I recorded this arpeggio recently that I created using the Roland MKS-80 and the Bitstream 3X MIDI controller. Every once in a while it’s nice to leave the computer out of the equation and this was one of those times. As I have outlined before, the arpeggiator on the BS3X has a distinct collection of features that allow for an interesting mix of possibilities. For this example I put it into the keyboard mode, disabling the built in melodies in favor of using a keyboard to choose the notes.
Tonight (Friday, January 6, 2012) DKO is performing our first concert of the year. We’ll play two sets at Acadia, 329 Cedar Ave S., Minneapolis, MN 55454. This little gem of a venue has one of the best beer selections in the city. There’s no cover and all ages are welcome. Here’s another segment from our December 16, 2011 performance at the Kitty Cat Klub. This one starts out with some Pro-One arpeggios then moves into Rhodes playing with a solo at 4:43 and then a Pro-One solo at about 9:25.
This piece includes two layers of arpeggiated patterns with arbitrarily different tempos and time signatures generating an awkward interrupting atmosphere.
This is a rough rendering of a short piece of sound that is part of a larger dance piece that is being produced by Annichia Arts. I’ll explain more about the piece at a later date. A shorter, less processed version of the piece was posted here.
I’m currently preparing a performance for my graduate critique seminar on October 4, 2011. As I have been working on the piece, tentatively titled Forgotten Channels, I have been capturing little chunks of interesting sound. Here’s an example of something I decided to preserve from a recent practice session.
Here’s the unprocessed version of the sound I used in the entry Nice Evolving Arpeggio in Seven.
Unprocessed Evolving Arpeggio in Seven
I recently acquired the temporary use of a beautiful Oberheim OB-8 complete with the official Oberheim MIDI modification. My friend Chuck Love is temporarily using one of my electro-mechanical favorites, the Musitronic Wurlitzer, and in exchange he has allowed me to setup his OB-8 in my studio.
The machine is in excellent condition and sounds amazing. I did run into what might be a minor calibration issue. Four of the eight voices are significantly louder than the others. Fortunately I discovered a workaround to solve this problem for recording purposes.
Each voice on the OB-8 can be panned left or right. I panned the four louder voices to the right and the quieter ones to the left, then adjusted the gain on my input levels while watching the oscilloscope until they matched. Finally I used the Utility plugin in Ableton live to reduce the width of the panning so that the voices weren’t jumping hard left and right constantly. This makes the instrument much more consistant and nicer to play.
Here’s an excerpt from a seven minute experiment I did today by sending the MIDI from Ableton’s arpeggiator to the OB-8 while manually adjusting the filter and envelopes during the recording.
Arpeggiated Oberheim OB-8 Demo
