How do you all use random, chance, and accident?

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#61

A little 2 minute diary using all 3 of the topic headers.

Accident - was discovering a mix of Shapeshifter chorded fed into a frequency shifter that gave up a nice rhythmic beat frequency kind of pulse.

Chance - feeding this pulsing audio into a comparator to derive a slightly unreliable gate pattern made even more so by using it to clock one channel of Stages set with variable amounts of multiplication and using this to trigger Plonk and to clock a Nanorand

Random - using the output of the Nanorand to bend the pitch of the Plonk percussion voice. Overall the effect that emerged was something similar to a bodhran.

Agree with DivKid in that attenuation is always randoms friend. It’s often just a touch of variation in the tiny details that lift a patch into something that has real life to it. The subtleties that you don’t notice are there but you know when they are not there.


#62

I have a Nearness. It’s cool.


#63

This technique reminds me of a technique I read about when 3D modelling: Starting with a clean symmetrical model, push and pull points until it’s distorted, then try to put everything back by hand and you end up with something much more organic. Breaking a preset with the randomiser then fixing it by hand seems like the musical equivalent of this. Definitely going to give that a go myself!


#64

If any of my fellow TT nerds feels up to it, I’d love to see a CHAOS operator featured in a small scene.


#65

In almost all of my patches I use the Wogglebug’s random CV outputs and a randomizer Ardcore sketch to ‘humanize’ the sound somehow. Even very slight random variations to parameters like envelope length, filter cutoff, etc have a significant psychological effect.

I agree with zebra’s take upthread that it is tempting to just leave this stuff in, but ultimately it makes for less satisfying listening. What I end up doing is recording various parts in takes and choosing the ones where the randomness lines up the most neatly. Alternately, if I hear some random interaction or movement that is particularly pleasing, I’ll try to find a way to engineer that deliberately, and often discover something new along the way.

Ultimately, though, I struggle with chance and randomness, because my personality likes to be in control. Having worked with computers my entire life I have the built in feeling that “undo” is right there, or that “perfect” is attainable (which, in the digital sense, it is). This tendency is a bit of a hindrance to creativity; the part of my mind that wants to put things in order fights with the part that can appreciate the aesthetics of asymmetry and disorder. Right now, the former part is more agile and well-trained than the latter, but with practice the balance seems to be shifting.


#66

icymi, always a favorite:

extend this by also scaling A to crawl pattern data for pitches and you’ve got endless fun


#67

Personally, I make really vanilla music with melodies and harmonies and everything is decided before I record. I use randomness just for my own amusement more than anything. For example, I like vibrato to randomly be much faster on certain notes, occasionally. A listener would have to be paying attention very hard to notice. but I have fun and that’s what counts

so mostly it’s my CGS psycho LFO and sample and hold modules for stuff like that