#21

@randy has a new instrument coming out that is input-driven, which i suspect will be an exceptional companion to live vocal and drum processing.

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#22

glad you linked to it

I was thinking of virta as well

#23

Woah, thanks tehn for opening this thread! (should have done that myself, sorry for that… next time)
This evolved very nice!

My perception is somewhere near that. but I additionally always have the laptop near my modular for recording… So I find it a bit silly to add another keyboard to my table (which is always only temporary for music making btw.)

This is the part I need to be more aware of. And TT can be so many things…

Thanks guys for the great responses!

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#24

perhaps surprisingly, modular with its openend-ness is great for this. similarly to what @analogue01 described i like to create smaller setups with a specific goal in mind and then treat it as an instrument, get to know it, learn to play it (tempted to get isms as it’ll be perfect for this).

same for small set ups, a small mixer and a couple of other devices, especially some unlikely companions, this often leads to integrating things in a way you never thought of before and breaking out of the ways you tend to use them traditionally.

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#25

I’m struck by the way Richard Devine will talk about modular patches in a seasonal time frame. I get the impression he likes to work with a single patch (with patch cables all tidied with velcro in a way that would seem to discourage re-patching) for several months continuously. Makes perfect sense to me.

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#26

Morton Subbotnik supposedly re-patches his Buchla once a year.

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#27

yeah, it’s nice to come up with an idea for a patch and then explore it for some time before taking it apart. i often have the same experience with new patches as i do with new instruments, it takes time to learn how to interact with it before you get something interesting (or, to be more precise, before you give it a chance to teach you how to make it sing).

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#28

Which, of course, reminds me of this quotation, from the articles that would be come Tracey Kidder’s Soul of a New Machine:

Back at Data General, one day during the debugging, [the engineer’s] weariness focused on the logic analyzers and the small catastrophes that come from trying to build a machine that operates in billionths of a second. He went away from the basement of Building 14 that day, and left this note in his cubicle, on top of his computer terminal: “I’m going to a commune in Vermont and will deal with no unit of time shorter than a season.”

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#29

Replying to myself two years later, heh. NewMusicBox just published an article about polychromatic music by the very same Dolores Catherino:

Seems relevant to recent microtonal discussions from @rick_monster, @zebra, @cmcavoy and others

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#30

I’ve always thought of the rotation of the earth as the slowest LFO that I can mentally deal with.

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#31

I’ve been using a Raspberry Pi/mixer setup for several years now. The PD patch running on the Pi is very crude - 4 oscillators/4 noise makers - and I have very limited control over what they do. But, that combined with a simple feedback loop on my mixer = big possibilities. Every time I’ve thought of adding an FX pedal to the feedback loop, I’ve found something new that it can do, so I’ve never needed to do it. I love it.

I think it’s also why I’m struggling to put together a coherent modular, since I’m really not used to the wealth of options out there. To combat it I’m looking at 6u 84hp (absolute max), and primarily DIY kits/Make Noise/Random*Source Serge modules.

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