On January 27, 2012 my trio DKO (Davis, Keston, O’Brien) spent about thirteen hours at the lovely Waterbury Studios in Northeast Minneapolis. We have yet to properly edit or mix any of the six or more hours of material that we performed during the session, but Jon Davis has condensed a few segments recently for sharing. Here’s one of those segments for your listening pleasure.
This is the latest piece from a group of microtracks that feature the Korg Monotribe synchronized in various ways with the Sequential Circuits Pro-One. In this case, to create the swing on the Pro-One, I ran it’s sync track through an eighth note triplet groove setting. In post I took the liberty of adding some delay during the outro and reverb in a couple of places.
For this experiment I recorded the Monotribe sync signal into Ableton Live, then I made two separate tracks of warped sync output – one to drive the Monotribe and one to drive the Pro-One. Not only does this give me the capability to set the tempo in Live, but I can also manipulate the sync signal independently for each device.
Notice the galloping shuffle on the Pro-One bass line? This was created by adding a delay to the sync signal that is going to the Pro-One. Using this technique I can instantly add groove, double-time, or triplet feel to either or both of the instruments. Who knew these instruments, 30 years apart, would pair so well together.
Here’s one more from a group of microtracks that feature the Korg Monotribe synchronized in various ways with the Sequential Circuits Pro-One.
This is the sixth piece from a collection of microtracks that I have produced using the Korg Monotribe synchronized with the Sequencial Circuits Pro-One. This one starts out with out drums and then double bass drum fills come in near the end.