Reich-ian influenced Clapping Music -- but on the modular

[Ben Asaro]

A surprisingly simple patch with a LOT of potential. Inspired by Steve Reich's Clapping Music, I wanted so see if I could set this up on the modular. It requires having two identical voices and a Euclidean trigger sequencer with multiple trigger outputs (I used Euclidean Circles). I set up two channels of EC with identical number of steps and triggers going to two envelope generators. I then sent clock and reset from Pam's. Then it was just a matter of moving the pulse of one of the voices over by an eighth note until they came back in sync.

Proof of concept, https://audio.com/don-music/audio/clapping-technique-v1

https://photos.app.goo.gl/8xjb85XWxtzNP4gg6

https://photos.app.goo.gl/p4m6SuuvGH84NPTF6

This is now ready for Phase 2!

[Martin Walker]

Fascinating!

[N i g e l]

^ what he said

strangely I was recently looking at "clapping" to use as a rhythmically base for notes.

simply the base is a sequence of 12

3, space
2, space
1, space
& the residual is 2, space

cut paste to duplicate & beat slip the duplicate until you get back in sync.

Its a totally different feel to having "tape loops" drift out of sync.

[Ben Asaro]

^ what he said

strangely I was recently looking at "clapping" to use as a rhythmically base for notes.

simply the base is a sequence of 12

3, space
2, space
1, space
& the residual is 2, space

cut paste to duplicate & beat slip the duplicate until you get back in sync.

Its a totally different feel to having "tape loops" drift out of sync.

Definitely. Shifting by an 8th note, as described in Reich's score, creates complex rhythms, which I don't think phasing does as well.

I did the same in my proof of concept audio above -- 12 steps, I think I used 7 notes, and shifting one of them by an 8th was very easily accomplished using Euclidean Circles.

My next phase of testing will be against a steady pulse outlining quarter notes, and then I will start playing around with assigning pitches to work with.

[OneWorld]

I stumbled across this way back in the day when I would attempt to build up a multi-track by dubbing from one reel-2-reel/cassette recorder, and I could never get the timing right and then one day it produced quite interesting loops, a holistic rhythm, greater than the sum of its parts. Later in life I became aware of African music, with quite appealing rhythms. Then Steve Reich came along and as good as patented the whole thing.

I was also enamoured of a MIDI effect in the very early Cubase, if memory serves me right it was called the IPS, Interactive Phrase Synthesizer. It wasn't the most intuitive of effects, but essentially it started off with a sequence/arpeggio/chord, and would feed that onto another 'module' within the IPS, and that in turn fed another module. The IPS came up with some really wacky beats and chord changes, and many times it sort of ran amock, and one would come across an interesting groove by serendipity more than intent, and it was hard to replicate. I intended to learn about IPS when the impending Cubase VST was on the cusp of release. It was released, but IPS had vanished. I guess there are similar 'effects/plugins' these days, but the appeal of the IPS was there it was, sat in Cubase MIDI effects ready to go.

https://www.soundonsound.com/techniques ... ynthesizer

https://forums.steinberg.net/t/please-b ... zer/595220

[Ben Asaro]

the appeal of the IPS was there it was, sat in Cubase MIDI effects ready to go.

That looks like it could lead to a lot of experimental fun!

[OneWorld]

the appeal of the IPS was there it was, sat in Cubase MIDI effects ready to go.

That looks like it could lead to a lot of experimental fun!

I suppose there's sort of an intersect between the IPS and a setup like yours, where essentially almost any output can be piped to any other, resulting in many happy sonic 'accidents'