Looking at the 'big composition' for 2023

[Ben Asaro]

Thanks, Martin!

[Arpangel]

What interests me about this piece are the resonances occurring in the reverb tails, they’re beautiful, I’d home in on those and use them in their own right, a 100% wet situation.

[Ben Asaro]

What interests me about this piece are the resonances occurring in the reverb tails, they’re beautiful, I’d home in on those and use them in their own right, a 100% wet situation.

It took me a good, long time to really appreciate the Blackhole reverb! But when you lean into what it does, it sounds great. Those waves of harmony created by the Blackhole are intentional, as a point of interest. For me personally, it would be less interesting as the primary focus (and I have a feeling it’s been done before as well).

[Arpangel]

What interests me about this piece are the resonances occurring in the reverb tails, they’re beautiful, I’d home in on those and use them in their own right, a 100% wet situation.

It took me a good, long time to really appreciate the Blackhole reverb! But when you lean into what it does, it sounds great. Those waves of harmony created by the Blackhole are intentional, as a point of interest. For me personally, it would be less interesting as the primary focus (and I have a feeling it’s been done before as well).

Black Hole? wow, I’m surprised, sounds good. I had one and didn’t get on with it.
Yes, the reverb as a texture, I think I meant, not obvious, but just there, so you don’t quite know what’s going on.

[Ben Asaro]

Refinement continues on the Euclidean Melody idea. I recorded about an hour of whole cloth audio yesterday with the idea of curating a small section as a loop, but after I was done realized that this isn’t the direction I want to be going in. I also didn’t like the results I got.

Unfortunately, the sheer number of hours needed to generatively get something I am really taken with would require using a computer and I really don’t want to be heading down that path.

So last night I took the 16 pulse divisions from Euclidean Circles and transcribed them as step sequencer style patterns. Today’s experiment will be to strip the whole thing down to a single voice and see if I can create something that uses the Euclidean patterns but also has a melody I actually enjoy.

[Arpangel]

This way of working is so hit and miss, you just have to keep going until something you like comes up, with my tape delay stuff, most of it gets binned, but it’s worth hanging on for the surprises.

[Martin Walker]

I recorded about an hour of whole cloth audio yesterday with the idea of curating a small section as a loop...

Well I learned a new concept today, but it makes perfect sense!

[Ben Asaro]

This way of working is so hit and miss,

Totally agree!

you just have to keep going until something you like comes up, with my tape delay stuff, most of it gets binned, but it’s worth hanging on for the surprises.

For a stand-alone solo composition I might actually consider recording reams and reams of audio and then parse through it hoping to catch lightning in a bottle. However I'm actually trying to come up with a workflow that I can use in collaboration with other musicians and the hunt-and-peck method won't work, unfortunately.

[Ben Asaro]

I recorded about an hour of whole cloth audio yesterday with the idea of curating a small section as a loop...

Well I learned a new concept today, but it makes perfect sense!

I cannot stake any claim to this technique, I've always assumed that was how generative compositions were done!

[Ben Asaro]

For today's experimentation, I made this:



I've torn down the patch and will try using this conversion I made from Euclidean Circles to step sequencer patterns to manually create a Euclidean melody with a single voice. Stay tuned!

[Martin Walker]

I recorded about an hour of whole cloth audio yesterday with the idea of curating a small section as a loop...

Well I learned a new concept today, but it makes perfect sense!

I cannot stake any claim to this technique, I've always assumed that was how generative compositions were done!

Oh yes, I do a lot of the same myself - it was the 'whole cloth' description that was new to me

[Ben Asaro]

I recorded about an hour of whole cloth audio yesterday with the idea of curating a small section as a loop...

Well I learned a new concept today, but it makes perfect sense!

I cannot stake any claim to this technique, I've always assumed that was how generative compositions were done!

Oh yes, I do a lot of the same myself - it was the 'whole cloth' description that was new to me

lol that's an oooooold phrase; dunno if it's uniquely American!

"Where did we get the phrase "cut from the whole cloth?" The phrase goes back to the 1400s and refers to a piece of broadcloth, something made from the original bolt of fabric and not cobbled together from bits or pieces or patched bits, like most of my clothes."

Well it outdates America by a few centuries.

[OneWorld]

Or "Or the Emporer's Got no Cloths" ?

[Ben Asaro]

Inching closer to something acceptable! https://audio.com/don-music/euclidean-melody-v3-1

[Eddy Deegan]

Hey Ben,

I've been a bit distracted of late with things outside the forum (nothing bad, just super busy) but I just caught up on the topic and listened to the latest audio you posted.

I absolutely love it! That ominous and evocative background growl is the perfect bed for the lead motif to develop against and to get so much movement into the same repeated drone and theme such that the end sounds so different to the start is wonderful.

Bravo mate and keep doing what you're doing because I think it's epic

[Arpangel]

This way of working is so hit and miss,

Totally agree!

you just have to keep going until something you like comes up, with my tape delay stuff, most of it gets binned, but it’s worth hanging on for the surprises.

For a stand-alone solo composition I might actually consider recording reams and reams of audio and then parse through it hoping to catch lightning in a bottle. However I'm actually trying to come up with a workflow that I can use in collaboration with other musicians and the hunt-and-peck method won't work, unfortunately.

I know what you mean, with my delay/looping system, it’s a bit like trying to steer a super tanker, things happen very slowly, change slowly, in a live situation with others I’m looking for something different, something agile, and responsive, capable of "turning on a dime"

[Ben Asaro]

Hey Ben,

I've been a bit distracted of late with things outside the forum (nothing bad, just super busy) but I just caught up on the topic and listened to the latest audio you posted.

I absolutely love it! That ominous and evocative background growl is the perfect bed for the lead motif to develop against and to get so much movement into the same repeated drone and theme such that the end sounds so different to the start is wonderful.

Bravo mate and keep doing what you're doing because I think it's epic

Thanks, Eddy! And thanks for always being so supportive!

[Ben Asaro]

I know what you mean, with my delay/looping system, it’s a bit like trying to steer a super tanker, things happen very slowly, change slowly, in a live situation with others I’m looking for something different, something agile, and responsive, capable of "turning on a dime"

Yes, this, 1,000%!!!

[Ben Asaro]

Today's testing will be to take a basic loop using the table from yesterday and start turning it into something I can use for musique concrete.

I also quickly realized a flaw in the table yesterday: I didn't put in a conversion to hex for the NerdSeq. This meant I had to do constant calculations in my head, which is not equipped for maths.

So I revised the table today and added a column that shows the number of pulses, as well.

[Martin Walker]

Ben - have you ever explored any of the Conway's Game Of Life' generative sequencers? Your most recent screenshot is starting to remind me of such creations:

Here's Newscool for NI's Reaktor:



...and Reason's Life Generative Sequencer: