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On 7/22/64 11:59 AM, mark francombe wrote:Though the two have that square wave slicing sound, what I like about Scramble is
Wel, no... Edp doesnt scramble, but audibly, one could say the effect
sounds like a standard quantise subtitute. Of course then you have to
build the chunks yourself,
that you can constantly randomize your loops.
It suddenly occurred to me that if you just set up these two commands in a row, that
you can constantly keep randomizing what your little sub pulse goodies will sound like.
First, take a scramble your track: The use simple command:
1 = Fast Scamble (this takes your original scrambled track out of scramble)
2 = Fast Scramble (rescrambles with a new randomization)............
By then using Bounce you can then listen to what is spit out and constrain it to what ever time signature
you'd like by truncating the bounce when you achieve the sub pulse you want and the original track
turns itself off.
If your timing is really accurate (and there is no better way to improve timing than to practice constraining a
fast or medium scramble to a new time signature) then by applying the exact Q-quantization for using
Q-replace you can then 'customize' your new ostinato rhythm.
A cool thing to do it is to cut silence slices into your loop so you can get more of an 'African' paradigm to
your ostinato loop.
I was over at Bill's last night and he was doing wicked stuff by constantly introducing new material (constrained with
digital delays, feedback reduction, Q-replace) It was really beautiful where he's taking this stuff.
Also, if you think about it, if you Fast Scramble your track, then you have a whole series of wav forms whose volumes
cut abruptly at the boundary of each Scrambled 'slice'. If you are not constraining Scramble to a time signature, then
every time you do a Q- replace you are introducing new slices that are NOT the same size.........and Scrambling them.
This causes a lot of jittery/glitchy goodness in your loop and yet, if you constrain what you are playing to fairly fundamental
harmonic choices, you have a really nice 'bed' that you can play langorously over.
This approximates the Indonesian "Kotekan" paradigm of rhythm creation, where every single sub pulse is played in such a way
that the soloist just soars over the 'percolating' texture of the manipulated loop.
Q-replace some silences and you can come up with some cool "Afro-centric" syncopations
ps by the way, we've got some cool new features planned for adding to the LP-1 that should give it some other
unique qualities (as Mark Hamburg mentioned that he thought Scramble was a defining technique that separates the
LP-1 from other units).
rick walker