Here is a short demonstration video of the split mode as implemented in the original Linnstrument. By using the split mode one can access all 200 pads. With a judicious selection of synthesizer and range one can extend a tuning well beyond the current midi standard of 128 notes. The short demonstration piece uses two non-octave tunings => 5/4 divided into 4 and 5/4 divided into 8 notes respectively.
Archive for the ‘Technique’ Category
The above aeolian harp sample (from 2014-11-07 21:12:51 pm) had an interesting sonority to my ears. I wanted to find out what the chord was so that I could reproduce it. So I put it into Melodyne to analyze the chord. As I listened to the file and looked at the display there seemed to be a bit of a disconnect. So I dissected the sample (Sections labeled A through H by ear – there are two disjunct groups) into individual files. Then I normalized them and ran them through Melodyne once more. The resulting sound files and analysis are below. You will notice that in some cases what was a single tone in the original now breaks into more than one note. In other cases more than one note is heard but Melodyne doesn’t show them as separate – I think in these cases the program analysis is tagging them as part of the harmonics which is shown below the main window of the program. Since an aeolian harp is a special case where the harmonics of this is a special case, interesting though it may be. Most of the dead air was removed from the A through H audio samples.
The labeled file below is in Hz. You can download the audio and graphics here as a zip file.
Full file (click on any graphic to enlarge / download)
standing in the cornfield you watch the corn grow and
the searing hot days pass on to night to day to night to day,
taller and taller, until you are one with all there is…
for you are one of them…
your roots dig soil,
your stalk stretches greedily for every ray of the murdering sun
in the anguish of a midsummer’s thirst…
Aeolian Edit 2 is an experiment with manipulation of an electric aeolian harp sample which I added counterpoint and retuned to 17 edo (equal division of the octave). Since the electric aeolian harp yields only harmonics what has been manipulated are the pitch values that the melodyne detection routine decided were root pitches and *not* harmonics. By retuning to 17 I have recomposed the original content into something other than a pure harmonic relationship. My apologies for the large volume changes – in this case I’d rather have close to a constant loudness but do not have that worked out yet.
Simple Passwords is a proof of concept improvisation. Here I use Fractal Tune Smithy 3 to retune my Linnstrument’s output in real time to play Moog’s iPad app Animoog connected by rtpMIDI in a decidedly microtonal tuning via pitch bends. – Its not perfect as some shifts are heard in held notes,though as with my gr-20 retuning work I feel confident this will be worked out once I find the proper settings. Frankly I find this to be exciting because almost any iPad app can be played in an alternate tuning by this method.
Tuning by X. J. Scott 5th root of 7/6 = (7/6)^(1/5)
32/31~ 16/15~ 11/10~ 9/8~ 7/6 6/5~ 31/25~ 9/7~ 29/22~ 49/36 7/5~ 13/9~ 3/2~ 17/11~ 343/216 18/11~ 22/13~ 7/4~ 9/5~ 2401/1296 21/11~ 65/33~
The Jacob Method refers to a method of playing the Linnstrument with Pianoteq that Jacob Barton discovered when we were together in Winston-Salem NC for the microfest. Essentially the method uses an extreme arpeggio setting on the Linnstrument with its pressure sensitive pads to create a piano voice that can swell. Take a listen…. 360 BPM 32nd note triplets.
I put a GK-3 hex pick up on my 19 edo guitar – what follows are three demonstration pieces that rely on the pitch interpretation of the GP-10 processor. My overall impression that this was successfully accomplished as you can clear hear places where I pushed a decidedly non-12 equal note(s) through the system.
Distorted harmony in C major (intended to be 12 edo harmony which gets “bent”)
fanfare for a helium shrouded exoplanet (unconstrained pitch and percussion) for two ebows and two spring reverb units. Reverb unit MOD P-RMOD-8AB2A1B ($26 – 3 short springs) and Gibbs Manufacturing and Research unit salvaged from a Sears silver tone organ ($0 – 4 spring joined to make 2 long springs) – two tracks with each spring reverberation unit played by two ebows. In the midst of all of the noise incredible resonances with and without beating occur.
Cameron Bobro did something I thought impossible – used this piece as a ground to improvise clarinet over!
These are demonstration pieces of a technique
– not intentional pieces of music…
The title should really be SIGNAL looped analog synthesizer.
The basic idea is to use the Korg mini MS-20 as a sound source and use a delay in the signal path to return the delayed signal to the Korg’s frequency to control voltage converter. This is then sent to another delay / reverb to attempt to smooth some of the sharp changes. Invention 2 is the more musical of the two inventions and relies on sound on sound to fill out the signal. Invention 1 is using a long delay time. The graphic, crude as it is, contains the actual signal path. The motive is to find some other way than a sequencer or LFO to generate a self-performing analog system.
In this presentation I use Jam Origin’s MIDI Guitar to send a microtonally retuned MIDI stream to Kontakt 5’s string ensemble. The guitar was run through the cakewalk amp sim. In the top graphic I show where the microtonal midi machine is loaded (lower right) and in the next graphic I show the interface of the microtonal machine. A key is to enable the same amount of pitch bend in MIDI guitar as well as the VSTi you are using. In this case it was the standard 2 whole tones. In the sound demo you can hear the 12 equal guitar playing single notes to full chords in 12 equal and at the same time the Kontakt strings in 125 cents per step tuning driven by the Jam Origin included audio VSTi. In sonar be sure to enable MIDI guitar’s midi out in order to put it into the list of your VSTi.