I assembled the appropriate adapter to link between the sequencer I built recently and the moog standard interface, allowing the language of control voltage to pass between them. The audio above contains three layers of moog, 2 driven by the analog sequencer, using various modular patchs. The tempos of the two sequenced tracks are left untouched for the majority of the time. Accordingly they syncopate in a just-slightly out of rational metric division. The continuous changing of acoustic tones is the hallmark of analog synthesis. Simply twisting any number of knobs levels physical electrons through a prism of harmonic potentials. I like those places in between rational musical forms, the irrational numbers of harmony and rhythm. Anyway, why not.
It's cool to hear your sequencer in action. I've done some experiments along similar lines, where there's no real tempo. I randomized things in code but left it much more sparse, more of an ambient feel to it.
I appreciate process music but at the same time sometimes it is more interesting as a concept than it is as music. That's certainly been the case with some of my experiments, and I'd say that's the case here.
So, I'm looking forward to hearing your homemade sequencer in a more structured setting.
I think process music is important for new compositional technique, I know most of what I do is simply trying to overcome a lifetime of classical and folk training and education. I agree though, it's hard to listen to much of it for any decent amount of time. Though I think some of Subotnick's work with tape recorded ghosting is incredible (interestingly enough, much of that possibility has been realized in mass form thanks to the MOTU Volta app which allows CV output through certain audio interfaces--I'd like to try it, as I have a MOTU traveller, but 200...).
2 comments:
It's cool to hear your sequencer in action. I've done some experiments along similar lines, where there's no real tempo. I randomized things in code but left it much more sparse, more of an ambient feel to it.
I appreciate process music but at the same time sometimes it is more interesting as a concept than it is as music. That's certainly been the case with some of my experiments, and I'd say that's the case here.
So, I'm looking forward to hearing your homemade sequencer in a more structured setting.
I think process music is important for new compositional technique, I know most of what I do is simply trying to overcome a lifetime of classical and folk training and education. I agree though, it's hard to listen to much of it for any decent amount of time. Though I think some of Subotnick's work with tape recorded ghosting is incredible (interestingly enough, much of that possibility has been realized in mass form thanks to the MOTU Volta app which allows CV output through certain audio interfaces--I'd like to try it, as I have a MOTU traveller, but 200...).
That or a Buchla! In my dreams.
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