REV2 Degrader (R2DG) version 1.2.1 is available today and introduces three entirely new features along with a host of other improvements. Notibly the tool now includes a morphing editor for the gated sequencer. This feature allows users to graphically edit and “degrade” the steps and parameters for all four gated sequencer layers.
Secondly, a new preset morphing feature has been added to the interface. This allows users to morph between two R2DG presets. In combination with GET PATCH FROM REV2 users are able to morph between any two patches on Layer A. Use the drop downs to choose preset A and preset B, then update the number box between in increments of 0.01 to morph between the two presets. For example if you set the value to 0.75 then your REV2 will contain a new patch that is interpolated 75% of the way from preset A to preset B.
The R2DG interface can now be scaled based on screen resolution to maximum, default, or custom dimensions. All of these capabilities are also included in a Windows 10 version of the software which will be available soon. Checkout audiocookbook.org/rev2-patch-degrader for details.
During self-isolation due to COVID-19 my teaching has moved online affording me more time toward individual projects. I had already started a building a morphing editor for the Ashun Sound Machines Hydrasynth, so this is where I have been directing my energy. I expected to release this software closer to mid-summer, but now it’s looking like early to mid-May. In this short video I illustrate one of the ways I use HYDRAMORPH to tease incredible sounds out of this very special instrument. I have also made discounted pre-orders available at 20% off the full release price until the release. From the Purchase page:
HYDRAMORPH™ is a generative sound design tool for the Ashun Sound Machines Hydrasynth polyphonic analog synthesizer. The application is designed to algorithmically morph parameters on the instrument in realtime. Keep playing or record the results as up to 366 (so far) parameters are manipulated! Use HYDRAMORPH to create anything from chaotic, rapidly-changing textures to slow, evolving drones. HYDRAMORPH will help you navigate the expansive sound design possibilities of the Hyrdasynth through realtime morphing of customized parameter sets. Explore endless, unique soundscapes, illustrating how diverse and powerful the Hydrasynth is. This tool will help you uncover new territory hidden within the sonic depths of your instrument.
I’ve made so much music over the years and most of it is sitting on hard drives or gathering dust in neglected corners of the internet. Recently a listener reminded me of an album I made over 6 years ago hidden in one such dusty corner, so I moved it to another dusty corner. The album of electronic music was composed using a dogmatic approach that you can read more about in the liner notes. Bring a duster!
I interpret each set of segments as an arpeggio. The tempo of each arpeggio is decided by the segment length. Shorter segments, drawn more quickly, are paired with faster arpeggios. As the line segments wander up and down I generally interpret the Y axis as pitch, but because the direction of each segment is random the pitches are not exact representations of the paths that are displayed; neither is it the intent to exactly follow the visuals. Instead, musicians interpret the score so that human qualities contrast the computer generated visuals.
The aesthetics of the pieces in this series, both visually and sonically, are secondary to the objectives. First that the scores are composed for the purpose of being read by musician(s). Secondly, the artist(s) have space to improvise within their interpretations. Thirdly (in addition to interpretation) aleatoric elements make the pieces significantly different from one performance to the next. Finally, although the performances vary, distinct characteristics identify each piece.
The objectives of these pieces lead to music that is often atonal and/or atemporal. After about a dozen rehearsals, performances, and recordings with a trio and as a soloist it has become apparent that tonality and timing often do emerge. For example, in Generator the tempi of the arpeggios change with each animated progression from left to right. Arbitrary rests are interspersed with random lengths. This amounts to timing without time signatures. And, since the pitches are left up to the artist the notes performed may or may not be in key. In my performance I chose to use a variety of intervals and scales leading up to the chromatic scale at the conclusion.