I’m enjoying the sound of things like this more than I ought of late. I programmed the sound and processed it via the usual suspects.
Nice Evolving Arpeggio in Seven by Ostraka
I’m enjoying the sound of things like this more than I ought of late. I programmed the sound and processed it via the usual suspects.
Nice Evolving Arpeggio in Seven by Ostraka
Ryan Terrell (aka Eskimo Spy) recently wrote this article to share on AudioCookbook.org regarding MIDI delay and sequencing in Ableton Live, and I agree that it is something that will interest many ACB readers. Ryan writes:
I’ve always wanted a MIDI delay and sequencer built into Ableton. Recently, Max for Live programmers have been coming up with some slick patches to do just that. For those of us who haven’t got the cash for Max yet, there’s an alternative.
While tinkering with the “Note Length” MIDI plugin I stumbled upon an interesting find. The “Note Length” plugin has two modes: Note On and Note Off. Note On simply allows the note to pass through changing only the length of the outgoing note. However, “Note Off” waits for the “Note Off” MIDI message (sent from most synthesizers after the key is released) before triggering a *new* note.
I found that in stacking more than one of these plugins end on end I was able to successfully create a MIDI effect rack built on quantized step increments. Each “Note Length” plugin is waiting for a note to finish before triggering their note. By stacking more than one, and setting the plugins to “Sync” mode, you can delay it by quantized increments.
For added versatility there is a Pitch and Velocity plugin at the end of each parallel rack. The velocity plugin is set to “Fixed” mode, so when the velocity macro for each chain are set at 0, the note doesn’t sound at all, effectively silencing that step.
Finally, there’s are global “Random Velocity” and “Gate” length macros. This will give you global control over all the steps’ lengths, and random deviation by degrees from each step’s programmed velocities.
The implementations of this are two-fold. You can create a type of “MIDI Delay” if you remove any pitch variant, and map a macro (with some tinkering) to the velocity of each step, thereby allowing it to “Decay” over time in velocity. You can also use this as a step sequencer, with 4, 8, 16, 24… etc. steps. The rack I used to make these are built on 16 steps, but it’s entirely modular. Also, with the myriad of “Velocity to ____” (fill in the blank) parameters on every synth in Live, this is a massive breakthrough for my own music. Such is the beauty of racks.
E-mail eskimospy.music [at] gmail [dot] com for the prototype racks. This will be featured on the upcoming website www.RacksForLive.com and you should head over there to register for details of the site launch from the founder, Isaac Halvorson.
Ableton – MIDI Delay w/ Velocity or “Feedback” Modulation by Eskimo Spy

Having finally started using the Roland Super Jupiter MKS-80 for the last two Ostracon performances my next goal is to utilize hardware synths for the majority, if not for all, of the instrument sounds during these shows. I have another repair necessary on the MKS-80 to make it performance ready, but other than that I should be in business soon. In preparation I have started weeding out some of the sounds in the MKS-80 internal memory, replacing them with my own programmed patches. Here’s an example of a nice harp-like patch I came up with during my last session. I created the passage by routing MIDI to the MKS-80 from Ableton‘s arpeggiator.
While preparing today for my presentation at the the Eyeo Festival I made this microtrack using the GMS and Ableton Live.
Here’s an early live recording from Ostracon way back in September, 2009 that I thought would be interesting to share. We have come along way since then, but this documentation has a fragile, exploratory charm to it including hefty amounts of buzz and crackle from a bad cord.
The way I produced the recording was by putting my Sony PCM-50 near the drums, and then recording the Live set during the show. Afterward I put the drum track into the Live set and matched it up. The recorder started a little late, so it’s missing the first three minutes of drums, but there’s 34 more minutes with Graham’s spectacular drumming all over it. Enjoy!
Ostracon Live Recording, September 28, 2009 by Ostraka

Here’s an excerpt from the sixth and final track on our upcoming release, Unauthorized Modifications by Ostracon. Don’t miss our live performance celebrating the release at the Honey Lounge in Minneapolis on June 24, 2011. Artists performing with us at the event include Dosh, Smyth, and Ghostband. Rogue Citizen will be doing live painting during the performance.
Here’s an excerpt from the fifth track on our upcoming release, Unauthorized Modifications by Ostracon. We will be celebrating the release with a live performance at the Honey Lounge in Minneapolis on June 24, 2011. Artists performing with us at the event include Dosh, Smyth, and Ghostband. Rogue Citizen will be doing live painting during the performance for added visual stimulus.

This evening I have been working on the user interface for GrainMachine, a Max for Live instrument I developed for personal use in October of 2009. In the process of tonight’s testing I came up with this sound. I started with a sample of water dripping, loaded it into GrainMachine and then chose a very narrow grain at a fairly low frequency. Finally I swept slowly through the position of the sample creating the result heard below.
Water Dripping Sample in GrainMachine

Here’s an excerpt from the fourth track on our upcoming Ostracon album Unauthorized Modifications. The full track was released last September as a give away for the In/Out Festival, but since then it has been remastered.