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Old 09-07-2011, 09:59 AM
jonahs jonahs is offline
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Join Date: Jun 2011
Posts: 116
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I wish I had some helpful info to share. I will offer my encouragement and best wishes!

I tried a few experiments, but without much structure so I don't really remember and it's hard to articulate. What I do remember is a pretty poor solution. I'm sharing it on the off chance there is something useful in it.

Anyway, the limited, brute force MIDI delay recorded one sequence into another and modulated the shift pattern forward button. You can expand this to a series of sequencers in series or parallel to get more "taps" on the delay. I used the transpose function of the actual sequencer for a pitch shifted delay.

The fact that you couldn't move the note too many steps forward without it looping around made it a rather dirty solution.

If you start your original note anywhere except the first step(probably more like the middle) you can use the shift pattern backwards button to get reverse delays though.

Thinking about ways to expand on this now, it was somewhat sophomoric to route one sequencer into another. I could have record armed all the sequencers and then shifted each of them a different number of steps.

Using the record one sequence into the next and shift idea though you could play the first sequence backwards, record it into the 2nd and then play it forwards again. Which isn't really a delay, but interesting. And now I'm curious to find out what it sound like to reverse every tap!

I'm not skilled enough in Numerology to know how/if it's possible to do this, but I'm thinking what if you made master sequencers that placed a note on in the middle of your "delay sequencers" and each delay sequencer was something like 128 steps. Then you would have quite a bit of latitude to move the note about. Well, hmm, I guess if you could easily place a note in the middle that is already kind of a delay.

Back to the original "delay". I tried to get it so that it ratcheted the velocity down in the sequencer when I hit stop on record, but now I realize I could have used a note processor. A cleaner, but more complicated way to work it would be to route 1 sequencer to 3 note processors of different velocities(or however many taps you had) to 3 sequencers. Could you setup a master fader to control all your note processors and keep the ratio between them the same?

Hmmm! You could modulate the velocity on the note processor in time with each pass through of your original sequence. You could route these to their own sequencers. Or you could route all of the notes to one sequencer that's length was a multiplication of your original sequence. You would have to do a shifting tap dance though were you move the delayed sequence back each delay tap and then forward that same number of times +1 more.

Anyway, I dunno. I'll have a look at the files later and see if they spark any ideas.

I like that you can think up data processing goals to try to accomplish with Numerology because even if I don't succeed they usually spark good song ideas or I come up with interesting components to use in a song.
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