Great tutorial! Even if unrelated to the main topic of the video, could you kindly comment on what you use and how you patch your modules to send specific voices to the effects? Thanks a lot!
Thank you! The names of all the modules in the case are in the video description. For effects routing specifically, I'm sending each voice into the Noise Engineering Xer Mixa, which has three stereo outs (two sends and one main, though you can use the sends as additional "regular" stereo outs if you want). Send A is going into the Erica Synths Black Stereo Delay 2, then back into the mixer's return A. Send B is going into the Erica Synths Black Stereo Reverb, then back into the mixer's return B. I have the dry/wet control set to fully wet on each effect, and I'm using Xer Mixa to dial in how much of each individual voice I want sent to the delay and to the reverb. Does that answer your question?
Would you mind briefly explaining the "pentatonic minor sounds good with any other note" thing? Do you mean that the other track needs to be quantized as a pentatonic minor as well? Or does that matter? Doesn't that kind of work when two tracks share the same scale, regardless? I googled it briefly and see that it is used a great deal in improv and jazz but this is the first time I'm hearing about this. (FYI, I have virtually no musical training after elementary school) One thing I do often, is use a sample and hold to sample the primary track every X beats to change the bass line and it seems to be a decent cheat to change the bass to an octave or two down from the main melody but changing at a slower rate.
Good question! Each voice would be quantized to pentatonic. While quantizing to the same full scale would mean they always play notes that are in key, they might play notes that are not part of the same chord, which would sound more dissonant. You might find that you actually like that dissonance, though! I'd encourage you to try both and trust your ears on what sounds good.
What you wrote made me think of an album by Arvo Pärt that I don't know the name of, but where the same track is played over and over, but varies from painfully perfect harmony to painful disharmony by the tweaking a some notes. So when listening to this whole thing with others, one will often disagree on which version, (but somewhere close to the middle), is best.
Nice demo.
excellent video, mate, very much appreciated.
A very good explainer video with lots of example bleeps, thank you (I subscribed).
Very fun patch! Nicely done! Looks like your collection of modules has grown haha.
And I've got more coming in the mail. Send help. 😅
@@Perceptes oh gosh! You got a master plan sorted or still figuring it out?
@@Perceptes I can’t help ya haha. I had the helpful restraint of a pretty strict monthly budget.
I haven't planned out modules for all the remaining space in the left case, just picking things up that interest me as I come across them.
@@Perceptes that’s cool! There’s so many of those for me. I’d probably need dual 7u cases to fit them haha.
Fabulous demo! Desperate to get a Pam’s controlling the Matriarch in rhythm with my mpc!
Excellent video
Great tutorial! Even if unrelated to the main topic of the video, could you kindly comment on what you use and how you patch your modules to send specific voices to the effects? Thanks a lot!
Thank you! The names of all the modules in the case are in the video description. For effects routing specifically, I'm sending each voice into the Noise Engineering Xer Mixa, which has three stereo outs (two sends and one main, though you can use the sends as additional "regular" stereo outs if you want). Send A is going into the Erica Synths Black Stereo Delay 2, then back into the mixer's return A. Send B is going into the Erica Synths Black Stereo Reverb, then back into the mixer's return B. I have the dry/wet control set to fully wet on each effect, and I'm using Xer Mixa to dial in how much of each individual voice I want sent to the delay and to the reverb. Does that answer your question?
@@Perceptes It does. I appreciate it a lot!
Would you mind briefly explaining the "pentatonic minor sounds good with any other note" thing? Do you mean that the other track needs to be quantized as a pentatonic minor as well? Or does that matter? Doesn't that kind of work when two tracks share the same scale, regardless? I googled it briefly and see that it is used a great deal in improv and jazz but this is the first time I'm hearing about this. (FYI, I have virtually no musical training after elementary school)
One thing I do often, is use a sample and hold to sample the primary track every X beats to change the bass line and it seems to be a decent cheat to change the bass to an octave or two down from the main melody but changing at a slower rate.
Good question! Each voice would be quantized to pentatonic. While quantizing to the same full scale would mean they always play notes that are in key, they might play notes that are not part of the same chord, which would sound more dissonant. You might find that you actually like that dissonance, though! I'd encourage you to try both and trust your ears on what sounds good.
What you wrote made me think of an album by Arvo Pärt that I don't know the name of, but where the same track is played over and over, but varies from painfully perfect harmony to painful disharmony by the tweaking a some notes. So when listening to this whole thing with others, one will often disagree on which version, (but somewhere close to the middle), is best.