Pyramid’s Euclidean Rhythms Meet Novation Circuit

In the spirit of #JAMUARY2017 (thanks to Cuckoo for having the stamina to do it everyday!) I have made a video track using the Squarp Pyramid, Novation Circuit, Moog Sub 37, PreenFM2, Rhodes, Minifooger Delay, and Korg KP3+. I’m not great at making these (hence the shaky video), but they’re fun to do every so often.

euclid

The track starts out with a Rhodes loop that I played into the KP3+ with an LFO sweeping a resonant high pass filter. Next I start to bring in Euclidean patterns on each of the four Circuit drum parts. These are generated through individual tracks on the Pyramid. I have it setup with four Euclidean patterns per track bank for a total of sixteen. This way I can mix and match all sixteen patterns on the Pyramid and even swap them or combine them with patterns on the Circuit.

I also use Pyramid to sequence the bass and synth chords on the Circuit. In addition I have a track for the Sub 37 that I mute while soloing, and a track for the PreenFM2. The Sub 37 is in “local off” mode, so whichever track I have selected on Pyramid determines what instrument plays. I find the keybed and flexibility of the Sub 37 perfect as a controller and sound source. Thanks for listening and check out my new album Isosceles for more like it that’s actually mixed and mastered properly. ;-)

Novation Circuit Randomized Patches

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In my mind, sound design is at its best when it is a process of discovery. At its worst it can be an unfortunate exercise in mimicry. I am fascinated by the process of discovering sound through happy accidents. One of the techniques I have exploited frequently in this regard is synthesizer patch randomization. For example, the Yamaha TX81Z sounds great when randomized, or better yet, “degraded” with shuffled parameter values interpolated based on a time unit or clock division. The PreenFM2 has patch randomization built directly into the instrument!

So, it wasn’t long after picking up a Novation Circuit that I had the urge to use a similar shortcut to mine fantastic and otherworldly sounds from the unit. Full MIDI specification for the Circuit is available so that development of a standalone randomizer is possible, but Isotonik Studios published a free Max for Live editor in partnership with Novation. Max for Live patches are inherently editable so I decided to start there.

Send Random Values

It took me a couple of hours to get into the guts of the editor and setup a drop down menu for randomization. The drop down has choices to either “randomize all” (not quite all parameters), or randomize one of seven sets of grouped parameters like the oscillator section, mod matrix, or LFOs. At his stage I haven’t included the EQ section, voice controls, or macro controls. I probably won’t add the EQ, but the macro controls might offer some interesting possibilities. The image above shows a simple subpatch I made that takes a bang and outputs the random values for the oscillator section. Unfortunately, I can not legally share my mods based on Isotonik’s and Novation’s EULAs. However, you’ll need little more than a basic understanding of Max to do this yourself. Checkout the video and let me know what you think in the comments.

Wednesday Performance at the Triple Rock

This Wednesday I will be playing an improvised solo set of synth music at the Triple Rock Social Club in Minneapolis. I produced this teaser by crossfading a few clips from my rehearsal for the show. The bill, hosted by Hardcore Crayons, also includes Clustercuss and collaborative performances from everyone. Enjoy!

Squarp’s Pyramid Sequencer Firmware v1.0

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Squarp’s Pyramid sequencer just got a new firmware update with the prestigious versioning of 1.0. I’ve had mine now for almost a year and have seen a slew of software updates during that time. The new features in 1.0 include a new LFO MIDI effect. These LFOs can be chained together creating all sorts of possibilities.
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Solo Electroacoustic Piano Teaser

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This teaser for my show tonight at Jazz Central Studios includes a handful of snippets from my rehearsals of the electroacoustic piano pieces I’ll be performing. It’s all acoustic piano with processing that includes delays, live looping, freezing reverb decay, and reverse. The last snippet also includes the use of a felt mute between the hammers and the strings. The tone is much darker, softer, and subdued.

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