On 01/31/2010 10:19 AM, frank pirrone wrote: > I don't listen to this kind of exploratory music, and the > varieties/genres mentioned are largely foreign to my experience, but I > did have an ARP Odyssey once that was the source of much amusement and > delight. I'd set up a sample-and-hold and mess with the LFO and > envelope modulation, and then grab my guitar or keyboard, jamming > along...and, yes you'd have enjoyed both the music I made and some of > what I was smoking. > > Anyway, there is definite coolness in this stuff, both pieces. > > It strikes me that what makes this music and not noise is the harmonic > and rhythmic structure, however tenuous and demanding. One of the > things I'm hearing, and I'll address this more to Patrick's piece, is a > sense of shifting patterns. It's like my explorations on hand drums > where I'll start out a rhythm, and as I get lost in it, experience a > drift in its structure where accents and groupings shift, almost in a > tromp l'oeil fashion. Foreground flips with background, lights become > darks, repetition alternates between hands, patterns invert, etc. > > I'm hearing the same thing happening here, and if you either concentrate > or abandon all concentration you will hear micro and macro structures > emerge from this music. Another example, or even metaphor if you will, > is the stroboscopic phenomenon involved in rotating objects where the > velocity and direction of movement appear to change as you watch. > > So, Patrick, a suggestion as to what you might do with Ascension, is > take any of a number of filters, and looking at the patterns suggested > by the waveforms, draw envelope automation lines to emphasize and > enhance them. You can do this with multiple tracks and effects, which > would draw out of this work its inherent structure as well as maximizing > this "tromp l'oreille" experience. > > You could do this with modulation effects such as phasing and flanging, > EQ changes, amplitude and panning, compression, etc. After layering on > several patterns, you might have something of real complexity and > interest. The interplay could be hypnotic. It should also be practical > to do this even with an hour-long piece by simply following the > frequency and amplitude changes in the wave form. > > Of course, if you've got the time and motivation, you could also listen > carefully, and work your editing with intention in sync with the actual > voice of the piece. > > Frank > Thanks Frank. That is a really helpful group of suggestions. I will definitely give it a shot. Cheers. Patrick Shirkey Boost Hardware Ltd _______________________________________________ Linux-audio-user mailing list Linux-audio-user@xxxxxxxxxxxxxxxxxxxx http://lists.linuxaudio.org/listinfo/linux-audio-user
