Uploaded May 2025 | Updated September 2026, 44 minutes ago
I put together a case for the first live show that I have done in awhile and wanted to talk through my process a bit before taking the modules back out.
The center of my note sequencing setup is a pair of Tree/ Leaves being driven by a westlicht performer. I tried to avoid my normal workflow of performer - IDUM - drums and instead used my IDUM on various synth voices in the system and a trigger channel to process the clock for one of our Trees. The trees are cross patched through their transpose inputs and then use an ornaments and crimes for quantizing.
Instead of using IDUM for rhythmic variation I aimed to use my launchpad and performer to provide the variations live. Our drums are a SSF ultrakick, mutable plaits in snare mode, upcoming entropic loop grackle for high hats/ metal, and a channel of the sample drum for high hat samples. Everything is mixed with a combination of 3DVCA and our 0HP 0ttenuators.
The main synth voice is a feedback loop between rings and beads with a main "bass" voice created from rings and an ambient/ chord voice from beads. Both then go into the natural gate to help control the rhythms and reduce high frequencies and overall sonic presence with some nice plucky envelopes. I think that this feedback technique is something I haven't seen a lot of folks do and I believe that it shows that even well covered territory like rings into clouds/ beads has a lot of potential for exploring new techniques.
I also did a short sound collage section with some musical loops from the sample drum.
I put together a case for the first live show that I have done in awhile and wanted to talk through my process a bit before taking the modules back out.
The center of my note sequencing setup is a pair of Tree/ Leaves being driven by a westlicht performer. I tried to avoid my normal workflow of performer - IDUM - drums and instead used my IDUM on various synth voices in the system and a trigger channel to process the clock for one of our Trees. The trees are cross patched through their transpose inputs and then use an ornaments and crimes for quantizing.
Instead of using IDUM for rhythmic variation I aimed to use my launchpad and performer to provide the variations live. Our drums are a SSF ultrakick, mutable plaits in snare mode, upcoming entropic loop grackle for high hats/ metal, and a channel of the sample drum for high hat samples. Everything is mixed with a combination of 3DVCA and our 0HP 0ttenuators.
The main synth voice is a feedback loop between rings and beads with a main "bass" voice created from rings and an ambient/ chord voice from beads. Both then go into the natural gate to help control the rhythms and reduce high frequencies and overall sonic presence with some nice plucky envelopes. I think that this feedback technique is something I haven't seen a lot of folks do and I believe that it shows that even well covered territory like rings into clouds/ beads has a lot of potential for exploring new techniques.
I also did a short sound collage section with some musical loops from the sample drum.
