellent guinea pig to take this further. There are loads of settings that could get their values that way. It’s worth trying out anyway.

My meagre and somewhat uninspired tries so far has not made me cheer. Just to assign the numbers one by one isn’t very creative. So tonight I’m trying something new. The first violin plays eights at 307 and the second violin plays triplet eights. The first with 13-pattern with beats on the 5th and 8th position the second also with a 13-pattern but with beats on 2, 3, 5, 7, 11 and 13. Makes for something to continue working on tomorrow. Right now not very exciting, but it’s much better than last nights boredom.

 

160412

“An L-system or Lindenmayer system is a parallel rewriting system and a type of formal grammar. An L-system consists of an alphabet of symbols that can be used to make strings, a collection of production rules that expand each symbol into some larger string of symbols, an initial “axiom” string from which to begin construction, and a mechanism for translating the generated strings into geometric structures. L-systems were introduced and developed in 1968 by Aristid Lindenmayer, a Hungarian theoretical biologist and botanist at the University of Utrecht. Lindenmayer used L-systems to describe the behaviour of plant cells and to model the growth processes of plant development. L-systems have also been used to model the morphology of a variety of  organisms[1] and can be used to generate self-similar fractals such as iterated function systems.” (Wikipedia)

I came across this last night. And it was very good food for thought during my forest wandering today that lasted for over three and a half hours. It was warm, sunny and I walked new paths. It was a control station for me to accomplish my main goal before summer. And I must say I passed with flying colours. I ran into no problems. I carried a backpack today and something to drink. For the next wandering of this length I better bring some food. I saw a hare, lots of bluebells and at the end at least ten butterflies enjoying the sun. I caught one resting as today’s picture.

Back to the L-system. I think there are things in it that I can use and take advantage of when I’m writing the string quartet. The idea of an evolving system appeals to me. And maybe I’m on to something when it comes to notation? I think using the Pythagoras tree as a starting point can be very beneficial. Both in terms of the notation in itself, but also for assigning time signatures, time in general, gravity and expression when it comes to glass playing in Gestrument. And it can be applicable to Borderlands in the same way. 

I’ve been searching for a universal method to make notation feasible when it comes to iOS music. We don’t play the music, we create the music with finger movements. Or by using motion (how the clouds react to gravity in Borderlands or the tilt in Alchemy where you control the remix pad with motion). These two elements makes iOS stand out compared to the other way to play, compose or perform music.

The L-system doesn’t stop me from using prime numbers and Fiboncci sequences for the patterns.  This isn’t new in any way of course. Olivier Messien deliberately used them.

“The French composer Olivier Messiaen used prime numbers to create ametrical music through “natural phenomena”. In works such as La Nativité du Seigneur (1935) and Quatre études de rythme (1949–50), he simultaneously employs motifs with lengths given by different prime numbers to create unpredictable rhythms: the primes 41, 43, 47 and 53 appear in the third étude, “Neumes rythmiques”. According to Messiaen this way of composing was “inspired by the movements of nature, movements of free and unequal durations”.[55]” (Wikipedia)

Which in turn gave me an idea. Gestrument has 16 steps. But I can recalculate them so prime numbers over 16 can be used. The prime numbers after 16 are 17, 19, 23, 29 and 31. If 17=1 then 19=3, 23=7, 29=13 and 31=15. I can make a table with prime numbers and translate them this way. Then maybe use different settings for the corresponding patterns?

Much work to be accomplished. Tomorrow it’s gym time again. Will take it easy and light tomorrow and on Friday. While writing enjoying “Rhapsody in Blue” by G.Gershwin. It premiered in 1924. But the original score for piano and jazz band wasn’t recorded until 1976.

 

160413

The days are going by so fast I hardly notice them. But I feel very refreshed and I seem to control my energy planning with greater precision these days. A number of factors contributes to this phenomenon. My physical activity, my harsh routines when it comes to eating and sleeping, a rejection of most things outside the musical field and great of awareness of micro time management.

http://vaczy.dk. It’s a new universe for me. It somewhat corresponds to the thoughts I have regarding the L-system and the work of Aristid Lindenmayer, a Hungarian theoretical biologist and botanist at the University of Utrecht, as I mentioned yesterday.

Mr. Thomas Vàczy Hightower, a half Hungarian/half Dane, has written some intensely mind boggling essays about musical octave stems, a result of two decades of his own studies of acoustics and music. I’ve only had the opportunity to read the first essay today entitled “The Creation of Musical Scales I”. There are many more and I will read these very closely. There are surely gems hidden in these essays. It takes time to read them and repeated reading is recommended.

One thing I decided today on the row machine at the gym, was that ScaleGen is a given part in this project from now on. Tomorrow is a day off with nothing planned. So I’m looking forward to a good nights sleep and to spend tomorrow reading and pushing my project a little bit further. But as I well know by now, tomorrow can also be a day when my head will not cooperate at all. I’ll find out tomorrow.

As for tonight I will continue reading the Zappa biography.

 

160414

Writing this and listening to the excellent br-klassik.de internet radio stream. Today became a kind of semi day. My head is not cooperating as earlier this week. So I had to stand down for a bit. On the other hand I had the opportunity to let by body rest.

I read a second essay of Mr. Thomas Vàczy Hightower. So far I’ve read two “The Creation of Musical Scales, part I, from a mathematical and acoustic point of view, where the underlying laws of creating a musical scale will be investigated. 2002-9” and “The Creation of Musical Scales, part II will focus on the acoustic laws behind the musical scales on a global scale, and how numbers and mathematics play a part in creation of the intervals in the octave. 2002 – 2009”.

Both are excellent reads but requires rereading. It’s quite some work behind his thoughts and discoveries. I will continue with the third essay this evening, “The Sound of Silence   

where the law of octaves will be extended to the meta-physical properties of music and sound bringing into focus the strange behaviour of the pendulum. Updated version of The Musical Octave, 2007″.

I wrote Mr Vàczy Hightower two days ago and got a polite and reassuring answer today. Yes, there are a lot of inspiring questions and thoughts that I’m looking forward to discussing with him.

Downloaded ScaleGen today. It will be a major tool for me the coming months.

Tomorrow it’s the gym in the morning.

 

160419

I’ve been reading further in the before mentioned essays. They continue to spark my interest and to hopefully develop my universe. One central conclusion so far after reading the first four essays must be that music has gone from being a way to connect to the universe to a means of entertainment.

The scientific data presented, intertwined with the philosophical paths from the ancient Chinese to the Western European Renaissance, concludes in my interpretation that there is a clear correlation between physics, the human body and the universe that can be described with mathematics. I am in a much to early stage of my reading to describe this correlation more coherent. But as my studies and reading advances I’m convinced that I eventually will be able to describe this correlation and work along those principals.

I did this morning some more explorations with ScaleGen, Gestrument and Borderlands. New scales and an abortion of all previous Borderland pre sets. I’m starting from a new point together with totally different acoustics in AUFX:Space. Sometimes I have to get rid of stuff that stands in the way for myself. 

I was on the comfortable highway of imitation, instead of the rocky road of limitation.

http://vaczy.dk

 

160420

I’m pleased that I threw all my previous Borderland settings overboard. And I’m irritated over myself and the constant, subconscious, eager to imitate an atomic string quartet. It’s just a complete waste of time.

So…late last night I tried something new. I started to work with my grain cloud settings in a sincere manner. And it pays off. It sounds like a string quartet, but isn’t anything like it. 

My task for tonight is to filter out the violins, viola and cello into three different live streams. That way I can work with three (or four) individual grain clouds and treat them accordingly. As is, Gestrument channels goes into Borderlands as one stream. I want to create separate streams in Borderlands working with three or four copies of the live stream with individual grain clouds.

I must find a way to treat the filtered streams as an ensemble. Playing WITH each other, communicating and working towards a shared goal.

I can use scales constructed in ScaleGen, the settings in Borderlands and the settings in Gestrument to push this theory further. But I still lack a solid foundation to work from. I learn a lot. I get the experience I need to make decisions further on down the road. I work with my tools so that I develop enough skills to work out a solid theory.

At the moment I’m a firm believer in separating the live stream from Gestrument, filter out the individual channels in Borderlands and assign them tailored grain clouds. That will give me much more freedom.

While listening I tried some basic patterns in Gestrument. Violin 1 to 1 and 3. Violin 2 to 1 and 5. Viola to 1 and 7 and cello to 1 and 11. This creates a very varied rhythmic environment that never repeats itself. It sounds kind of cool. What I can use a my spice is of course the constructed scales in ScaleGen. And the different grain clouds in Borderlands.

When working on that, why can’t I have multiple string quartets playing with each other?? A quartet as one stem? My restriction is to use only the classical set up, two violins, one viola and one cello (also have fret noise and pizzicato). Apart from the instruments I can do what the hell I want.

Erhard Grosskopf: “KlangWerk 11”, op. 64

 

160421

Still thinking about last nights hypothesis when I woke up. It would be so easy to take the high road. All I have to do is record the four stems separately into Cubasis. And then cut, paste and mix it all down to a suitable format. One channel at the time in Gestrument into Borderlands with one specialised grain cloud for each of the four streams. Maybe I do that for test recordings?

But my idea is to record it live. Using recording into Cubasis the way I mentioned above will not be adequate. And I will completely loose all control over what I am performing. I like the idea as a means of getting a glimpse of what it might sound like as a finished piece. But on the other hand, is it worth the energy to pull off? This isn’t the way to go. I’ll stick with my filtering theory from last night.

My main problem is twofold at the moment. The first is the fact that I have infinite possibilities when it comes to scales in ScaleGen, settings in Gestrument, settings in Borderlands and AUFX:Space. Secondly I still lack a method to approach these possibilities. 

I’ve had an idea about the method, that is prime numbers or Fibonacci sequences. They would bring an underlying structure. Using either would bring a strong foundation. Any of these would be suitable for all settings in all apps. I can create a prime number scale. See this excellent article https://plus.maths.org/content/music-primes by Marcus du Sautoy. Before I get into that I need to re read the appropriate essays at http://vaczy.dk.

One thing I tried out today (and made a short test recording of) is having the live stream from Gestrument in Borderlands divided in half by two grain clouds using the x/y parameter. The first grain cloud set with a low pass filter and a frequency of 941 and voices set to 3, resulting in a high pitch. The second grain cloud with a band pass filter and a frequency of 149 and voices set to 3, resulting in a low pitch.

In Gestrument I use only prime number based patterns. This produces some really melodic, rhythmic and varied music. It sounds like a string quartet, but in a totally different way. I have created a totally new point of origin compared to the lame and atomic minded rubbish that, at no surprise, got me frustrated and single minded. When I run the fret noise and pizzicato (also with prime number based patterns) there are some really interesting things starting to happen.

 

160423

I had a couple of very busy days. I made a choice to do a thing on Thursday night and now I’m paying the price. A calculated side effect but never the less a little bit sad (frustrated) experience. I can’t handle more social interaction outside my home than that.

However, I did make a first attempt at a prime number based scale in ScaleGen. I then exported it to Gestrument and used it just to listen. It sure brings quite a unique sound flavour compared to a “conventional” scale. This is definitely the road ahead. As I sad the other day, I need some kind of structure to create this. And I tend to think I’ve found it in the prime numbers. They are universal in that sane I can use them for every setting across my toolbox.

Last night I just had just the fret noise and pizzicato going in Borderlands. Then I switched acoustics in AUFX:Space to “Bending Resonator”. Oh boy, am I on to something there! Very strange but beautiful prolonged themes and melodies altered by the Ghost Ensemble effect in Borderlands. I continued to listen for almost two hours this morning with some changes to the channels. Definitely a path worth exploring with the tempo setting in Gestrument.

Today I continued to listen. Different combinations and settings in Gestrument, Borderlands and AUFX:Space. Each bringing a new flavour to the table. Made new setting in Gestrument containing two fret noises and two pizzicatos. And searching for a good way to use silence. The problem is that the live stream into Borderlands is delayed. But I found a way to create silence when I want and that is to simply mute the sound in Borderlands. I even did a test recording to make sure it worked.

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