As I spend virtually every spare moment working on the GMS I’m looking forward to slowing down the development of this sequencer so I can start using it effectively, but for now I’m happy to create the odd glitch or space pad here and there. Here’s a glitchy segment of sound created by classic, channel ten drums at high speed.
GMS Drum Glitches
This electrical crackling sound was made with the GMS while the tempo was set quite high and the note duration probability distributions were set to favor two adjacent values. The speed that the notes were played made the frequency of playing the notes more audible than the pitch of the individual sounds themselves. The randomized durations at that speed created a sputtering quality that, to my ear, sounds very similar to high voltage electrical sparks. Interestingly it turns out that the GMS might be useful for sound design as well as a composition and performance tool.
Electrical Sound
To create this silliness I set the GMS to play the drums on the built in Java Sound Synthesizer. I adjusted the tempo and duration probabilities to something ridiculous then captured the output on my PCM-D50. Since this experiment I have made a few more that are even more high speed and scattered. Perhaps I’ll post more examples of this nature. I have rare instances of longer durations inabled in the probability distribution, so as you’re listening, every so often you may think that it’s over (finally!) when suddenly it starts up again with obnoxiousness.
GMS Drum Solo
Here’s another segment of some experimenting I did with Grant Muller’s GOL Sequencer Bank. One suggestion I would make if you are planning on have a look at his application is to try using some example patterns from John Conway’s original work. Also, when you come across new forms that survive well, document them so that you can recreate them for future sequences.
GOL Recording Part II
I’ve already posted a few glitchy sounds created by the GMS in it’s various states of development. Most of them created by some bug, which I love. Serendipity never looses its charm for me. This sound is more deliberate and illustrates how sixty fourth notes sound played on a basic piano sample from twenty beats per minute all the up to nine-hundred and ninety-nine BPM. I’m not sure how accurately the GMS is reproducing these durations at tempos greater than five-hundred beats per minutes, but it sounds pretty wicked anyway.
From 20bpm to 999bpm and Back