1) To move Omri's patch into familiar terrority for me, I added the VCVrack console (mixer) which gives me 8 inputs, sends and master L R out to audio.
The patch has 3 stereo instruments and one mono instrument, I plugged these into console removing (the more flexible) channel strips.
2) I replaced the clock with midi in from the beatstep pro
3) The auto de fe clock divider is defunct so I added a randomly chosen divider. I then repeatedly change the divisions during some of the sets.
4) I added blamsofts grunge tube as the only extra module.
The first thing I did to integrate the new qu16 was to build and external instrument object for each of my synths and drum machines. So if I want to add some layers of one of my trax I can simply pull the outboard group in 10 or drag the individual instruments in 9 and I have all of my outboard gear ready for a live recording session. While this has always been easy on a new project adding the studio to a previous tune was much more involved.
Mixer is settling in now.
Also had some time to update a few trax (first time since leaving the old studio).
The VCVRack intro is working well as is the ambient reaktor outros.
Over the holidays I finished the technical debt phase. This entailed creating a folder for every tune, half tune , idea etc. All cubase and reason files were converted to Ableton. All cracked software was removed. Every tune is numbered and rendered into one of 6 folders or it was deleted altogether.
The opening was rough as I am using my headphones out to stream to the OBS laptop. I ne3ed to get some balanced cables so I can use the headphone jack for... headphones.
Once the fumbling with the ontro was over, I got into a nice groove but was forced to quit early. Lisa joined for the second have of the set . I like the idea that someone can simply arrive and step up with no preparation and no interuption to the set.
If you remember back on day 36, I stated that the mojo had slipped away and I was waiting for it to return.
Having done a sound check that was completely nullified by the new mixer, I couldn't tell if the drum-machines were being sent extra info via midi. (I moved from usb to midi din in the hope of reducing background hum) or maybe some type of compression on the mixer, but every hit was at a different volume or intensity.
The laptop (moved to accomodate the mixer) blocked easy access to the outboard synths.
I want the daily streams to remain disposable. This allows us experiment, to allow our daily fleeting emotions dictate or at least influence the set. The set is not about perfection. It's about what can be done in one take. It's about practising under real circumstances.
So if you want to experience it, you need to be there live too. There needs to be the possibility that you get annoyed by a fuck up I make or by the tedoiousness of a loop I can't or won't get out of. This is what 3' 33 is about for me.
But that doesn't work with an archive.
As a musician and poltical artists that remixes I feel legitimised in co-opting the enemies material for my own use. However I would hate if my music was used to promote racist, zionist or other hate movements.
When does music become propaganda?
I love modular, but I couldn't eat a whole one.
How long can you modulate?
How long is your set?
What are the boundaries between your tunes? Are the fuzzy and meandering or are they sharp and definite. Maybe you stop between tunes and use some form of presets.
Getting some good ideas to flesh out the project.
- vcvrack intro
- the sound designers theme
- the learning focus theme.
- Reaktor Ambient Outro
- I've also added a psuedo fm Radio Group to each of my 5 daily templates. This group includes vintage radio ads, vintage radio dective shows, airchecks, fm and am radio from around the world.
- Battle Vynyl Group I can grab the group from the ableton browser tree. Giving the piece instanyt 90's vynl goodness from 'streeeeeeetch' to beeeatch better have my money'.