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  #11  
Old 07-24-2012, 01:21 AM
TwoToneshuzz TwoToneshuzz is offline
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Default The Velocity stack

Velociy Stack

Goal is to extract the Velocity parameter from the Mono Notes and give a central Global control stack for this important function, Seperating the Velocity from the mono note has other advantages as well the main one is the ability to shift accents autonomously through the phrase while the pitches remain stationary, this can add dynamic interest. This is easy to setup using Discreet Sequencing In this technique I have duplicated this Discreet sequencing feature on the non discreet MonoNote.* I achieve this using a Gate to modulate the shift right parameter.

In the Present setup then I use:


GateSeq shift right 6 paramod modules which focus on the 12 velocity note sequencers in the velocity stack.

12 Velocity sequencers routed into 12 parmods modules

Velocity CV Step Out --> Scale and Offset, CV in, Offset 1, CV Out --> paramod CV 1 --> destination module, the same paramod, parameter , paramindex value “2”.

VelocitySeq CV Gate Out --> paramod CV 2 --> destination module, MonoNote, parameter, Velocity.

Now the Velocity is tied to the mono notes in the 4 mono note stacks.

The shift function is setup to be Global for all mono notes it’s implemented as a general variation parameter, for more detailed control of this parameter in relation to a single Velocity sequencer then you would need to setup some individual modulation sources and apply them to one or a subset of the 12 sequencers in the project. Then you would simply mute the output from the main shift GateSeq parameter module for the sequencer(s) in question at the top of the stack. Don’t forget an Lfo could be used to modulate the Shift right and the Shift left alternately if you want to created a rocking effect between two positions of the velocity framework you have setup over for example every other cycle.

Wade

* Much of my early experience and work with Numerology I used Discreet sequencing for achieving offset effects between the three elements Pitch, Gate and Velocity, when the launchpad was implemented and could only be used to edit the MonoNote/PolyNote/Matrix/Drum Sequecers I wanted to use these shifted components techniques on the Mono Note sequencers and this is where I discovered the various ways to modulate not only these three but all parameters relative positions described here. I went into great detail on this in the Tips and Tricks stack the Remote editor.. Though it was more related to my need for a Global Mass editor When using my Monster Delay machine.

Last edited by TwoToneshuzz; 07-24-2012 at 01:54 AM.
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  #12  
Old 07-24-2012, 11:22 PM
TwoToneshuzz TwoToneshuzz is offline
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Default Trigger stack post is Edited

I've edited the Trigger stack post check it out!
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  #13  
Old 07-25-2012, 12:33 AM
jim jim is offline
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Quote:
Originally Posted by TwoToneshuzz View Post
.... perhaps I have a slight touch of autism, which keeps me chipping away at seemingly insurmountable tasks where other more normal minds would long since have packed it in...
No wonder we get along so well...

(more soon, another long day -- got to jam with a friend visitin' from out of town who is not only an excellent drummer, but very good at playing along with crazy bass sequences...)

Cheers,
Jim
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  #14  
Old 07-25-2012, 07:58 AM
TwoToneshuzz TwoToneshuzz is offline
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Originally Posted by jim View Post
No wonder we get along so well...

(more soon, another long day -- got to jam with a friend visitin' from out of town who is not only an excellent drummer, but very good at playing along with crazy bass sequences...)

Cheers,
Jim
I'd guess Numerology as one mans work must have demanded phenominal effort and some very looong days.

excellent drummer, hmm I know that can be dangerous if you feed them the wrong way, there's no stopping them..
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  #15  
Old 07-26-2012, 02:16 PM
TwoToneshuzz TwoToneshuzz is offline
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Default The midi sequencer stack Mono notes x12

Now the next stacks are the midi output modules the mono notes..

1-3, 4-6, 7-9, 10-12.

The mono notes are the main receivers of the inputs from:

The trigger stacks, 1-3, 4-6, 7-9, 10- 12 they recieve inputs through the output/input CV busses 1 through 12, patched into their CV trigger inputs. The mono notes are set to Play mode, CV trigger Gated. I use the stacks top CV input panel on the routing page and just set the bus numbers appropriately for each of the 12 mono notes within the 4 mono note stacks, a very neat solution that keeps things clear which CV input is being used.

The Time stack, the each mono notes Cl division parameter is modulated by it's own dedicated Fader in the time stack.

The Harmony/Scale stack. I need to use 4 CV busses to move the values from the interval sequencers to the three mono notes I therefore insert 2 CV input modules at the top of the stack. I use CV bus 13 for the Root input, this gets patched into all mono notes CV pitch input. I use CV 14, 15, 16 for the three part harmony inputs Soprano, Bass, Tenor, these get patched into the three mono notes, for example CV input 14 --> Seq 1 CV pitch in, Soprano. CV input 15 --> Seq 2 CV pitch in, Bass. CV input 16 --> Seq 3 CV pitch in, Tenor and so on through all twelve sequencers over the 4 mono note stacks.

The Scale and Key parameters on the mono notes are modulated from the Harmony/Scale stack, using remote editor velocity sequencers and paramod modules. easy to setup.. Se Harmony on a Global level really this time thread under tips and tricks..

The mute step parameter is remote controlled from the mute step stacks using 12 dedicated Gate sequencers patched to 12 paramods.

The 12 mono notes velocity parameter is is remote controlled from the Velocity stack with shift function enabled if so desired.

Each mono notes midi output channel is assigned as folllows Seq 1 = ch 1, Seq 2 = ch 2, Seq 3 = ch 2 and so on up to Seq 12 = ch 12. All Sequencers use the same midi bus, midi 1.

This is the first in a group of 3 post describing the Mono notes setup, next post some general thoughts and explanations.

Wade

Last edited by TwoToneshuzz; 07-26-2012 at 11:38 PM.
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  #16  
Old 07-26-2012, 11:54 PM
TwoToneshuzz TwoToneshuzz is offline
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Default Mono note stacks = Grand Central Station

The mono note stacks are the enablers of the whole setup, without these stacks there would be no output, it's the reciever and the transceiver, it broadcasts it's outputs to the sound modules. But more than this the mono notes take their inputs from the Time Harmony trigger, mute, and velocity stacks and personalizes it further.. It's where character is imprinted. How fast, the type of movement by step skip, the range, is there long and short tones, repeated notes, divided notes is there a groove. All of these things are set here.

The start stop steps can be changed on the fly using the Launchpad or modulated using 1 or 2 veloctiy sequencers routed into a paramod, with destination start step or end step.

The midi output can be directed out to dedicated per mono note sequence Sound module. Or using a new unison tool stack I'm devising you can reroute the output of 1 or more sequences out to all sound modules to achieve project wide unisons.

An input web and and output web Grand Central Station, trains from upstate bring fresh human resources, and distribute it out through the City, The sound modules are the buildings---> Pretty autonamous and yet they are all a part of the New York city Cacophony!!

Lots of control in the Mega project anno 2012 but somehow it all ends up feeling natural and randomized. Somehow because of all these control possiblities infuse a pleasant swinging randomness is almost assured. Why because where energy is spent, energy can flow and grow. This is the power of personally developed interfacing as is possible with Numerology as things are understood from the inside out by the user.. Externalizing the Internal micro into the macro.

Wade

Last edited by TwoToneshuzz; 07-27-2012 at 01:20 AM.
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  #17  
Old 07-27-2012, 01:41 AM
TwoToneshuzz TwoToneshuzz is offline
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Default Techniques to refine and develop with individual mono notes.

All this outside control from the main remote control stacks may make it seem unessasary to do much modulating and reworking of the mono notes on an individual basis, this is far from the truth, because often listening to the raw results of the mono notes remotely modulated base output you can become aware certain lacks or possibilities, flashes of brilliance that need development or tweaks to improve the flow. A few ways to strengthen or clarify the output could be:

Hand working the sequences pitches, When things just aren't working out, so going back in and fine tune the structure of mono notes motive can help make it more pliable or play along better with it's modulated parameters.

Giving the note compass a greater range,introducing large skips from high to low, a unbroken scale upwards over 1 or more octaves, introducing broad ranging arpeggio. Even just letting the notes trill around the base center pitch or repeat on the same tone thourghout. Any of these stratigies can open up a broad range of possibilities.

Working in detail with the NoteLength parameter, and the divide parameter to create more life or to make the figuration fit the sounds like a glove.

Drastically changing the speed using the remote control fader on the Time stack, then feeding that output into a Soft synth with built in arpeggiator is another way to get things to break out of a rut. the Blofeld synth, as well as the Filterscape VA, String studio, Ultra Analog, Tassman all have excellent arps that are great to pair with slow moving phrases generated at the mono note.

Any of the above parameters can also be modulated within each mono note stack individually , the shift right technique used in this way on the divide parameter is a good candidate, note length as well. I also have setup modulations for the start step, end step or both at once to excise fragments of the phrase, or a further tweak to this is create a shifting window modulating the Shift right parameter that opens on 4 or 5 tones of the whole phrase and shifts on a step or two every other cycle.

Don't forget to work with the groove parameter on the individual mono notes and in the Clock stack to help make the whole soundscape breath and move more naturally..

At anytime if you want total autonomy for a mono note sequence you:

Turn the Play mode back to Normal
Mute the CV pitch input.
Mute the parameter output on the corresponding mute step stacks paramod and the Scale and Quantize paramod modules.

To add further variation and development don't forget the Generate and Evolve function.

For working with the midi output patch in one or more of the midi processing modules, like midi transform, scale quantize, note filter. These can somtimes be modulated as well.

I've mostly not used these post midi processing tools in this setup but for specific effects they can be invaluable..

Read also up on the many excellent posts and setups by Jue on these types of midi processing..



Wade

Last edited by TwoToneshuzz; 07-27-2012 at 04:50 AM.
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  #18  
Old 07-27-2012, 12:23 PM
Jens Groh Jens Groh is offline
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Quote:
Originally Posted by jim View Post
As a possible work-around for your CPU load issues, consider splitting the heaviest synth or two into a separate project and run 2 copies of Numerology (via Terminal.app).
There is a convenient little program just for that: http://scrap.dasgenie.com/articles/2...t-it-again-mac (difficult-to-see link!).
Hope it helps whomever, 'total maniac' or not.
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  #19  
Old 07-27-2012, 11:52 PM
TwoToneshuzz TwoToneshuzz is offline
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Default

Quote:
Originally Posted by Jens Groh View Post
There is a convenient little program just for that: http://scrap.dasgenie.com/articles/2...t-it-again-mac (difficult-to-see link!).
Hope it helps whomever, 'total maniac' or not.
That's interesting. I'll try this out when I get my system moved over to the 27" imac i5 3.1 Ghz. Two projects opened with the project I'm describing here plus Maschine stand along all synced together using the IAC buss should destribute the load over the available cores..

Thanks for the tip!
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  #20  
Old 07-27-2012, 11:57 PM
TwoToneshuzz TwoToneshuzz is offline
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Default The Sounds stack

The Sounds stacks 1-3,4-6,7-9,10-12

Contain the Twelve slots for the choice of plug ins:

I have:

Applied Acoustic Systems:

String Studio VS 1

Tassman 4 with Electric Toolkit bank by Himilaya

Ultra Analog

Lounge Lizard

Strum Acoustic/Electric

Chromaphone with Chromazone bank by Patch Pool

U-he.com

ACE

Filterscape

Diva

Zebra, next on list. I'm waiting on the version 3 as there is indications that it will have import of user Waveforms which interests me. Also it's the most useful as it is now. This would be my main workhorse.

Vember Audio

Surge

NI

Maschine
With Transistor Punch expansion. I'll use this as my plugs mixed down tracks player in stand alone modus when I have the computer that can run all this together.

Razor

Spark LE

Scanner-Free

Komplete elements.

UVI workstation. Should I get Mach 5? I know kontakt is the norm, but it just seems Mach 5 is easier to work with and it's a new and improved in version 3...Not many use it but having it with a few UVI sound refills could be a good setup...

I feel I just need to get into depth with these sound producers once my CPU can handle the load it will be more fun to work on refining the sound design aspects of my projects.


All of the above synths are rather CPU intensive, and this has been one of the main reasons for using the dedicated Sounds stack. Using presets I can turn on and off synths to conserve resources as needed. Having only three synths perstack reduces the number of presets I need to reach all possible permutations. 1, 2, 1+2, 3, 1+3, 2+3, 1+2+3, all off. In the present project these are remotely called by the trigger stacks, automatic preset callup device. Only synths that are being triggered are on. these are faded in at the start of the trigger using an Envelope routed to the respective synths dedicated Audio output module out on at the start of the last step of their trigger gates.


Sound stack setup.

A run through of the of the Sound module slots midi and audio signal flow:

In the Mono note stack 1-3, Seq 1, ch 1 --> midi output bus 1 --> Sound stack 1-3 , midi input module, midi bus 1 --> midi filter 1, filter channel input set to 1, filter channel output Default --> Sound(Soft Synth) "slot" one midi input, recieve channel "Omni", Sound 1 (Soft synth) audio output --> Audio output module, Audio bus 1 --> Effects Stack 1-3, Audio input module 1, Audio bus 1 --> Effect input,effects output --> Effects stack audio mixer (effects return) input 1 ---> Bus compressor --> group reverb --> effects stack output Main Mix.

All numbering follow each Seq number 1 from channel number 1 and onwards throughout the signal flow for all 12 Sequencers through the four Sounds modules and four Effects module stacks.

Modulation of the various sound modules is done within each synths dedicated internal modulation controls, otherwise I do modulate the effects mix pan and volume output's furthur on down the signal flow.

Modulation for physical modelled is not really a necessity these synths are so responsive to average velocity note number and such they are extraordinarily expressive. Synths like Filterscape VA have ther own well developed internal modulation like step sequencers and morphable frequency eq tupe responce curves, Tassman has internal sequencers. ACE has a tracking generater and many modulation sources and destinations ANY CABLE ANYWHEE, Diva needs real time modulation and has such richly programmed patches already that it's hard to improve on the sound. So in a sense, all the modulation hooks and sources are already pretty well filled out in my selection of Soft Synth plug ins.. I'm also looking forward to getting into Zebra with it's multiple point envelopes. So all of this work is done at the synth, I speculate that to save time I'll avoid having to set up modulation in more than one place. Maschine has it's own well developed modulation recording per sound, group and master bus. Mach 5 is also has extensive internal modulation and scripting so that my take on Sound module parameter modulation at this point.

I use Numerology to generate a sound enviroment comprised of elements that are already richly developed. I make this elements play nice and seamlessly together with one another in a lowkey but effective enviroment setup on the blank canvas that an Numerology project is before you add any modules..

Working with Numerologies own internal sampler and drumkit though is a prime area to use the numerous Lfo,s envelopes and modulation sequencer to modulate their parameters.

Wade

Last edited by TwoToneshuzz; 07-28-2012 at 05:03 AM.
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