Studies in Samples 1b
You may ask yourself, where is “Studies in Samples 1a”?
That’s a question. “Studies in Samples 1a” does not exist. However a “Studies in Samples 1”, does exist. Sort of. Samples 1 work has yet to be completed. Technically the audio is completed. But apparently I’ve deemed that it requires a moving visual component that, at the time of this writing, has yet to be completed. It has become an unwieldy, temperamental bastard and difficult to tame. So let us leave it aside for now.
That leaves us with this work, “Studies in Samples 1b”. Samples 1b.
Signal path: Digitone II—>Syntakt—>Digitakt II—>Habit—>Onward—>Mood II—>LVX—>Mercury X.
I was experimenting with some samples that I had created , trying to work beyond a stuck point with Samples 1 and I happened to be recording this improvisation. I didn’t take any notes. I have some informed recollections and a lot of "dunno" about the track.
I know I was pushing for a more constrained atmosphere this go around and was working with more intention. E.G. managing the effects parameters more subtly. Low level controlled chaos rather than mostly uncontrollable chaos. Different dragons.
It may have an occasional kick that I sampled to the SP-404MKII on it. I don’t recall really. It also lacks vocals, so regardless there is minimal SP404 on it. The mood I was going for was better without them and this track wants to tack that direction.
Samples 1b was sequenced using the samples I recorded to the Digitakt II for Samples 1. Samples 1 was an exploration into using and contrasting the DigitaktII against the SP404. Samples 1 also includes an exploration into contrasting tonal variations obtained from directly recording a variety of sounds found in the out of doors into the SP404 using a Shure SM58.
I generally do most of my sampling direct to the SP404. I tend to be faster using that device. Direct input guitar, vocals, virtual instruments, or ‘whatever’ into it and with two actions—>smash “record”—>smash “<empty number slot>”. Ostensibly that is the same with the Digitakt II—>smash little “sample icon”—>smash little “yes”!!
Yeah, it's mostly the size of the buttons. An unexplainable feel thing.
I feel similarly about the Digitakt II's sequencer: Smash "round circle"-->Smash "right facing triangle". then Smash "x where x is a number". Smash "x where x is a number"... etc. etc.
Regardless, my inadvertent exclusion of the DigitaktII from sampling duties in deference to the SP404 was a bit absurd. By overly limiting the DigitaktII it had been relegated to mostly a sequencer of prexistent onboard sounds. Which is great. But it is also only half the box's innate functionality. Doh! A pity I didn't use it earlier as once the Digitakt became DigitaktII and moved up to 16 audio tracks it became a lot more compelling to use it in the manner I often use the SP404. Rather than feeling limited, I can now sample, for example, a few guitar licks to several adjacent tracks and alternatively truncate, sequence and/or mute them situationally. Add in similarly approached virtual instruments and maybe a couple of one word randoms and the palate is in the same direction as what I would use on the SP404. Different but the same.
All that to say I created many samples on the DigitaktII so that I could actively study sampling in a specific context . Used first in “Studies in Sampling 1” and then used subsequently in what we behold in the work before you as “Studies in Sampling 1b.” The two pieces have shared inputs, but generated different results with respect to output.
Though the piece was generated using the DigitaktII as a focal point, it is not used exclusively for this piece. E.G. there are some periodic slightly swelling orchestral textures These also appear on Sample 1. Those were derived from the DigitoneII by using what I believe is a native onboard preset called “Swarmer Tüben”, detuned mangled and then keyed to the sequence heard on the track. There are others. Many of the drums are derived from the Syntakt.
There is a clear use of outboard effects. Restrained in this instance.
The piece is dark, but not as dark as Sample 1. That is likely tied to my mood between the two pieces. The second piece has darkness, but is less pointed relative to Samples 1. The first was unavoidably dark given the way the week was going at that time.
I felt that this work did not require a moving visual artifact. I don’t find everything requires a moving visual artifact to accompany it. Sometimes I seem to conclude that something requires it, but the audio in this piece seems to hold attention acceptably without . Or maybe I'm just fatigued by the idea?
The piece has a bit of aged nostalgia about it in my mind. A tad 50s futuristic, but overlaid with modern day chaos.
Why did I go into such exhaustive detail about all of this?
I was just hyper analyzing how I did or did not use the Habit in this piece and incorrectly assumed over analyzing the track by writing some of this down would yield an answer. It sort of did as it forced me to review the track multiple times (never a good thing imo); but in a lot of ways did not, talking about architecture and etc etc....
But really, do I want to take detailed notes every time I am just experimenting with different this or that? My science based side says "yeah, that is exactly what you should do!" ; while there is this wildly contrasting anarchic side that says "Fuck that shit! What's done is done! We got no time for that!"
I don't get paid for this so that side will probably continue to win for now; but the more 'sciencey' dude will just try to do a better job of paying attention for recollection next time. And so it goes...
