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General articles about eurorack and modulars

The Youtube channel Labor Camp has some great videos showing the Monome Teletype in action. Since this makes for a nice addendum to the previous post about coding and modulars, here they are, including the original description text.

UPDATE: Piotr from Labor Camp tells us that all of the Teletype action in the videos has been scripted by him, expect for one, which is a factory script. The scripting language seems to be really straightforward and easy to get into.

Two short captures of the first couple of days with monome teletype module. In sample 1 teletype drives everything, including the PO-12. This involve some self-patching, and the internal teletype clock.
In sample 2 monome meadowphysics drives teletype, which in turns drives the rest of the setup. Sample 2 is basically one of the scenes that came preloaded on teletype, which I patched into my case almost randomly.
Main modules in both samples are teletype, Make Noise Mysteron, drone bed provided by E350 processed through Z-DSP running Halls of Valhalla, and Mutable Instruments Braids.

These are three variations of one scene written in teletype. It’s a more abstract, somewhat generative texture engine, with a single tone pattern. All the tempos and structures are derived from the internal teletype metronome (M).

3a:
Teletype controls Make Noise Mysteron, Erbe-verb, and TE PO-12
3b:
Is only two modules: teletype patched directly into Mutable Instruments Elements. Included is a closeup of the teletype screen crolling through all the scripts.
3c:
Same scene as the previous two clips, except an external clock (gate from white whale) toggles the internal teletype clock on/off on every pulse, and scrambles some variable values resulting in evolving structures. Modules involved are: monome teletype, white whale, Make Noise Sto, Mutable Instruments Elements, and ZDSP running Halls Of Valhalla.

A slightly more expansive arrangement with monome teletype at the center. Teletype is driven by meadowphysics triggers, further breaking up patterns, and controlling pitch variations derived form a single, internal sequence. Additional PO-12 drums are driven by teletype, and processed through CV-controlled Audio Damage Grainshift.

Main modules used:
teletype, meadowphysics, mysteron, braids, elements, quantum rainbow, e350, mmg, grainshift, zdsp, echophon, azimuth II, sto, uVCF
+ PO-12, monome 128 grid

This is an abridged performance of two iconic minimalist compositions by Steve Reich (“Piano Phase” and “Clapping Music”). Each composition consists of two “layers” of shifting patterns. I decided to use these patterns as an exercise in constructing a scene in teletype, where each pattern evolves in it’s own right, while staying in a fixed relationship to the remaining patterns.

In the beginning of the video you will see all the screens from teletype explaining how the scene was constructed. In the TRACKER view you can see the first two patterns on the left are the 12 note sequences of the “Piano Phase”. Even though they are identical, I set up two patterns independently, as they are being read at slightly different speeds. The leftmost pattern is being clocked by external triggers, while the rightmost one is being clocked by internal teletype metronome M, the tempo of which is calculated in script 1. The “Piano Phase” theme are rendered by the two oscillators of the Make Noise DPO. The two patterns on the right are simple 1s and 0s defining the sequences of claps based on Reich’s composition. These are triggering pulses that control white noise bursts, and MI Elements.

Coding the Modular: Teletype Live Action

The Youtube channel Labor Camp has some great videos showing the Monome Teletype in action. Since this makes for a nice addendum to the previous post about coding and modulars, here they are, including the original description text. UPDATE: Piotr from Labor Camp tells us that all of the Teletype action in the videos has been […]

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Coding the Modular

<a href="http://www.horizontalpitch.com/2015/07/coding-the-modular/" title="coding the modular"><img src="http://www.horizontalpitch.com/wp-content/uploads/2015/07/coding-small.jpg" alt="coding the modular" /></a> Usually when you ask a modular user about why they decided to embrace this instrument, you’ll hear something about being [...]

HannesHannes

“This life-like quality makes our approach very different from what’s called the classical electronic music studio, which uses oscillators, filters, equalizers, and other laboratory instruments, […] Luening and Ussachevsky were getting started with that at the same time we were. I felt that that was the wrong direction, because laboratory instruments are made to be very precise and very definite, and people aren’t. Art isn’t.”

— Louis Barron (on Keyboard Magazine February 1986: 54-65)

Big Fish, Little Fish

By now you are bound to have heard all the hype created around Roland reentering the world of modulars with their presentation of a supposedly Eurorack-type line of modules in the upcoming Messe 2015. Regardless if you spontaneously aligned yourself in the yay or the nay crowd, the pressing question that should trouble modular users [...]

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