Triple-S Variety Shows

In the summer of 1994EV I moved away from my place of birth, BalTimOre, & settled into the Funny Farm in Ontario, Canada, a 19 room farmhouse used as an installation space. I moved there in a 25 foot truck loaded with equipment & archives, etc..

Amongst all my gear were a Yamaha DX27S digital programmable algorithm synthesizer keyboard, 2 Kawai K1m digital wave table synthesizer modules, an Ensoniq Mirage 8-bit sampler/sequencer, & cheap mixers & amplifiers to play them through.

I'd only had this electronic equipment for a short while & had played with it but never spent much time exploring its technical possibilities. Living at the Funny Farm, which was fairly isolated 100 miles NW of Toronto, with almost no money, I had plenty of time to explore the electronic possibilities & (d) compose. The "Triple-S Variety Shows" grew out of this.

My most recent ambitious sound project had been the "Official" one, cofounded with instrument inventor Neil Feather. That had been fantastic but had basically fallen apart when Neil & 2 others decided to drop out. The Triple-S Variety Shows were an attempt to do something similarly large-scale that didn't rely on the cooperation of other people. The "Triple-S" referred to synthesizers, sampler, sequencer.

Over the next 3 years, the 1st 14 months of which were spent at the Funny Farm, I studied the possibilities of the machines & (d) composed pieces that explored these possibilities. I created sounds using the DX27S, the wave-table synths, & the sampler & then (d) composed 124 sequences meant to be used in live electronic performance intermingled with related improvisations.

While there is an enormous amount of documentation surrounding this project most of it isn't available online. For the moment, I'll provide my notes regarding the sequences below & provide links to the few recordings that are online.

- notes from tENTATIVELY, a cONVENIENCE - October 18, 2015EV


When I wrote this originally (probably sometime in 1997), I incorrectly identified middle C as C3 instead of C4 & all other notes respectively incorrectly. When I was looking at it again in 2007 to use excerpts from it in my notes to the app. 61 hr edit of my "Concrete Mixing", I decided to correct that problem.

[October 18, 2015 note: This is confusing. I currently use "C4" to denote middle C but that's the Yamaha numbering. The main keyboard controller I use is a Yamaha. HOWEVER, "There are TWO conventions for numbering keys (notes) in MIDI. The most common is the one [..] where MIDDLE C (note #60; $3C) is C3 (C in the 3rd octave). However, another convention was adopted by Yamaha Corp. for their synthesizer products which parallels the Octave Designation System used in Music Education formulated by the Acoustical Society of America. In that convention, Middle C is designated "C4"." - I actually prefer the "C4" designation b/c middle C is the 4th C on a standard 88 key piano keyboard.]

Unfortunately, changing all note names 1 number up became much more of a confused nightmare than I'd anticipated - partially because of my inital disorganized attempt when I wasn't thinking about how if I changed all D2s to D3s (eg) then the D3s wd consist of ones that were corrected as well as the ones that weren't corrected & that I'd have to sort thru those & figure out wch were wch. To make matters worse, when I copied THIS article for use in the Concrete Mixing one there seems to've been some sort of program glitch where sporadic parts WEREN'T copied even though I'd hit "select all / copy". I've worked thru this article & tried to correct all pitch identifications but it's all so confused that a very hypothetical future (m)usic student might find pitch misidentifications galore. So be it. I'm not likely to spend any further time on that aspect of this. Despite all these problems, this is probably still mostly (or entirely) acccurate.

This document is being assembled because I realize that I'm likely to forget what many of the special design features & intentions were behind these sequences as I get further away in time from their creation & as I play them less. In fact, I've probably already forgotten many of them. Contemporaneously w/ the writing of this text, I'm tape recording the playing of these sequences - 1st in "pure" form &, 2nd, as an example of how they were intended to be played "in performance". In some cases, more or less than 2 playings may be called for to be representative. Most of these sequences are meant to be looped - wch is not how they'll be presented on the recordings.

For note identification purposes, C2 is the lowest C on my DX27S keyboard. Therefore, C4 = middle C, the C 1 octave below C2 is C1, the C 2 octaves below C2 is C0, etc.. From C to B is an octave - therefore, the B to the left of C is in a lower octave: ie: C2 is adjacent to B1.

Comparisons of instrument tuning differences reflect the state of tunings as of July 20, '96 & may change thru Master Tune adjustments etc in the future. These possible changes may be made as an outgrowth of studies such as those explained in the 1st entry below.


"Sequences #1"

{1.} 1. "Clarinet" "Improv" - 1:54 @ 48

According to my "Instrument Ranges" chart, the Bb Clarinet's range is from D3 to F6 - 3 octaves + a minor 3rd. In conventional notation this is written as a major 2nd higher - from E3 to G6. When I control the Mirage Clarinet sample from my DX27S, the key range is from D3 to C6 - wch produces the Clarinet range of C#3 to B5 - 2 octaves + a minor 7th: 5 half steps short of the actual range. To further confuse things, the transposition between the note played on the keyboard w/ the Upright Piano (Uprt piano) setting (Normal Mode, Group 1, 02) I typically use as a reference point & the actual sound produced was, @ the time of this recording, an inverted minor 9th (or an octave + a minor 2nd) rather than a major 2nd. An inverted major 9th might've made more sense - as an octave + a major 2nd.. The reason for this discrepancy, as I later realized, was that the "Master Tune" function on the DX27 had been accidentally set so that all pitches were a "semi-tone" higher! (I soon corrected this) If I were to use the Ivory Ebony (IvoryEbony) setting on the DX27S (Normal Mode, Group 1, 01) as my reference point instead of the Uprt piano the difference would only be a minor 2nd because IvoryEbony's range is an octave lower than Uprt piano's! Oi Veh!! See the Pitch Specific Drelso notes for further comments re DX27S master tune adjustment.

My (rehearsed) "improvisation" that produced this sequence was played between the actual range of C#3 & E5 under the misunderstanding that I was actually playing in the range of the keyboard's D4 & F6 & therefore simply eliminating the bottom octave of the real clarinet's range. If this sequence is used to drive another sound in sync w/ the Clarinet sample then what harmony is produced depends on the other sounds used. Eg: the DX27S Claranette setting (Normal Mode, Group 3, 13) is a minor 2nd lower than the Clarinet sample.

When I originally played this sequence, I usually played a "duet" w/ it using a DX27S piano sound. Sometimes the sequence would be played for just a few notes & then restarted in various ways - to create a new beginning. Sometimes the piano sound would be partly driven by the sequence & partly autonomous, etc.. Since I remembered the original melody fairly well at the beginning, reference to it in the piano part was more common. This would no longer be much the case.

{2.} 2. 16 Percussion Samples "Improv" - 3:09 @ 48

These samples were the 1st that I made splitting the Mirage up into its maximum of 16 divisions. I used all "percussion" from my Erector Set. The sounds used (listed from lowest to highest on the keyboard) are: Thunder Sheet, Ratchet, Slap-Stick, Groaning Stick, Rattle, Crow Call, Squeaker, Screamer; Witch, Whistle, Chime Tree, Bulb Horn, Cow Bell, Cymbal, Wood Block, Lunch Bell. Given that this is meant to be mainly played w/out any other simultaneous activity, there is only the straight recording of it on the tape that accompanies this.

{3.} 3. 16 Sound Effects from Tape 4 "Improv" - 3:38 @ 48

Tape 4 is the 4th tape made especially for the Terrence Dougherty rack of electronics. It's labelled "Concrete Mixing Usical Material Using my Tapes & Records" & represents my favorite Usical Material from the time it was assembled (in '91?). The sounds chosen, as usual listed here from keyboard left to right, are: "Reintegrated Experiments in Disintegrating Language" excerpt, "Neoist Funeral March" excerpt, Robin, Water, Touch-Tones, Siren, Wildebeeste, "Queer Tete #1" (for 4 guitar tracks) excerpt; Hyenas, Brazilian Bird, Equalized Feedback, Sampled Heart Record, Horn, Water Thrush, "BBC Transitions & Cues" excerpt, Karate Fight. Once again, this is just presented straight - w/out variations.

{4.} 4. C Major Chord - :30 @ 48

Track 4 here:

Taking advantage of the overdubbing capacity of the sequencer, I play only the notes of the most familiar "consonant" equal tempered tuning chord in a way that gives this simple presentation the virtuosity & sound of a "Classical" piece. On the disc I describe this as ""Random" "Perky" Arpeggiation". I recorded the sequence at the mid-tempo default value of 48 & at the slower speeds of 24 & 36 so that when it's played back at 48 parts of it are quicker than the original playing. Intended for Piano sample.

{5.} 5. Blues in C - :36 @ 48

Track 5 here:

This is very similar in technical approach to the preceding except that the "blue notes" are added to the C major chord: ie: the minor 3rd & the dominant 7th. Rather than 3 layers of sequence recording there are 6: 1 @ 48, 2 @ 40, 3 @ 42. Also intended for Piano sample.

{6.} 6. 5 Layers of Downwardly Cascading Chromatic Runs - :12 @ 48

Track 6 here:

The title is sufficiently descriptive. This is another 1 intended for Piano sample. For the tape I present a variation driving the Piano sample & my AUTOBEND K1m sound to further extend the cascading.

{7.} 7. St(ring)Loop Funk Driver - 2:44 @ 48

My StLoopFunk sound was 1 of the 1st I created using the Kawai K1m wave-table module. This sound exploits the K1m's ability to have fairly complex "rhythm" tracks programmed in such a way that they can be played as a single "note" (ie: a single "key-down"). I usually "solo" "overtop" this w/ the DX27S Trombone sound (Shift Mode, Group 3, 22). In the taped variation I (attempt) to play a realistic Tenor Trombone range of E2 to Bb4.

{8.} 8. WhoiseFunk Driver - 4:02 @ 48

This is similar to the last sequence except that tha driven sound has a partial base in White Noise rather than in a String sound. I usually "solo" w/ the Dx27S Feed Lead sound (Normal Mode, Group 3, 09).


"Sequences #2"

{9.} 1. Bernard Hermannesque Harp Drugged/Dream - :03 @ 48

This very short sequence is, of course, meant to be looped indefinitely. It's, as the title states, for Harp sample. It's a very specific melodic/harmonic pattern based on what might be called a diminished 3rd chord. Specifically, the left hand plays A4, F#4, D#4, C4, D#4, F#4, A4, F#4, D#4, B3, D#4, F#4 in even incremental sync w/ the right hand playing C5, D#5, F#5, A5, F#5, D#5, C5, D#5, F#5, A#5, F#5, D#5.

The ways in wch this is meant to be played along w/ are complex. Usually, initially, the keyboard is played to control the Mirage & the same pattern is played but is allowed to get in & out of phase. Then the keyboard controlling shifts the pattern a half-step higher. This is followed by a playing of the original notes as an ascending, then descending, figure at a faster tempo. Then the keyboard is used to control the K1m's Suspense ! sound (Single iB-5) - playing a descending sequence of minor 3rds {C, A, F#, D# (etc..)} w/ the sustain pedal on to allow for an overlap of the Suspense ! envelopes. The last 4 notes of this descent trigger Harp "glissandi". The K1m is no longer played & my sound made on the DX27S' entitled Lost Claws is played in monophonic portamento.

{10.} 2. Ersatz Indian - Tabla/Bayan - 1:00 @ 48

This is, as the title says, a simulation of Indian music. It's for Tabla & Bayan Drums & Sitar & Tamboura samples. According to the disc notes, the Tamboura drone is on F (F3 to be quasi-exact). It's meant to be played w/ a Sitar sample "solo" in what I call "F Major Melodic Raga" - meaning ascending: F, G, A, Bb, C, D, E, F; & descending: F, Eb, Db, C, Bb, A, G, F. Subtle pitch-bending is used to enhance the simulation. For the tape version, the sequence is looped for a fuller "solo" time.

{11.} 3. "Sentimental" Q Call & R Driver - :47 @ 48

The Q Call & R sound (Question, Call & Response) was the 1st K1m "MULTI" sound that I programmed, the 1st that took advantage of the possibilities for postponed attack on some of the elements of the sound, & the 1st to have different possibilities triggered by different key ranges. At its simplest, when the key's depressed, a Piano sound is 1st, followed by a Pan Flute, followed by Bowed Strg (String), followed by "Brum Loops" (a percussion loop). ____

The Piano sound fades out in the normal manner but the Pan Flute, Bowed String, & Brum Loops are sustained. The Pan Flute is a half step higher than the Piano & The String is a fifth lower than the Flute &, therefore, a tritone lower than the Piano. It's also stereo.

This sequence takes advantage of the entrance delays by carefully controlled use of key-down times & placement so that sometimes only the Piano sound is heard & so that the Brum Loops don't enter until it's time for a tempo change. This reminds me of the "sentimental" music of Van Dyke Parks.

{12.} 4. Robot March Driver - 6:27 @ 48

Some Sci-Fi Drama here w/ a K1m sound that I programmed similar to the Funk sounds previously mentioned except that the key release time (ie: the amount of time it takes for a sound to fade out after the key is released) is very long. As the sound fades, different parts of it fade at different rates causing its form to change - especially noticeable rhythmically. While the key-down part of this sequence may only be about 1:50, the release time extenstion of this is around another 4:37! Ordinarily, the full release time isn't used unless it's as an ending for more than just this sequence. As w/ the WhoiseFunk Driver this is meant to be "soloed" "over" w/ the DX27S' Feed Lead (Normal Mode, Group 3, 09). This is made even more exciting by using the MultiVerb's Dry Sweep Fast Pan (091).

{13.} 5. Perky Effected Piano Sample + Piano Driver - :50 @ 48

Track 7 here:

I created 4 related samples in this 4-way split. The DX27S Uprt Piano sound (Normal Mode, Group 1, 02) was fed into the Mirage thru the Multi-Verb w/ a different effect on each sample. The results are pretty unspectacular. The lowest sample is effected by the Barber Pole Flan[ge] (052) & the highest by the Space Shift (053) - 2 of the more obvious effects.

For the sequence I play a very simple repetition in Eb Natural Minor of descending F, F, Eb, Db, B (ascending to) Gb; (descending again) F, F, Eb, Db, B. Because these samples were made when sampling was still new to me, they had loud clicks on their beginnings. Therefore, this sequence was also meant to drive a K1m Piano sound simultaneously to mask the sample clicks. This is no longer necessary because I've since removed the clicks but in the tape version here I still also drive the K1m Digi Piano sound (Single IA-3).

This sequence has a sustain at the end of each playing of the theme wch allows the effect(s) to be more clearly heard & allows for a live playing of the theme as a response to the sequenced playing. The idea is that each time the theme is played live the sound played should change. In this variation for the tape the sequence is looped to allow more time.

{14.} 6. Your Typical Eerie Child Scene - :30 @ 48

The sample used for this is a 4-way split of the DX27S SoloViolin sound (Normal Mode, Group 2, 14) fed into the Mirage w/ different pitch-bending each time. Because of the same poor sampling mentioned in the last entry (now corrected to the desired degree) I always used another sound driven simulatneously to mask the clicking attack. The sound I most preferred was the K1m Glocken[spiel] (Single IB-4). This practice has persisted. The melody played is, again, in Eb Natural Minor because the scale is all black keys except for the tritone wch is F & B. The F & B are alternated evenly while any of the black keys can be played.

For the 2nd taped playing of this, samples of Claudia Strelocke being tickled have been substituted for the Pitch-Bent SoloViolin. The Multi-Verb Stereo EchoRec effect has been used. For the 3rd taped playing, Claudia & the Violin are both used & additional playing comes from the DX27S' Hamarimba (Normal Mode, Group 4, 02) & the loop is allowed to play longer.

{15.} 7. "String Trio" Driver - 1:39 @ 48

I made a 16-way split of samples of different String sound trios from the DX27S & the 2 K1ms. This was a substantial amount of work but the result is disappointingly monotonous. The sequence simply plays them all building to a climax.

{16.} 8. Buzz Words Sequence - :26 @ 48

The buzz words are: Sound, Thinking, Booed, Usic; Concrete, Mixing, Volunteers, Collective. Sound Thinking, Booed Usic, Concrete Mixing, & Volunteers Collective being key concepts in my audio practice. Because of the, now corrected, same bad sampling as described in the previous 2 entries, a K1m sound was often used to mask the intitial click. The K1m sound usually used is E DRUM (MULTI IA-8). It's still used for the tape recording. This is mostly meant to be played along w/ on the DX27S by using internal function techniques such as live Bank Edit & Key Shift manipulation. As is often the case, the loop is allowed to play in the 2nd variation.


"1/2 KB Only Sequences"

{17.} 1. Lower 1 Guitar Sample Improv - Fingered - 1:40 @ 48

This & the next 5 sequences are for the 6 Guitar samples that I recorded of my own playing. Sampling my Guitar playing is perfect for me because, despite my long history of diddling w/ the instrument, I can only sustain interesting playing for about 3 seconds. As such, I can play very complex & structurally consistent pieces all based on :03 worth of material. Each of the sequences on this disc is for a sample in 1 half of the Mirage only so that the other half can have another sample manipulated live independent of sequencing. This possibility isn't demonstrated in the Guitar recordings because I like them so much by themselves.

{18.} 2. Upper 1 Guitar - Thrashing Rhythm - :52 @ 48

Chord strumming used in the closest I'm likely to get to Thrashing.

{19.} 3. Lower 2 Guitar - Sysyphus - 2:52 @ 48

So-called because of its repetitive pitch climbing.

{20.} 4. Upper 2 Guitar - Ponderous - 1:37 @ 48

Pitch-Bending w/ a "Whammy-Bar".

{21.} 5. Lower 3 Guitar - Scraping Frets - 1:13 @ 48

Scraping the pick down the neck from high to low notes & clicking along the frets.

{22.} 6. Upper 3 Guitar - Hammering/Sliding Warp - :16 @ 48

Guitar played percussively.

{23.} 7. Lower 2 "Official" - Very Funky Short Loop - :10 @ 48

This is my "Rock'N'Roll" sequence & it must be looped. It drives a bass line & drum set & it's meant to be "soloed" over w/ a Solo Rock Guitar ample mixed w/ the DX27S' Feed Lead (Normal Mode, Group 3, 09) key shifted 2 octaves lower & w/ modulation added.

{24.} 8. Upper 1 "Official" - "Sickly" Flumphing - 1:37 @ 48

By "Official" (see also the last entry) I mean the samples that I made specially for use in the performing of "Official" CAMUs (Cue Activated Modular Units). In this case, an 8-way split (listed from lowest to highest) is used: Bassoon, Bowed String, Steel Drum, FM Pulse; Blown Into Bottle, Plucked String, Synth Drum, Oboe. As to what Flumphing is? Here it's sparse notes & abrupt thuds. This is intended to be background to anything but is most often used for accompaniment to K1m sounds I've programmed.


""Official" #1"

All of these CAMUs are explained in detail elsewhere in the booklet entitled MORE INFORMATION than most people are willing to read that accompanies the "Official" Wafer Face Record.

{25.} 1. Atavistic Electronics Drone + Whole Tone Scale Playing - :51 @ 48

Using the same samples mentioned in the last entry, this is a performance of the "Atavistics Electronics" CAMU: a drone on F w/ the whole tone scale that includes F being played. This is meant to have less pitch specific electronics along w/ it - in the case of the tape that accompanies this, this includes sounds produced on both my K1ms & my DX27S.

{26.} 2. Debacle Pulse - :01 @ 48

1 note meant to be looped - included here for completeness.

{27.} 3. Debacle Pulse + Simulated Players - :50 @ 48

The "Debacle" being a CAMU by Neil Feather in wch a pulse is provided that the players use to base a repeating pattern on created independently, but not necessarily irrespectively, of each other.

{28.} 4. 78 - :20 @ 48

A diminished puceno - ie: a pattern of 78 beats that starts w/ the 12 beat pattern of the Bulgarian puceno (1,2,3,1,2,1,2,1,2,3,1,2) & continues it w/ the last beat of each preceding sequence dropped out until only the intitial "1" remains. This drives 4 drum samples, synth bass, & my "ponderous" guitar sample.

{29.} 5. Shimmy, Shimmy - :17 @ 48

A child's game in wch a simple phrase gets repeated in round-like fashion by the players.

{30.} 6. Alternating - 2:20 + :11 + :13 @ 48

This CAMU involves the playing of specified multi-beat duration free-form playing alternating w/ pauses. The initial cue is a drum roll. The "free-form" sections can be the playing of other CAMUs - in this case the "Oom-Pah-Pah". The 2:20 time listed above includes the 80 beat silence at its end. The :11 that follows is something to indicate that the final silence/pause is over. This is not part of the CAMU. In this case, it's the "ponderous" repeated 5 times. The samples used are the same as for the "78".

{31.} 7. Wreck - :30 @ 48

This CAMU is a simulated car wreck (sortof) complete w/ a siren at the end. It drives the 3rd set of "Official" samples (not mentioned so far: Brass Fall-Off; FM Pulse, Brazilian Bird, EQed Feedback, Sampled Heart Record, Horn, Water Thrush, Siren, Karate Fight.

{32.} 8. 2 Note Atomizing Split - 1:14 @ 48

A tour-de-force of the difficulty of applying the 333 note sequence limit.


""Official" "Solo" Sequences #2"

{33.} 1. Pitch Specific Drelso - 13:15 @ 48

The "Pitch Specific Drelso w/ Blend" is a CAMU in wch the players are expected to solo, ending on 1 note that the next player is expected to begin their solo on. Wch note the player begins on determines wch set of specific pitches they can play, etc.. This sequenced version alternates between simulated players & :20 spaces for a live player to fit theirself into. Given that the nature of sequencing predetermines the pitch sets in a way contrary to the original score, this isn't a strict rendition. It does, however, make a solo playing possible.

For the recording, I do not present the pure sequence 1st. Instead I play only 1 version of the interactive since this only "makes sense" in that way. For each live portion, I change the sound I'm playing as a simulation of multiple players. Strictly speaking, this is the Pre-Fab[ricated] Pitch Specific Drelso w/ Blend. For this playing, the master tune function (#1) of the DX27S has been corrected 1 semi-tone lower to make the pitches correspond to those of the Mirage. The playing of it contains a couple of mistakes but since I don't actually like this piece very much & because it's so tedious to play I didn't bother to rerecord it.

34.} 2. Countdown - 2 X 4:20 @ 48 (40BPM)

This CAMU involves the playing of the 1st beat of a measure followed by 1 drifting 2nd beat in each successive measure until all the permutations on the drift are played thru twice. In this version, there are 18 beats per measure. Therefore, the played beats are: 1,2; 1,3; 1,4; 1,5; 1,6; 1,7; 1,8; 1,9; 1,10; 1,11; 1,12; 1,13; 1,14; 1,15; 1,16; 1,17, 1,18 & then this is repeated. The intitial seqence takes 4:20 to play & then must be repeated for the full CAMU to be played.

{35.} 3. Work It Short - :31 @ 48

This rhythmic CAMU by Neil Feather uses the Social Security #s of the players as their scores. The "Work It Short" variation consists of staccato notes played when at the beginning of each of their numbers. The version here uses the social security numbers of 8 U.M.B.C. students.

{36.} 4. Off Beat Off - :32 @ 48

Another Neil Feather CAMU. The intitiating player plays a pulse, the player to their left plays triplets off that pulse, the next player to the left plays a note simultaneously for every note of the triplets but accents every 4th beat, the next player plays a pulse on that 4th beat & the cyle starts over again.

{37.} 5. 1 Note per Breath - Ordinary to Shortening - 3:00 @ 48

A background CAMU for a soloist in wch wind sounds are held in various ways by all the players but the soloist. For the taped 2nd version, I "solo" using the DX27S & the K1ms.

{38.} 6. Dispersal - 3:57 @ 48

A John Berndt CAMU in wch the spaces between beats become progressively larger by 1 beat per measure. Players are to play "free-form" whenever they feel like it between accents. Some of the "free-form" fills are included in the sequence. I simulate additional players in the 2nd recording for this tape. The time listed above includes a 25 beat pause at the end wch is not included in the recordings. In various attempts to play this my Mirage shut off due to its apparent incapacity to deal w/ such complex information.

{39.} 7. Worm Charming Usic - :02 @ 48

This sequence is only the short rhythm loop. The theme & variations are played live. For the record, the rhythm is presented 1st & then presented looped w/ the melodic material played on the DX27S & the K1ms. The simulated horn section consists of the K1m's Flute Lead (Single IB-8) & Oboe (Single IC-2) & the DX's Mono Sax (Normal Mode, Group 3, 16).

{40.} 8. Atomizing Split - :32 @ 48

Another complex sequence to reduce to the mere 333 notes that my sequencer allows. This simulates 5 players.


"Miscellaneous Sequences #3"

{41.} 1. 16 Poly Drama Driver - 1:00 @ 48

"16 Poly" is the name of the K1m sound that I programmed that this sequence drives. Most of the synthesizer/sampler sounds are limited to 8 note polyphony - meaning that only 8 notes can be played at a time. The K1m allows for simpler sounds to have 16 note polyphony. This sound was programmed for that purpose & the sequence takes advantage of it.

{42.} 2. Fixed 16s "Microtonal" Ritual" - :47 @ 48

Track 1 here:

"FIXED 16s" is another K1m sound I programmed. It's divided into overlapping parts. Each part has a "purist" section in wch a single tone exists & an "overlap" section in wch it's combined w/ its neighbor. Each of the "purist" sounds is triggered by 4 keys on my 5 "octave" keyboard (w/ the exception of the highest wch is triggered by 7 keys) & each of the overlaps is triggered by either 3 or 4 keys (w/ the exception of the "high-hat"). Each of the "purist" sections consists of only 1 fixed pitch - w/ each adjacent pitch being 1 16th tone apart. As such, the entire keyboard activated range is only 1 "semi-tone". Each part has a different tone simulating an acoustic instrument:

C2-D#2: Gong

E2-G2: Gong + Japanese String

G#2-B2: Japanese String

C3-D3: Japanese String + Organ

D#3-F#3: Organ

G3-A#3: Organ + Snare Drum

B3-D4: Snare Drum

D#4-F4: Snare Drum + Brass

F#4: High-Hat + Brass

G4-A#4: Brass

B4-D5: Brass + ContraBass

D#5-F#5: ContraBass

G5-A5: ContraBass + Percussive 1

A#5-C#6: Percussive 1

D6-F6: Percussive 1 + Percussive 2

F#6-C7: Percussive 2

1 of the interesting things about this K1m multi-sound is that fast fingering yields something closer to a roll/tremolo than to a multi-pitch sequence. Of course, this is typical of many split KB percussion sound groups but 1 of the things fairly unique about this is the overlap sections. If I were to play, eg, E6 + D6 + C6 + B5 + A5 in quick succession it wd sound like an astonishly tight trio in wch Percussion 2 & 1 played the 1st 2 notes of a short roll in unison w/ Percussion 1 continuing w/ the next 2 notes solo & ContraBass coming in in unison on the last note. Glassandi, of course, are an extension of this.

I've called this sequence a "ritual" because its narrow pitch range & halting & stilted pace rhythms seem like the correlative to the formalized movements of a processional to me. Only the ContraBass sound is manipulated w/ pitch-shifting to push it out of the "semi-tone" range.

{43.} 3. 5 X 10th Tones - :59 @ 48

Track 2 here:

I programmed this K1m sound so that the it wd consist of 1 "octave" of 10th tones - ie: a 60 tone per "octave" division. However, due to the K1m's technical limitations, this was accomplished by having each group of 12 notes (ie: each "octave" of the conventional keyboard configuration) be the conventional tempered tuning "semi-tone" apart w/ each group being only a 10th tone apart. As such, to play the notes in ascending sequence, the player wd have to play: C2, C3, C4, C5, C6, C#2, C#3, C#4, C#5, C#6, D2, D3, etc.. - ending on C7. This sequence simply takes advantage of multi-tracking to overcome the difficulties of the above.

{44.} 4. Syncopated Latin 16 tENTATIVELY's Mouth Sounds - 1:34 @ 48

I made 16 samples of various sounds made w/ my mouth: buzzing, warbling, urping, whistling, ahhing, ohhing, clucking, kissing, exhaling, owing, smacking, rasping, belching, nasaling, slurping, vyooming (as I have them described on their disc label). As w/ many sequences, I improvised w/ these sounds while they were still fresh to me & made something out of whatever they "suggested" to me. In this case, it sounded somewhat like a Spike Jones or sound poet's take-off of a syncopated latin rhythm.

{45.} 5. Borderline Idiocy for 8 tENTATIVELY's Mouth Sounds - :40 @ 48

The 8 samples are: yawning, wetting (?), mmmming, ohahahohing, bleyuking, sucking, trumpeting, owowowing. As w/ the above, I made a sequence out of an exploratory improvisation. This is about as close to DEVO as I'm ever likely to get.

{46.} 6. Ersatz Quickie for 4 tENTATIVELY's Mouth Sounds - :24 @ 48

This is for "4 ersatz sexsound samples": satisfied growl, heavy breathing, about to cum, cumming. Fucking w/ myself.

{47.} 7. Like a Lo-Fi Field Recording of African Drumming #1 - 3:00 @ 48

For Temple Block samples. As usual, the samples were made by me as mini-sequences wch can be played w/ fairly simple keyboard technique to yield complex results. By playing only a few keys at once I can simulate a small ensemble of african drummers. Playing the samples at a substantially lower pitch than that of the original Temple Blocks creates the sound of Log Drums. The poor fidelity of my sampling set-up adds enough hiss to make this seem like an authentic mid-20th century field recording procured under difficult conditions w/ primitive equipment.

{48.} 8. Like a Lo-Fi Field Recording of African Drumming #2 - 2:00 @ 48

Similar to the above except that 2 of the higher-pitched halves of the duet of tabla drums were sampled from. The result is much quicker than the above & sounds much less like a relaxed social gathering & much more like something for a frenzied dance.


"Miscellaneous Sequences #4"

{49.} 1. David Prentice - February 24, 1995E.V. - :42 @ 48

I was living in substantial isolation @ the Funny Farm (a creation of Laura Kikauka) in farming country in Ontario, Canada - 100 miles Northwest of Toronto. Much to my delight & relief, I learned that only 9 miles away in a town called Flesherton (population 700) lived David Prentice - a violin maker & improvising violinist extraordinaire. We only had the chance to play together several times. During the 1st time, I sampled him as we were playing a 47 minute uninterupted duet & made this sequence to play back to him in the midst of it all.

{50.} 2. Lower Pitch Bendy w/ Pause for "Any" (Sustainable) Sound - :15 @ 48

All of the sequences that I'd created up to this point were made to drive specific sounds (even though they cd "work" w/ other sounds) & were, therefore, more "piece"-specific rather than "open". This was the 1st of my attempts to vary from that course somewhat. The sequence is for the lower half of the keyboard only so that, if samples are used, the upper half can be played independently. There are substantial pauses in this short sequence to give "space" for "weaving". The sequence is short partially because pitch-bending takes up a substantial amount of memory. It calls for "sustainable" sounds so that the pitch-bending can be played fully. The 1st straight version of this made for the recording uses the set of 8 Vermin Supreme generated sounds described below.

For the 2nd taped playing of this, I used samples of World-Wide Mayoral ChamPeen Hammer Vermin Supreme playing Bones (pieces of wood similar to spoons), Ersatz Guitar, Toy Rat, Laughing Toy Skull, Musical Eyes, Robo-Fist, Voice-Changer, & Giddy-Up (or some such) to be driven by the sequence & his pronouncing 1 of his slogans, "Vote No on Yes", as something to improvise w/ in the upper half.

The 3rd recorded version uses samples made from playing a radio while tuning it. The upper half improvisation uses a sample of Neil Feather playing his NuGuitar.

{51.} 3. Upper Pitch Bendy w/ Pause for "Any" (Sustainable) Sound - :11 @ 48

The obvious complement to the preceding. In this case, the sequenced sounds are these upper half Vermin Supreme sounds: blubber, blap, "sawing", goo-goo, ga-ga, balip, boowah, & clucking.

In the 2nd version, Vermin's slogan, "Vote Yes on No", is improvised w/.

The 3rd version has a sample taken from the cat-electrocution-&-Cora-screaming section from the film "The Postman Always Rings Twice" - a masterpiece of melodrama overkill. The improvised portion features Claudia Strelocke's "simulated dying" sample.

{52.} 4. Yodeling - 1:01 @ 48

I made several samples of a German friend named Claudia Strelocke. In 1 of them she yodeled. These samples can be either "poly" (meaning that up to 8 notes can be played simultaneously) or "mono" (meaning that only 1 note can be played at a time). In the case of "mono", if a high key is depressed & a lower 1 is pressed down while the higher 1 is still pressed down then the lower key will continue the envelope of the 1st sound @ wherever it was interupted - just lowering the pitch. If a low key is depressed & a high key is depressed while the lower 1 is still held down then the low key must be released in order for the high key to pick up from there. This is the 1st sequence I made exploiting the capabilities of these "mono" characteristics to create a simulation of fantastic yodeling technique.

{53.} 5. Neil Feather / David Prentice "Duet" - 3:49 @ 48

A "duet" by 2 people who've never met or corresponded brought to you thru the wonders of sampling & sequencing. Neil Feather playing NuGuitar & David Prentice playing violin. A tense drama sortof unfolds as these 2 great players build off of this imaginary meeting of spirits.

{54.} 6. K1m Stereo Multi-Voices w/ Split KBs Driver - 6:08 @ 48

Another "open" sequence similar in spirit to the Lower & Upper "Pitch Bendy"s described above in its applicability to a variety of sounds. This is meant to drive any of the stereo K1m Multi-Voices (conglomerates of "single" voices) in wch the keyboard range is split into various sections - especially ones of my own programming. It was originally created while playing my "Autobend" sound & that's the way it's presented in this recording. This, & the next 2 sequences, were used in my "Bogus Piano Concerto" d composition. This sequence simply exploits various aspects of the keyboard division & right-left interplay.

{55.} 7. Sing Around the Campfire in the Shifting Field

- 8 Note Polyphony w/ Sustains Replacing Sustains - 1:00 @ 48

This was originally created using Bass Harmonica / Harmonica samples. The basic idea is to take advantage of the 8 note polyphony limitations of the sampler to create a constant 8 note chord w/ notes being instantaneously replaced. I held an 8 note chord for 1 minute. Then I overdubbed the holding of various other notes in various keyboard locations until the sequencer's 333 note limitation wdn't permit any further overdubs. Many of the chord configurations are such that my hands cdn't stretch to play them if I had to play them independent of overdubbing.

This is another sequence that can be used to drive a variety of sounds. In order for it to work as was originally intended, the sounds must be sustainable. If the sounds have short duration instead, the result is, of course, not a chord. Sounds that are mini-sequences can produce an interesting combination of flurries & chords. This is the 1st sequence used in the 1st movement of the "Bogus Piano Concerto".

{56.} 8. 8 Note Polyphony w/ Sustains Replacing Sustains + Staccatto! - 1:00 @ 48

This is a similar sequence to the preceding 1 except that after holding an 8 note chord for 1 minute I overdubbed fast staccato notes. Hypothetically, the result shd've been that the sustained notes wd've been replaced by the staccato ones but that didn't turn out to be the case. The sustained notes sustain - perhaps the staccato ones are too fast to effect them. However, the playing of this sequence almost always causes the sampler to "overload" & for it to break down & produce somewhat unpredictable results. The sampler has to be rebooted then in order for it to work normally again. In the recording, some new sustained pitches immediately follow the fast notes & the chord begins to thin out. This indicates the beginning of the breakdown. This is followed by a low grumbling. I cut off the recording after an interesting warbling effect of the breakdown occurs. This was used as the 2nd sequence in the 1st movement of the "Bogus Piano Concerto".


"8 Related Trombone Sequences"

The Trombone samples that these sequences were created for were made by me of playing that exploits the Trombone's somewhat unique characteristics as a slide instrument. The playing of low notes ordinarily outside of the Trombone's range results in sounds similar to a tuba. The sampler is exploited to create "impossible" horn playing.

This whole series of sequences was designed to be played as 1 big unit. Each of the sequences is meant to be played at least once. Each successive sequence retains what's in the preceding 1 & adds something new. They shdn't be played in order. The non-linear ordering allows the big sequence to unfold into both more minimal & more complex directions rather than from simple to complex. These sequences aren't meant to be played w/o something else happening - they're basically background continuity for something else, usually improvising, happening simultaneously.

For the recording of this, the sequences are played individually in order 1st & then as they shd be in "performance" as a unit. The improvising that accompanies it includes a large variety of sounds - including my 1st use in this series of sequence documentation recordings of a newly acquired Oberheim DX Drum Machine.

{57.} 1. 1 Upper Note Repeated Slowly 6 Times - :25 @ 48

{58.} 2. (ditto) + 1 Lower Note Added to End - :26 @ 48

{59.} 3. (ditto) + 1 Sustained Upper Note Every Other Time (Thrice) - :28 @ 48

{60.} 4. (ditto) + 1 Lower Note 3 Times (Sustained on the 3rd) - :28 @ 48

{61.} 5. (ditto) + 1 Lower Note Sustained at Same Time as #4 - :29 @ 48

{62.} 6. (ditto) + 1 Upper Note Played Once w/ Pitch-Bending - :29 @ 48

{63.} 7. (ditto) + 1 Lower Note Sustained Once w/ #s 4 & 5 - :29 @ 48

{64.} 8. (ditto) + The Highest Low & the Lowest High Repeated & Pitch-Bended - :29 @ 48

{65.} 1. thru 8. mega-sequenced.


"Miscellaneous Sequences #5"

{66.} 1. Oboe "Duet" - :31 @ 48

This is the 1st sequence that I created that depends on the Multi-Verb effects unit for its realization. The Multi-Verb has a foot-pedal controlled function that enables the player to cycle thru a program preset sequence. The program preset sequence that I created for this purpose is a jumping thru all of the pitch-shifting possibilities of the device - an octave below & an octave above in "semi-tone" increments. The actual Oboe sequence is only a 1-note-at-a-time melody. It becomes an Oboe "Duet" when the Multi-Verb is set at its effects mid-way point so that both the "dry" signal & the "wet" 1 can be heard simultaneously. The foot-pedal is played w/ an even tapping to create a beat pattern.

{67.} 2. New Age Intermission - 6:35 @ 48

Track 8 here:

I wish I remembered how I did this better than I do. This sequence is made to drive both of my K1ms at the same time. On K1m#1 I created 2 relevant voices: Multi ED-6: WTpiSEQ OR (Whole Tone Pitch Sequence Original) & Multi EB-4: NOT EXACT. On K1m#2 I created 9 relevant voices: Multi EB-4: SIMPLIFIER, Multi ED-1: WT PI SEQa (Whole Tone Pitch Sequence A), Multi ED-2: WT PI SEQb (Whole Tone Pitch Sequence B), Multi ED-3: WT PI SEQc (Whole Tone Pitch Sequence C), Multi ED-4: WT PI SEQd (Whole Tone Pitch Sequence D), Multi ED-5: WT PI SEQe (Whole Tone Pitch Sequence E), Multi ED-6: WT PI SEQf (Whole Tone Pitch Sequence F), Multi ED-7: WT PI SEQg (Whole Tone Pitch Sequence G), & Multi ED-8: WT PI SEQh (Whole Tone Pitch Sequence H).

These voices all exploit the mini-sequence capabilities of the K1m - meaning that the pressing of 1 key usually yields more than 1 note if it's held down for the full duration of the relevant envelope. Since analyzing the Whole Tone Pitch Sequence Original is probably most important for understanding this, here's a partial explanation of it:

This consists of a combination of 8 single voices: Piano Sequences 1-8. These sequences have delayed response times to key-down of gradually increasing length: 1 is set to 40, 2 is set to 59, 3 is set to 70, 4 is set to 75, 5 is set to 76, 6 is set to 77, 7 is set to 78, & 8 is set to 79. This is what results in there being a sequence of pitches rather than a chord when they're played "simultaneously" as part of a multi.

In the multi configuration, the original pitches of these piano sounds are transposed. 1 is transposed down from a fixed F#5 3 whole tones to C5, 2 is transposed up 2 whole tones, 3 is transposed up 3 whole tones, 4 is transposed up from a fixed C5 5 whole tones to A#5, 5 is transposed down 6 whole tones, 6 is transposed up 4 whole tones, 7 is transposed down 1 whole tone, & 8 is transposed down 2 whole tones. What this means is that when, e.g., while playing Whole Tone Pitch Sequence Original, C3 is pressed, the following sequence plays: C5, E3, F#3, A#5, C2 (an octave lower), G#3, A#2 (a whole tone lower), & G#2 (2 whole tones lower). In other words, all of the notes wd be in the same whole tone scale but none of them wd be C3!

To make matters more complicated, the fixed notes always stay the same. Therefore, if a D6 is pressed, the following sequence plays: C5, F#6, G#6, A#5, D5, A#6, C6, & A#5. It's even possible for 2 notes of the same pitch to play in sequence. E.g.: If G#4 is pressed, then the 1st 2 pitches are both C5.

Add to that the "simultaneous" playing of 1 of the relevant voices of K1m#2 & an even more complicated sequence potential results. Take, e.g., Whole Tone Pitch Sequence A. It consists of a combination of the 8 single voices: Piano Sequences A-H (not 1-8). These sequences also have delayed response times to key-down of gradually increasing length: A is set to 50, B is set to 65, C is set to 74, D is set to 80, E is set to 81, F is set to 82, G is set to 83, & H is set to 84. Note that none of these #s overlap w/ the delay times of Piano Sequences 1-8.

Again, in the multi configuration, the pitches of these piano sounds are transposed. "#"A is transposed down 3 whole tones, "#"B is transposed up from a fixed F#5 6 whole tones to F#6, "#"C is transposed down 1 whole tone, "#"D is transposed up 12 whole tones, "#"E is transposed down from a fixed A#5 8 whole tones to F#4, "#"F is transposed down from a fixed F#4 12 whole tones to F#2, "#"G is transposed down 1 whole tone, & "#"H is transposed up 4 whole tones.

In the Whole Tone Pitch Sequence Original, the even #ed single piano sounds are put to the left & the odds are put to the right. In the Whole Tone Pitch Sequence A, this is reversed so that the odds are to the left & the evens are to the right.

As such, if the 2 voices given as examples are played "simultaneously" by pressing G#3 the result wd be the following sequence: (R)C5, (L)D3, (L)C4, (R)F#6, (R)D4, (L)F#3, (L)A#5, (R)G#2, (L)E4, (R)F#3, (L)E3, (R)G#5, (L)F#4, (R)F#2, (L)F#3, & (R)E4. Note that in this example there are 2 Cs, 2 Ds, 6 F#s, 1 A#, 2 G#s, & 3 Es. All of the notes of this whole tone scale are represented but not in approximately equal proportions of either 2 or 3 as might be the case if the total # of 16 notes were divided by the 6 notes of the scale to produce an average.

Now, to get to the overall meta-sequence at hand. This starts w/ C2 & ascends in whole steps to C7. It then descends 1 half-step to B6 & descends in whole steps to C#2. Both whole tone scales are covered. However, during the ascent all pitches played are a part of the same whole tone scale but, during the descent, the fixed pitches provide 3 deviations that don't fit w/ the rest of the whole tone scale being played: C (C5), A# (A#5), & F# (F#6, 4, & 02. This somewhat "subverts" the "New Age SAPPINESS" of pure whole tone scales.

1 of the things that interests me about this seemingly simple 6:35 progression is that while the rhythm stays basically the same & the pitch sets stay deceptively similar, there's actually a substantial amount of variations that almost get lost in the listening because of their relative subtlety. The fixed pitches insure that w/ each new "key-down" played a different set of sequential intervals is generated & not just a new set of pitches! The version recorded here is a simple run-thru of the sequence once. In the hr long version that's recorded elsewhere many other permutations are generated.

{68.} 3. Julia's Lammy Permutations - :42 @ 48

Samples of Julia Dzwonkoski saying these 8 words: You, We, This, That, Lammy, Are, Is, It. The key word is "Lammy". "Lammy" was the name of a small stuffed lamb toy that was given to the dog Rupert that Julia & I lived w/. Rupert loved his Lammy & mauled it to pieces. "Lammy" came to mean a somewhat fetishistic object that wd bring 1 great emotional gratification - somewhat like a security blanket. At my prompting & w/ my technical assistance, Julia chose the words & the sequence of permutational sentences for this - as such, it's more "her" sequence than mine - but I include it in this list because of the ways in wch I fit it into my own material. The 2nd recording of this includes the K1m "Stereobell" preset.

{69.} 4. Rupert Driver - 1:20 @ 48

The dog, Rupert, mentioned in the preceding, was, probably, in the long run, the best friend I had in the house where I lived in Buffalo. For the samples that this sequence drives, he was induced to yowl & bark. The sequence turns him into a whole pack of dogs.

{70.} 5. DX27 Edit Bank #1 Samples Driver - 1:19 @ 48

The DX27's "Edit Bank" function is meant to enable the programmer to relocate sounds into different Banks/Groups so that they can be more conveniently organized for the player's needs. I use this function while playing to shift rapidly between sounds to create more complex "tone color" (on this series of recordings I use this technique for the 2nd "Buzz Words" sequence). For this, & the next 2 sequences, I sampled while playing in this way.

{71.} 6. DX27 Edit Bank #2 Samples Driver - 1:48 @ 48

I originally called this set of Edit Bank sequences the "Sortof Pop Electronics Loop Riffs Drivers" because they remind me somewhat of the slightly more pop end of a certain era of electronic music - something akin to Perrey & Kingsley or Dean Elliott & Big Band. These latter took popular songs & mutated them w/ "perky" & "boingy" effects - many of wch were laboriously edited.

{72.} 7. DX27 Edit Bank #3 Samples Driver - 1:28 @ 48

As w/ the preceding 2 sequences, this is pretty "spunky".

{73.} 8. CCMC / String Bass Driver - 1:11 @ 48

In September of '95 I was fortunate to play w/ C.C.M.C. @ the Music Gallery in Toronto. C.C.M.C. is an improvising ensemble that's existed since 1974. This incarnation consisted of Paul Dutton (SoundSinging), John Oswald (Alto Sax), & Michael Snow (Grand Piano). When I played w/ them I set up so that I cd sample them live w/o telling them that I wd do so. This enabled me to surprise them a little. I made 10 samples during this event. This sequence uses a C.C.M.C. sample in the upper half of the range wch begins w/ a clear piano figure followed by a fade in of tongued sax - the tail end of wch is looped. In the lower range a String Bass sound is used. This latter only extends up to B3 - rather than F#4 wch is the usual halfway point. Because of the shortness of the String Bass sample range, the C.C.M.C. sample can be played @ a much lower pitch & slower speed. The beginning of the sample is exploited by playing the piano figure on different keys as a descending theme accompanied by a Bass line. The piano gets quieter, the sax perseveres & the Bass vamps. A low sample is played to make the sax sound like a trombone. This sounds like a very leisurely jazz tune. Once again, the inner complexities of the sample enable a simple sequence to simulate substantial ensemble playing.


"Miscellaneous Sequences #6"

{74.} 1. The Bleep/Bloop School of Fast & Regular - :07 @ 48

In many of these sequences, I create a sample or program a voice & then play around w/ playing it & create a sequence that brings out what it evokes to me the most. In this case, I took a pre-existing Juno Synthesizer sample & played a sortof "classic" cliché of electronic music (as described in the sequence title). As w/ some of the preceding sequences (such as the early ones for Piano samples), I wd've overdubbed my playing @ slow speeds so that when the sequence is played back @ 48 the whole thing wd be very fast.

For the 2nd version of this, I fade in & out 3 of the other voices to be driven that I found most effective in defeating the blandness of this: a DX27 pre-set: "Wild War!!" & 2 of my K1m voices that sequences had previously been made for: "Fixed 16s" (used in the Fixed 16s "Microtonal" Ritual" sequence) & "5 X 10" (used in the 5 X 10th Tones sequence). Each of these sounds gives a significantly different slant to the sequence.

{75.} 2. Odd KB Split #1 - 4:12 @ 48

By "Odd KB Split" I mean any sample configuration in wch the keyboard has more keys playing 1 sample (or sub-group of samples) than the other - similar to the range division used in CCMC / String Bass Driver. This sequence was designed specifically for playing any lower sample wch only uses the 1st 15 notes + another C.C.M.C. sample. This latter features John Oswald's sax w/ a minimal amount of piano in the background. The reason for specifying how many notes the range of the lower sample uses is because that determines the range of the upper sample. This sequence doesn't actually play any of the lower 15 notes - it just uses the ultra s/low range that results for the C.C.M.C. sample. The technique used in the CCMC / String Bass Driver sequence of slowing down the sounds to make the sax sound like a different instrument & to make the pace leisurely is taken to a much greater extreme here. Oswald's sax playing becomes a slow pointillist build of a multiple tuba ensemble. The different speeds that are the result of playing different notes are used to bounce related figures off each other à là phasing. Since the lower samples that I use are special mono samples w/ 8 voices each, a variation on just playing the sequence straight (as it's presented in the recording) cd be to "solo overtop" this ponderous sequence w/ 8 voices each having a range of 15 notes (because of the mono setting) - efficient & elegant if I do say so (unlike this sentence).

{76.} 3. Rising Quarter-Tones Driver - 8:39 @ 48

The K1m "Rising /4s" voice that this was created for was made over a yr & a half earlier than when I felt inspired to create a sequence for it. The sequence was created largely to explore the potentials of the sound that I had almost forgotten.

Similar to the "Fixed 16s" voice, the sound is divided up into 8 overlapping groups - i.e.: the lowest 4 notes are "pure", the next 4 an an overlap between the 1st sound & the 2nd sound, the next 4 notes are a "pure" version of the 2nd sound, etc.. Unlike the "Fixed 16s", these sounds are fixed to 1 pitch no matter wch of their activating keys are touched. Furthermore, each sound is a mini-sequence of 4 ascending quarter-tones - w/ each group being made up of different sounds from the others. The lowest 27 notes are all to the left, the next 4 notes are a mix of right & left, & the next 30 notes are all to the right. These various K1m voices are designed to produce stereo results in different ways so that even if I don't remember the specifics of their configurations while I'm playing them there'll still be alotof variety.

This sequence is a fairly long droning experience w/ subtle stereo tone colour events happening along the way @ structurally somewhat unpredictable intervals. This is both undramatic & non-beat based.

In the 2nd recorded version, the non-dramatic subtlety is used as a vehicle for various Multi-Verb treatments w/ some occasional other "events" popping up now & then. This is the main sequence so far in wch the use of multiple effects is central to what's interesting about the final product. It becomes as if the drone is an object moving thru various types of spaces - different sized rooms, echo-chambers, tunnels, "outer space", etc..

{77.} 4. Variable Dynamics Piano Driver #1 - Ersatz 20th Century - :27 @ 48

Track 11 here:

1 of the 'problems' of controlling my modules w/ my DX27 keyboard is that it's not pressure sensitive. This means that I can't control dynamics in a way that sounds natural for acoustic simulations. E.g.: I can't hit the keys hard & have a loud piano sound result. I can only control the volume w/ the unconvincing & clumsy use of volume controls (either manual or foot-pedal activated). To try to solve this somewhat, I made a piano sample in wch different notes have different volumes:

C2-F#2 = loudest

G2-D3 = soft

D#3-B3 = loud

C4-A4 = mid

A#4-F5 = mid-soft

F#5-C6 = softest

C#6-C7 = loudest

Thus, by playing different notes, I can simulate 6 different degrees of intensity of attack. This sequence uses a simple motif of intervals played melodically. This intervals motif is played in all of the dynamics areas in a rigid mechanical way. The "Ersatz 20th Century" aspect of it refers to the borderline serialist tone-row nature of the use of a fixed group of intervals playing different pitches.

{78.} 5. Ersatz Ben Opie Multi-Track Solo - 1:46 @ 48

I sampled 16 of wind player Ben Opie's more complex short sounds (since the sampling time is very short when the range is broken up to this extreme). He played Soprano & Alto Saxes & Clarinet. Some of the sounds are multiphonic, some are 2 note sequences, 1 is of valve sounds, etc.. The resultant "Multi-Track Solo" made w/ them is about as quirky & variable as any horn playing is likely to be in the near future. Not all of the sounds are even obvious as having originated w/ reeds.

{79.} 6. Variable Dynamics Piano #2 - Slightly More "Realistic" - 1:19 @ 48

Track 12 here:

Unlike Variable Dynamics Piano Driver #1 this sequence is an attempt @ a more "natural" piano sound thru a simulation of how the dynamics might ordinarily be played. E.g.: when a loud sound is played, it's allowed to sustain..

{80.} 7. Multi-Voice/Purpose - 6:32 @ 48

This is another experiment w/ creating a sequence for a non-specific sound. It uses a fairly full range of available pitches, durations, single notes, chords, etc.. The sounds it drives are meant to be changed while it's playing. This recording begins w/ sampled radio tuning, a K1m pre-set simulating a string section building to a pizzicato, etc.. In other words, I tried to explore a broad range of sounds that wd be take advantage of the generalized spectrum of key-downs.

{81.} 8. Drama Queen has the Last Word - :39 @ 48

This is the last sequence on this disc & the last recording on the 1st side of the 3rd tape of this sequences document. This is a deliberately somewhat banal throwback to early '70s drama rock (or some such). Unlike most of what I play, it's mostly in 4/4 time (w/ some 6/8? thrown in to break it up a bit). It cd be called something like the "March of the Armidillo Tanks". It's meant to drive the Ben Opie samples (again) + percussion (specifically K1m#2 Multi IA-8: "E-DRUM") + any sustainable voice - such as Organ. For the recordings I used K1m#1 Single IB-3: "Organ 1999".

This is meant to be yet another EXCITING background to a prog-rock-esque solo. In the 2nd version recorded here the solo is played using the DX27's "Mono Sax".


"Sequences for Lower/Upper Mono Samples"

I've created 3 pages of charts to explain the structure(s) of this next series. Once again, these are open in the sense that any of the mono voices can be played w/ them. By mono I mean voices that can't be played polyphonically (i.e.: w/in each keyboard half) & that can continue a previous note's envelope from the point it left off under specific key-down conditions (explained in the Yodeling section). Since the playing situation can be set up so that there can be 8 different sounds per half of controller range & since w/ the mono sounds wch sound is heard depends upon in what sequence the keys are being played, each of the 8 sounds per half can be played w/ the full range of pitches available in the half. What's lost in the inability to play chords is gained in a fuller range for each sound.

All of these sequences are created to exploit this pitch range in systematic & progressively complex ways. As w/ the "8 Related Trombone Sequences", each successive sequence builds on the previous 1 in some way.

The base pattern (#1) optimizes mono diversity by having the lowest initial note of each sound play for 1 beat followed by the highest relevant keyboard half note held for 4 beats followed by a pause (P) of 1 beat followed by moving on to the next sound (from left to right, lower to higher - w/in each keyboard half). This is @ 63 B(eats)P(er)M(inute) ("Larghetto", according to my metronome). The lower half starts on "1" & the upper half starts on "4" so that there's always sound in 1 half of the keyboard while there's a pause in the other. Starting w/ sequence #3 this pattern becomes extended from base 6 to base 12. Below are the relevant numerical diagrams. The numbers in the sequence represent wch key is played. "Arrows" ("->"s) represent sustains. Each comma (",") represents a beat division. A number in italics means that it's pitch-bent upward. The "!!:" & ":!!" are repeat signs to indicate looping.

{82.} 1. Base 6 #1 - :35 @ 48

1. Lower: !!:_01,31,->,->,->,P ;05,31,->,->,->,P ;09,31,->,->,->,P ;13,31,->,->,->,P ;

Upper: !!: 32,61,->,->,->,P ;36,61,->,->,->,P ;40,61,->,->,->,P ;44,61,->, 16,31,->,->,->,P ;20,31,->,->,->,P ;24,31,->,->,->,P ;28,31,->,->,->,P :!! ->,->,P ;47,61,->,->,->,P ;51,61,->,->,->,P ;55,61,->,->,->,P ;59,61,->,->,->,P ; :!!

For this recording the mono "16 Percussion Samples" were used for the 1st version. Mr. Tenbags' "Please Commence A Whoop-Up" & Claudia Strelocke's "Yodel" (from the "Funny Farm Summit Meeting" series of samples) were used for the 2nd version. The 3rd, & final version here, used a set of samples that deliberately break the pattern that the sequence was designed to play.

Instead of halving the controller activated range somewhat evenly (in the usual 31 notes to the lower half & 30 notes to the upper half - when a 5 octave keyboard is used) this last uses a mono version of the lower half of the 16 "tENTATIVELY's Mouth Sounds" samples (the poly version of wch were used in the Syncopated Latin 16 tENTATIVELY's Mouth Sounds sequence) reduced to a 15 note range. The upper half uses the polyphonic version of the 16 String Trios Looped to Overkill wch were used in the "String Trio" Driver sequence - but now, because of the reduced lower half range, the upper half covers 46 notes instead of 30. The result of this is that the upper half string trio sounds that wd usually only have an 4 note range is now extended to having a 20 note 1.

What all this means in relation to the sequence is as follows:

In the 1st recording, in the lower half the sound of a "Thunder Sheet" is 1st played @ its lowest pitch (C2) for 1 beat & then the envelope is continued to its highest pitch (F#4) for 4 beats. Then there's a pause for 1 beat & the pattern renews w/ the next available sound (again, this is just the lower half I'm describing). This is the "Ratchet" sound wch starts @ its initial lowest note (E2) for 1 beat & goes to its highest note (F#4 again) for 4 beats again - followed by a 1 beat pause again. In the meantime, the upper half has started in on the 4th beat w/ its lowest voice, the "Witch" sound, on its lowest note (G4) wch is held for 1 beat before it changes to its highest note (C7) for 4 beats & then pauses for 1 beat. As previously mentioned, the upper half comes in on the 4th beat so that there will always be a sound in 1 half while the other half is pausing. As w/ the lower half, the next sound played is the 2nd lowest of this half, the "Whistle" sound, wch begins on its initial lowest pitch (B4) for 1 beat before continuing its envelope w/ its highest pitch (C7 again) for 4 beats until it pauses for 1 beat, etc..

The 2nd recording deviates from this because it uses samples wch have longer envelopes & wch have only 1 sample per keyboard half. This means that instead of there being a new sound in each half for each cycle of 6 beats, there's just a restarting of the envelope of the half's only sound.

The 3rd recording deviates the most drastically. When the lower half sequence starts, a "Buzzing" sound is played (C2) for 1 beat & replaced by "String Trio #9" (F#4) for 4 beats followed by a 1 beat pause. Continuing w/ the lower only for the moment, the "Urping" sound comes next (rather than the "Warbling" sound that wd follow if the Mouth Sounds were in their usual 31 note range instead of compressed into this 15 note range) @ E2 for 1 beat & is replaced by the same "String Trio #9" sound @ F#4 for 4 beats followed, as usual, by a 1 beat pause. When this part of the sequence reaches the part that begins w/ D#3, the sound played is only the polyphonic "String Trio #9". Because of the way this sequence is played, however, no polyphony occurs in either the lower or upper halves (of course there's polyphony in the combination of the 2 halves) - i.e.: no 2 notes per half were held @ the same time. This will change as the sequences get more complex. In the meantime, in the upper half, the 2 sounds per cycle are all variations on "String Trio" samples replacing each other - w/ no envelope continuance..

{83.} 2. Base 6 #2 - :35 @ 48

2. Lower: !!:_01,31,01,31,->,P ;05,31,01,31,->,P ;09,31,01,31>,->,P ;13,31,01,31,->,P ;

Upper: !!: 32,61,32,61,->,P ;36,61,32,61,->,P ;40,61,32,61,->,P ;44,61,32, 16,31,01,31,->,P ;20,31,01,31,->,P ;24,31,01,31,->,P ;28,31,01,31,->,P :!! 61,->,P ;47,61,32,61,->,P ;51,61,32,61,->,P ;55,61,32,61,->,P ;59,61,32, 61,->,P ; :!!

Fortunately, for both the reader & myself, there are only 2 versions of this presented for this recording & they're both fairly simple to explain. The 1st uses my samples made from the mono version of"Miscellaneous K1m 'Originals'": "Haunted", "Let er Rip", "16 /4s", "32", "Rising /4s", "Autobend", "GrabBag", "5 X 10"; & from "Fixed 16s"'s components: "Gong", "Kimono", "Organ", "E Tom", "Nasty Brass", "Acoustic Bass", "Glockenspiel", & "Music Box". These divide the range into the appropriate 16 part divisions & are, therefore, fitted to the intended sequence pattern.

The 2nd version uses 8 mono "Kitchen Samples": "Unscrewing Lid", "Whistling Kettle", "Blender", "Cracking Ice Cubes out of Tray"; & "Toaster Popping", "Running Faucet", "Opening Soda", & "Refrigerator Door". Since this only divides the range into 8 sounds instead of 16, it means that each sound is played in 2 cycles of 6 beats in a row instead of just 1.

{84.} 3. Base 12 #1 - 1:07 @ 48

3. Lower: !!:_01,31,->,->,->,->,->,->,->,->,->,P ;05,31,->,->,->,->,->,->,->,->,->,P ;

Upper: !!: 32,61,->,->,->,->,->,->,->,->,->,P ;36,61,->,->,->,->, 09,31,->,->,->,->,->,->,->,->,->,P ;13,31,->,->,->,->,->,->,->,->,->,P ; ->,->,->,->,->,P ;40,61,->,->,->,->,->,->,->,->,->,P ;44,61,->,->,->,->, -16,31,->,->,->,->,->,->,->,->,->,P ;20,31,->,->,->,->,->,->,->,->,->,P ; ->,->,->,->,->,P ;47,61,->,->,->,->,->,->,->,->,->,P ;51,61,->,->,->,->, 24,31,->,->,->,->,->,->,->,->,->,P ;28,31,->,->,->,->,->,->,->,->,->,P :!! ->,->,->,->,->,P ;55,61,->,->,->,->,->,->,->,->,->,P ;59,61,->,->,->,->, ->,->,->,->,->,P ; :!!

Here the base of the cycles expands from 6 to 12. This enables a more complex exploration of the pitch ranges for each mono sound. Each sequence after this 1 simply adds 2 more key-downs to the sequence until #8 wch adds 1 new key-down & a pitch-bend. Even that description is a little oversimplifying insofar as what I refer to as 2 new key-downs is actually 1 new key-down & key release - an important distinction explained (somewhat) later.

Basically, this is mainly different from #1 because the 2nd note of each cycle is held for 10 beats instead of 4. W/ each of the new overdubs that create the following sequences the 2nd key-down of each cycle gets over-rided by its lower successors but it still exists as a potential sustain if driving a polyphonic voice.

There's only 1 recording of this made for this project - using the mono version of the "16 Sound Effects from Tape 4" (the polyphonic version of wch was used in the 16 Sound Effects from Tape 4 "Improv" sequence).

{85.} 4. Base 12 #2 - 1:07 @ 48

4. Lower: !!:_01,31,01,31,->,->,->,->,->,->,->,P ;05,31,01,31,->,->,->,->,->,->,->,P ;

Upper: !!: 32,61,32,61,->,->,->,->,->,->,->,P ;36,61,32,61>,->,->, 09,31,01,31,->,->,->,->,->,->,->,P ;13,31,01,31>,->,->,->,->,->,->,->,P ; ->,->,->,->,->,P ;40,61,32,61,->,->,->,->,->,->,->,P ;44,61,32,61,->,->, 16,31,01,31,->,->,->,->,->,->,->,P ;20,31,01,31,->,->,->,->,->,->,->,P ; ->,->,->,->,->,P ;47,61,32,61,->,->,->,->,->,->,->,P ;51,61,32,61,->,->, 24,31,01,31,->,->,->,->,->,->,->,P ;28,31,01,31,->,->,->,->,->,->,->,P :!! ->,->,->,->,->,P ;55,61,32,61,->,->,->,->,->,->,->,P ;59,61,32,61,->,->, ->,->,->,->,->,P ; :!!

Since each of these sequences is a part of the development leading to #8, I'll refrain from detailed analysis until I get to that sequence. Only 1 recording of this is made, using the mono version of "16 String Trios Looped to Overkill".

{86.} 5. Base 12 #3 - 1:07 @ 48

5. Lower: !!:_01,31,01,31,->,16,31,->,->,->,->,P ;05,31,01,31,->,16,31,->,->,->,->,P ;

Upper: !!: 32,61,32,61,->,47,61,->,->,->,->,P ;36,61,32,61,->,47, 09,31,01,31,->,16,31,->,->,->,->,P ;13,31,01,31,->,16,31,->,->,->,->,P ; 61,->,->,->,->,P ;40,61,32,61,->,47,61,->,->,->,->,P ;44,61,32,61,->,47, 16,31,01,31,->,16,31,->,->,->,->,P ;20,31,01,31,->,16,31,->,->,->,->,P ;61,->,->,->,->,P ;47,61,32,61,->,47,61,->,->,->,->,P ;51,61,32,61,->,47,24,31,01,31,->,16,31,->,->,->,->,P ;28,31,01,31,->,16,31,->,->,->,->,P :!! 61,->,->,->,->,P ;55,61,32,61,->,47,61,->,->,->,->,P ;59,61,32,61,->,47,61,->,->,->,->,P ; :!!

2 Versions are recorded of this for this document. The 1st uses mono samples made from K1m pre-sets: "Jazz Organ", "Dragon Hall", "French Horn", "Nomads", "Oboe", "Return Home", "Terminate 2", "Visitors"; & "Aftertouch", "Voice", "Lil' Italy", "Space Tines", "Tubular!", "I'm Falling", "Intrigue!", & "Cyclotron". Listing these titles is misleading, though. Since these samples are very short (about 1/4 of a second perhaps) they don't actually capture much of the characteristics of the original sounds - they just loop their attacks. As w/ most of the previous cases in this series, this division of the sample range into 16 mono samples is exactly what the sequences were designed for &, therefore, previous descriptions are roughly adequate.

The 2nd recorded version is another deviation similar to the 3rd version of #1. Here, the samples used are the "Odd Keyboard Split Mono/Poly Version of 16 'tENTATIVELY's Mouth Sounds'".

{87.} 6. Base 12 #4 - 1:07 @ 48

6. Lower: !!:_01,31,01,31,->,16,31,23,->,->,31,P ;05,31,01,31,->,16,31,23,->,->,31,P ;

Upper: !!: 32,61,32,61,->,47,61,54,->,->,61,P ;36,61,32,61,->,47,09,31,01,31,->,16,31,23,->,->,31,P ;13,31,01,31,->,16,31,23,->,->,31,P ; 61,54,->,->,61,P ;40,61,32,61,->,47 61,54,->,->,61,P ;44,61,32,61,->,47,16,31,01,31,->,16,31,23,->,->,31,P ;20,31,01,31,->,16,31,23,->,->,31,P ; 61,54,->,->,61,P ;47,61,32,61,->,47,61,54,->,->,61,P ;51,61,32,61,->,47,24,31,01,31,->,16,31,23,->,->,31,P ;28,31,01,31,->,16,31,23,->,->,31,P :!! 61,54,->,->,61,P ;55,61,32,61,->,47,61,54,->,->,61,P ;59,61,32,61,->,47,61,54,->,->,61,P :!!

Only 1 version of this is recorded here - using the straight mono version of 16 "tENTATIVELY's Mouth Sounds".

{88.} 7. Base 12 #5 - 1:07 @ 48

7. Lower: !!:_01,31,01,31,->,16,31,23,12,23,31,P ;05,31,01,31,->,16,31,23,12,23,31,P ;

Upper: !!: 32,61,32,61,->,47,61,54,43,54,61,P ;36,61,32,61,->,47,09,31,01,31,->,16,31,23,12,23,31,P ;13,31,01,31,->,16,31,23,12,23,31,P ; 61,54,43,54,61,P ;40,61,32,61,->,47 61,54,43,54,61,P ;44,61,32,61,->,47,16,31,01,31,->,16,31,23,12,23,31,P ;20,31,01,31,->,16,31,23,12,23,31,P ; 61,54,43,54,61,P ;47,61,32,61,->,47,61,54,43,54,61,P ;51,61,32,61,->,47,24,31,01,31,->,16,31,23,12,23,31,P ;28,31,01,31,->,16,31,23,12,23,31,P :!! 61,54,43,54,61,P ;55,61,32,61,->,47,61,54,43,54,61,P ;59,61,32,61,->,47,61,54,43,54,61,P :!!

1 version recorded here - using the mono "Miscellaneous K1m 'Originals'" again - enabling comparison w/ the 1st version of Base 6 #2.

{89.} 8. Base 12 #6 - 1:07 @ 48

8. Lower: !!:_01,31,01,31,->,16,31,23,12,27,31,P ;05,31,01,31,->,16,31,23,12,27,31,P ;

Upper: !!: 32,61,32,61,->,47,61,54,43,58,61,P ;36,61,32,61,->,47,09,31,01,31,->,16,31,23,12,27,31,P ;13,31,01,31,->,16,31,23,12,27,31,P ; 61,54,43,58,61,P ;40,61,32,61,->,47 61,54,43,58,61,P ;44,61,32,61,->,47,16,31,01,31,->,16,31,23,12,27,31,P ;20,31,01,31,->,16,31,23,12,27,31,P ; 61,54,43,58,61,P ;47,61,32,61,->,47,61,54,43,58,61,P ;51,61,32,61,->,47,24,31,01,31,->,16,31,23,12,27,31,P ;28,31,01,31,->,16,31,23,12,27,31,P :!! 61,54,43,58,61,P ;55,61,32,61,->,47,61,54,43,58,61,P ;59,61,32,61,->,47,61,54,43,58,61,P :!!

3 versions of this are recorded to give as many examples of the end of this series as were given of its beginning. The 1st uses the mono "16 Sound Effects from Tape 4" - the same that were used for Base 12 #1. The sequence begins w/ a sample from "Reintegrated Experiments in Disintegrating Language" (a tape piece of mine made from a broken English Sound Poetry record) on C2 held for 1 beat, going next to F#4 for 1 beat, then returning to C2 for 1 beat, then returning to F#4 for 2 beats, then going to D#3 for 1 beat. As this sound goes to F#4 again for 1 beat it's joined by a sample of "Hyenas" at G4 for 1 beat also, "Reintegrated.." goes to A#3 for 1 beat while "Hyenas" goes to C7 for 1 beat, "Reintegrated.." goes to B2 for 1 beat & "Hyenas" goes back to G4 for 1 beat, "Reintegrated.." goes to D4 & is pitch-bent upward for 1 beat & "Hyenas" goes to C7 again for 2 beats w/ "Reintegrated.." coming in F#4 on the 2nd of these beats, the lower section pauses for 1 beat (i.e.: the section that was represented by "Reintegrated..") & the upper section, "Hyenas", moves to A#5 for 1 beat.

The lower starts w/ a new sound, "Neoist Funeral March" (i.e.: a sample made from a synthesizer piece of that name by me) on E2 for 1 beat while "Hyenas" continues on C7 for 1 beat, "Neoist.." moves to F#4 for 1 beat & "Hyenas" moves to F6 for 1 beat, "Neoist.." shifts to C2 for 1 beat while "Hyenas" shifts to F#5 for 1 beat, "Neoist.." returns to F#4 for 2 beats while "Hyenas" shifts to A6 wch is pitch-bent upwards for 1 beat & then comes in on the 2nd beat @ C7 again, "Neoist.." shifts to D#3 for 1 beat while the upper section pauses for 1 beat.

"Neoist.." goes to F#4 again for 1 beat & the upper section starts w/ a new sound, a "Brazilian Bird" sample, @ B4 for 1 beat, etc, etc.. Basically, these sequences are all 2 part rounds w/ the lower half always starting & the upper half always coming in @ the beginning of the 2nd half of each cycle.

The next version features just 2 "Funny Farm Summit Meeting" samples (as w/ the 2nd version of Base 6 #1): Edward's "I Can't Believe It!" & Giggles' "Hey Baby!".

The 3rd version (once again, like the corresponding 3rd version of Base 6 #1) uses the "Odd Keyboard Split Mono/Poly Version of '16 Sound Effects from Tape 4'". See the structural info re how these latter 2 work in the notes for #1.

Confused? Think of how confused I got trying to whip up these relatively coherent charts & descriptions - &, yet, the logic of it is all very simple..

Pitch descriptions, such as C2 (or whatever), are somewhat misleading since there may not be any difference between C2 & G4 or between the whole set of pitches played by keys 1-30 & keys 32 to 61. Add to this that the samples are all pitched differently & have mini-sequences or "noise" w/in themselves & what we end up w/ is such names as "C2" representing not much more than a key (or switch) position.

The above may not be completely accurate - given that it was written hours after the sequence assembling w/ various (welcome) interruptions & given that I'm too lazy &/or otherwise occupied at the moment to further analyze the results. Despite that, it's probably accurate anyway.


"Speech Synthesis Sequences #1"

This is, in some ways, the most difficult project I've tried w/ the sampler yet - despite (or because of) its crudeness. Inspired by the never satisfactorily realized John Berndt CAMU entitled "Phoneme Chemistry Variants" in wch the players are called upon to pronounce phonemes as the sounds used in the performance of other CAMUs (w/ the possibilitiy of other units of meaning, such as "words", "can form among the phonemes"), I recorded samples of me pronouncing 43 of the 44 phonemes provided w/ his score from the "International Phonetic Alphabet".

Given the technical limitations of my sampler, only 16 of these phonemes cd be accessed at once - 8 per range half. 9 combinations of these halves can be permutated. The 1st 9 sequences of this project are attempts @ playing some of the available vocabularies w/in these permutations. Since I'm not a very proficient keyboardist & since the phonemic combinatory method used is awkward the resultant words are often hard to understand as such. Furthermore, the process of recording is such that I wd play 1 to 5 words in a row, save the sequence, & then overdub to add more words. This meant that if I'd recorded 3 words I'd have to listen to those 3 words before recording the next 1, etc.. This makes for a very slow process as the sequence gets longer. If I've recorded 1:40 worth of vocabulary, I have to listen to that 1:40 before I add the next :01, etc.. I set a 2:20 limit for each vocabulary - speculating that that might be near the 333 note limit anyway. The following lists the vocabulary of each combination of lower/upper halves.

Words underlined once are formed in the lower half alone. Words underlined twice are formed in the upper half alone. Words not underlined require both halves. Words between slashes are playable examples from the original list above. Word counts include each homonymn possibility as a separate word.

Each "pure" recording is followed by a 2nd version in wch another sound is driven. This reminds me of procedures used by Jackson MacLow to associate notes w/ letters to enable performers of his poetry to make the performances pitch-specific.

{90.} 1. Lower/Upper 1 Vocabulary - 2:20 @ 48

/ stop, cop, back, parrot, bird, fat, but/butt, flood, / top, sock, bat, sir, spot, bother, / rather, / lather, cur, curd/Kurd, dud, butter, murder, rock, cat, rat, lob, lock, lop, carrot, fur, cap, dirt, first, sat, pat, sad, tad, pad, cad, lad, fad/fad, dad/dad, other, mother, smother, brother, druthers, fuck, suck, cock, turd, lap, tap, rap/wrap, sap, muck, duck, luck, stuck, ruckus, tuck, fart, start, part, apart, art, smart, tart, cart, mart, ark, park, stark, dark, mark, bark, lark, curse, purse, terse, pert, curt, alert, skirt, thirst, burst.

The 2nd version presented has the DX27's "Mono Lead" sound - wch creates a glissando/portamento between each phoneme. According to The Illustrated Dictionary of Musical Terms (1st US Edition, 1980 - by Christopher Headington), "a real glissando--e.g., on the trombone, can be deliberately vulgar and comic" &, re portamento, "Used w/ skill, an effect that is artistic; otherwise it can seem in doubtful taste"! Ain't the world of Klassy Music jest GRAND!?

{91.} 2. Lower/Upper 2 Vocabulary - 2:20 @ 48

/ eye/I, how, why, any, wedge, go, give, / hive, jive, even, change, gave, itch, hitch, witch/wch, when, edge, knee, he, no/know, yo-yo, wove, woven, wave, nave/knave, gay, hay/hey, way/whey/weigh, wage, given, now, vow, guy, known, unknown, heave, weave, honey, gun, jug, judge, jig, in/inn, win, gin, we, [knee], wine/whine, vine, hinge, wig, age, gauge, nine, won/one, noggin, chow/ciao, chin, heaven, yen, wavey, vain, gain, chain, gown, vegan, ninja, notch, watch, hoe, hone, young/Jung, hung, nun, wing, yin, ouch, yowtch!, vague, egg.

The 2nd version presented has a piano sound - probably the DX27's "Uprt Piano".

{92.} 3. Lower/Upper 3 Vocabulary - 2:20 @ 48

/ eye/I, / sing, thing, tooth, sigh, sighing, singing, shot, shy, toy, toying, zing, thigh, hi/high, tie/Thai, shying, shoe/shoo, shoeing/shooing, soy, zoo, tot, saw, sawing, shoot, shooting, sting, stinging, sty, shite, stooge, tush, sue, to/too/two, tutu, eyes/ice, icing, zoot, suit, sot, thaw, thawing, sight/site/cite, sighting/citing, height, tight, toot, zeit, hoot, out, shout, outing, shouting, thought, sought, taut/taught, tout, stout, hot, hots, how, aha!, tieing, hooting, tooting, touting, souse, tithe, tithing, [tush], jot, jotting, josh, joshing, jew, joy, Oi!, ought, joist, joust, jousting, sow [female pig], stew, stewing, hoist, hoisting, ooze.

The 2nd version presented has the DX27's "Mars to ??" sound

{93.} 4. Lower 1 / Upper 2 Vocabulary - 2:20 @ 48

/ stop, cop, lip, bill, go, soul, give, yet, canyon, / love, poke, eke, cap, toe/tow, low, blip, sip, tip, pip, nip, tit, sit, pit, sis, kit, bit, lit, knit, cab, lab, lap, nab, nap, lack, black, slack, back, sack, pack, tack, sap, tap, gap, gab, blab, stole, pivot, clock, sag, tag, bag, lag, gag, nag, cunt, blunt, sleep, peep, keep, beep, seep, steep, seek, speak, sleek, beak, bleak, cock, clap, pap, paps, nose/knows/nos, vote, blow, bloat, toast.

The 2nd version presented has my K1m "Rising2/4s" sound (meaning the "single" sound (actually 4 separate notes) that constitutes the 2nd lowest section of the multi rising quarter-tones voice). This means that a mini-sequence is triggered w/ each phoneme.

{94.} 5. Lower 1 / Upper 3 Vocabulary - 2:20 @ 48

/ stop, cop, eye/I, kite, owl, / towel, pie, pies, lie, lies, pop, bye, zap, badge, tyke, pike, bike, like, hike, jowl, bowels, pout, bite/byte, type, bout, sigh, sight/site/cite, lodge, cot, sow [female pig], cow, bow [lean forward], alike, jazz, spaz, lout, clout, light, blight, tot, pock, plight, out, about, tie/Thai, tight, ply, hi/high, height, sly, slight, lob, slob, cob, bob, blob, blot, slot, Scot, pot, spot, lack, black, plaque, splat, spat, at, slat, attack, tack, stack, sack, psych, TAZ, job, jab, tab, jibe, style.

The 2nd version presented has the DX27's "Templegong" sound.

{95.} 6. Lower 2 / Upper 1 Vocabulary - 2:20 @ 48

/ weather, had, eye/I, how, why, wedge, rage, day, / my, die, word, may, ray, they, wire, fur, hay/hey, way/whey/weigh, our/hour, rough, murder, dirge, urge, herd/heard, dud, dumb, the, mud, wow, wry/rye, fry, dry, feather, heather, chafe, merge, red/read, dead, dour, fad, dad, fife, chow/ciao, mouth [verb], hedge, a, a [2 pronunciations], deaf, dare, air, fare/fair, where/wear, hair, rare, chair, arch, march, farm, arm, [red/read], wed, fed, judge, fudge, far, [farm], farmer, marm, harm, charm, there/their, dire, fire, mire, ire, wide, ride, friday, fried, her, mum, rum, from.

The 2nd version presented has my K1m multi-voices "Stringy" & "Q Call & R" - both of wch have very complex envelopes.

{96.} 7. Lower 3 / Upper 1 Vocabulary - 2:20 @ 48

/ do, roof, / murder, mad, third, moth, shush, food, froth, doing, should, maw, thaw, raw, shoo/shoe, ring, thing, mood, rude, dude, thud, ad/add, rush, mush, the, wrath, rash, dash, mash, ash, thrash, doom, room, mirth, earth, dearth, firm, door, roar, moor/more, for/four, Thor, sure/shore, other, off, offering, offer, doff, shad, muff, ado, mum, murmur, ding, Ming, through/threw, thrum, thrush, rue, moo, doo-doo, froo-froo, fou, Thoth, shard, roofing, doth, math, mashed, father, further, drum, mashing, [other], shudder.

The 2nd version presented has the sampler/sequencer also playing my K1m multi voices "32" & "16 1/4s" + the DX drum machine + my DX27 "Time Clock" sound. The sampler, the DX27, & the drum machine are all effected thru the Multi-Verb's "Vocal Doubler". The 2 K1ms are left "dry".

{97.} 8. Lower 2 / Upper 3 Vocabulary - 2:20 @ 48

/ eye/I, how, why, wedge, haze, / hi/high, hate, hedge, chow/ciao, watch, says, sty, tie/Thai, sate, state, wait/weight, age, wage, stage, sage, out, tout, house, ouch, wet/whet, set, west, test, [says], Oz, outage, souse, wise, hot, hots, tot, sot, edge, sigh, white, oust, height, taste, waist/waste, hay/hey, haste, chaste/chased, zest, chest, ate/eight, stay, stays, say, jest, stout, size, ties, site/sight/cite, joust, eyes/ice, way/whey/weigh, sway, EST, jot, jet, jets, watt, wattage, chess, tight, tights, zeit, sets, sweat, swatch, stages, ha-ha, ta-ta, sweats.

The 2nd version presented has the sampler/sequencer also playing K1m #1's

pre-set "Multi-Percussion" & K1m #2's pre-set "Percussion Ensemble" - both treated thru a Multi-Verb effect I programmed called "Ad Nauseum". Driven "dry" were the DX27's pre-set "Bass Snare", the sampler, & the DX drum machine.


"Speech Synthesis Sequences #2"

{98.} 1./9. Lower 3 / Upper 2 Vocabulary - 2:20 @ 48

show, shin, goon, you/ewe, she, view, annoy, / thin, / new/nous, even, / go, / noon, yin, niche, Vishnu, / give, / youth, sheen, goo, gosh, Shiva, shown, own, evening, thing, gnaw, gee-gaw, yawn, shiv, gnu, goth, knee, ye, nothing, oath, oven, given, ova, nova, gig, giving, vegan, goy, gooey, shoe/shoo, Shawnee, thaw, in/inn, inning, shove, shoving, no/know, yawning, gnawing, awning, vous, ghee, Nhee-Ghee, go-go, no-no, yo-yo, yo, showing, no-ing/knowing, no-no-ing, shoe/shoo-ing, Oi!, in-thing, going, 'neath, sheath.

Somehow, I either erased my notes re the 2nd version of this or lost them or never wrote them in the 1st place. As such, I'm not totally sure what's happening here. The drum machine is in the left channel & the sampler is in the right. There doesn't seem to be any effect used. My "Warbler" is played by the DX27. I suspect that 1 or more of my K1m "GrabBags" incorporating part or all of the "RobotMarch" is also being used but I'm too lazy at the moment to determine exactly wch.

{99.} 2./A. Lower/Upper 1 Sentence = 1:40 @ 48

Curs bark at cats.

Curs attack cats.

Rats are alert.

Cats attack rats.

Cats purr.

Cat fur.

Cats attack birds.

Birds bluff cats.

Ducks are birds.

Parrots are birds.

Butts are arses.

Arses fart.

Butts park.

Butts bump.

Mothers suck cock.

Dads fuck mums.

Farmers suck paps.

Mothers fuck farmers.

Fathers butter[s] rums.

Brothers start rough-stuff.

{The [s] in "Fathers butter[s] rums."

is a mistake that's too much of a nuisance to correct in the sequence.}

The 2nd version has my DX27 "Mess w/ Me" (meant to have its paramters manipulated live - a feature not present here), my K1m#1 "Whoise Funk" in the left channel, my K1m#2 "StloopFunk" in the right channel - w/ Stereo Delay effect on both these latter.

{100.} 3./B. Lower 1: "Stammering Alliteration" = 2:00 @ 48.

C-c-c-c-cops s-s-s-s-stab l-l-lop-lop.

T-t-tacks attack p-plaques.

S-s-s-s-sacks b-back p-p-packs.

Scots lack t-t-t-t-tots.

S-slobs s-stack b-b-blobs.

B-b-blacks t-tack s-slacks.

S-saps c-clap at t-t-t-t-taps.

B-blots l-lap at spots.

B-bob l-lobs saps at s-slobs.

P-plaques t-tap b-backs.

B-b-b-b-bats s-sat.

P-pops l-lop t-t-tops.

P-pocks s-stop c-clocks.

S-slacks top s-stacks.

The 2nd version takes advantage of the sequence being for the lower half only by improvising w/ the Vermin Supreme upper poly samples (blubber, blap, "sawing", goo-goo, ga-ga, balip, boowah, clucking) - also used in Upper Pitch Bendy w/ Pause for "any" (Sustainable) Sound.

{101.} 4./C. Lower/Upper 2: "Questions #1" = :25 @ 48

This is my 1st attempt to introduce inflection w/ a little greater pitch conrol to imply questioning.

Why itch?

Why win?

Why give any?

Why own one?

Why hon?

Why achieve?

Why watch?

Why nudge?

Why in vain?

Why change?

The 2nd version is sparser than usual. The "ai" in "Why" triggers the drum machine's "Claps" & it's all 3/4s effected thru the Multi-Verb's "Reverse Rev+Pan".

{102.} 5./D. Lower 2/Upper 1: "Questions #2" = 1:00 @ 48

Why are they dumb?

Why are they wowed?

Why are they fed?

Why are they dead?

Why are they wired?

Why are they rare?

Why are they chafed?

Why are they armed?

Why are they charmed?

Why are they harmed?

Why are they marched?

Why are they feathered?

Why are they wedded?

Why are they wedged?

Why are they herded?

Why are they murdered?

Why are they fried?

Why are they mad?

Why are they red?

Why are they weighed?

The 2nd version is the "eerie" one (in the cliché sense). "Flute Lead" & "Oboe" are played by the K1ms - processed thru "Ping Pong Delay". The DX27 is set to "Full Ranks" (Organ).

{103.} 6./E. Lower 2/Upper 3: "Questions #3 (Rhyming)" = :30 @ 48

The sentences alternate between the lowest & highest available pitches. The odd-#ed sentences (w/ "ages" in them) use the lowest pitches in their phoneme groups & the even-#ed sentences use the higher pitches. This is supposed to make it a little more "sing-song".

Why waste wages?

Why jet set?

Why test sages?

Why test zest?

Why stage sages?

Why hate states?

Why weigh stages?

Why sweat wet?

The 2nd version is the percussion one. "'Cussion" & "E Drum" on the K1ms, the DX drum machine w/ all of its settings on, & the DX27 set at "Tube Bells".

{104.} 7./F. Lower 1 "Fill in the Blank" = 1:10 @ 48

First a sortof "primer" phrase is given complete. Then the phrase is repeated w/ a "blank"/pause wch can be filled w/ a "sound effect" or another word. By having the sequence only drive the lower half, it's possible to vary wch phonemes are in the upper half or to put non-phoneme samples there instead. This silly story has a barely comprehensible plot about Bob and Pat. Bob & Pat see each other & Bob taps Pat on the shoulder - but before anything further can happen between them Bob is arrested & jailed. Meanwhile Bob & Pat's lives are synchronous as they both stack socks (AH! - the ROMANCE!). Realizing that this is TRUE LOVE, Pat tries to get to Bob but the cops block her. Pat sees Bob & knocks the cops out - then Bob escapes & (if it's looped) the sequence starts all over again - but now the cops have Bob for escape & security measures are tightened. What's a young couple in love to do?

Bob spots Pat.

Bob _____ Pat.

Pat spots Bob.

Pat _____ Bob.

Bob taps Pat.

Cops _____ Bob.

Bob stacks socks.

Bob _____ socks.

Pat stacks socks.

Pat _____ socks.

Pat spots Bob.

Pat _____ Bob.

Pat clocks cops.

As usual, the pure sequence is presented 1st - w/ the blanks left unfilled. In the 2nd version, the upper half is from the "16 Sound Effects From Tape 4" disc (also used in {3}, {84} [in mono form], & {89} [in 2 forms]). This version repeats the sequence once to allow "development" of the "escape" plot. The blanks are filled on the 1st go-round w/ DX27 sounds & on the 2nd go-round by the upper samples.

Perhaps this is a "Concrete Messay" (instead of a Concrete Poem). The word "outshouting" is played thruout but is obscured by a mess of other phonemes at 1st. These others gradually drop away to allow "outshouting" to "outshout" them & become clearly audible. The opposite process cd be done w/ the words "thawing ice" (also available in this vocabulary). In other words, "thawing ice" cd be clearly audible at 1st but its component parts cd be gradually disintegrated.

The 2nd version simply uses the "Dry Sweep Slow Pan" effect.

{106.} 1. Pauline Oliveros Whistling in the T.M.C. = 11:11 @ 48

This drives the polyphonic Lower/Upper 1 of my "Whistling" samples (8 samples). When 2 of these are played simultaneously a very strong intermodulation is created wch instantly makes the whistling sound much more electronically generated. Add to this the looping of the samples + distortion from the recording process & an even stronger "electronic" sound is heard. These sounds remind me of "atavistic" electronics from the days of making such music by combining multiple sine waves.

This particular sequence is especially reminiscent to me of the work of Pauline Oliveros from the mid-1960s done at the T.M.C. (Tape Music Center) in California. I have recordings of 3 of her tape pieces from this time: "Bye Bye Butterfly" (1965, 8:05), "I of IV" (July 1966, 20:03), & "Alien Bog" (1967, excerpt: 5:27). The total time of these recordings is 33:35. An approximate 1/3rd of that is 11:11. Hence the time of this sequence.

Continuing the "11" unifier led to subdividing into 61 X :11 sections:

00:22:03. C2 + Eb3 (lowest note of 3rd sample) = 003

00:33:04. C2 + B3 (lowest note of 4th sample) = 004

00:44:05. C2 + G4 (lowest note of 5th sample) = 005

00:55:06. C2 + Eb5 (lowest note of 6th sample) = 006

01:06:07. C2 + Bb5 (lowest note of 7th sample) = 007

01:39:10. all 8 notes of the 7th sample simultaneously = 024

01:50:11. all 7 notes of the 6th sample simultaneously = 032

02:01:12. all 8 notes of the 5th sample simultaneously = 040

02:12:13. all 8 notes of the 4th sample simultaneously = 048

02:23:14. all 8 notes of the 3rd sample simultaneously = 056

02:34:15. all 7 notes of the 2nd sample simultaneously = 064

02:45:16. all 8 notes of the 1st sample simultaneously = 072

02:56:17. B2 (middle pitch of 2nd sample) = 073

03:07:18. B2 + a 6 note lick using samples 6 & 7 = 079

03:18:19. B2 + F#3 (mid-range note of 3rd sample) = 080

03:29:20. B2 + F#3 + D4 (mid-range note of 4th sample) = 081

03:40:21. B2 + F#3 + D4 + B4 (mid-range note of 5th sample) = 082

03:51:22. B2 + F#3 + D4 + B4 + F#5 (mid-range note of 6th sample) = 83

04:02:23. B2 + F#3 + D4 + B4 + F#5 + D6 (mid-range note of 7th sample) = 84

04:13:24. B2 + F#3 + D4 + B4 + F#5

04:24:25. B2 + F#3 + D4 + B4

04:35:26. B2 + F#3 + D4

04:46:27. B2 + F#3

04:57:28. B2

05:08:29. C7 (highest note of 8th sample) = 85

05:19:30. C7 + E6 (2nd highest note of 7th sample) = 86

05:30:31. C7 + E6 + G5 (3rd highest note of 6th sample) = 87

05:41:32. C7 + E6 + G5 + B4 (4th highest note of 5th sample) = 88

05:52:33. C7 + E6 + G5 + B4 + D4 (5th highest note of 4th sample) = 89

06:03:34. C7 + E6 + G5 + B4 + D4 + F3 (6th highest note of 3rd sample) = 90

06:14:35. C7 + E6 + G5 + B4 + D4 + F3 + Ab2 (7th highest note of 2nd sample) = 91

06:25:36. C7 + E6 + G5 + B4 + D4 + F3 + Ab2 + C2

_(8th highest (lowest) note of 1st sample) = 92

06:36:37. E6 + G5 + B4 + D3 + F3 + Ab2 + C2

06:47:38. G5 + B4 + D3 + F3 + Ab2 + C2

06:58:39. B4 + D3 + F3 + Ab1 + C2

07:09:40. D3 + F3 + Ab1 + C2

07:20:41. F3 + Ab1 + C2

07:31:42. Ab1 + C2

07:42:43. C2

07:53:44. a smattering of 22 notes from all samples = 114

08:04:45. G4 (lowest note of 5th sample) + 11 X {C5, D5, & Eb5 triplets} = 148

08:15:46. G4

08:26:47. A3 (3rd sample) = 149

08:37:48. A3 chromatic descent thru top half of keyboard (C7 to G4) = 179

08:48:49. A3

08:59:50. E4 (4th sample) = 180

09:10:51. E4 + a smattering of 22 notes from all samples = 202

09:21:52. E4 + F4 & F#4 (top notes of 4th sample & mid notes of keyboard) = 204

09:32:53. E5 (6th sample) + F4 & F#4 = 205

09:43:54. E5 + a smattering of 22 notes from all samples = 227

09:54:55. E5

10:05:56. C6 (7th sample) = 228

10:16:57. C6 + a smattering of 11 notes from all samples = 239

10:27:58. C6 + F4 & F#4 = 241

10:38:59. C7 (8th sample) + F4 & F#4 = 242

10:49:60. C7 chromatic descent thru bottom half of keyboard (F#4 to C2) = 273

11:00:61. C7


{107.}_2. Lower 1 Program 2 (Mono) Whistling = 1:32 @ 48

My 1st taking advantage of the "Program" function of the samples. This function allows 4 different versions of the basic sound to be stored & accessed. All of the "Whistling" samples are set so that Program 1 is polyphonic & Program 2 is monophonic (see "Sequences for Lower/Upper Mono Samples: {82.} - {89.}). Importantly, Programs can be switched in pauses while a sequence is in progress (w/ a slight glitsch sound) w/o cancelling the playing of the sequence! This characteristic isn't taken advantage of here but will be in later sequences (see {110.}: Lower/Upper 3 Whistling Programming Etc.. Variations). The basic intent of this mono sequence is to create a more "natural" (albeit mega-virtuosic) whistling flow. After some practice, a d comprovisation was played until the sequence was cut off at its limit.

{108.} 3. Upper 1 Program 2 (Mono) Whistling = 2:00 @ 48

Created for the same purpose & using the same method as the preceding - this time in the Upper half only. As usual, the reason for a 1-half-only sequence is to allow the other half to be used independently.

{109.} 4. Wolf Charges the Birds while Working = :07 @ 48

This drives the Lower/Upper 2 samples of the "Whistling" disc. These 4 samples were whistled as whistling "standards". The lowest is the "Calvary Charge", the next is the "Wolf Whistle", the 3rd is a bird imitation, & the highest is "Whistle While You Work". A man is whistling while working. A bird strikes his fancy & he wolf-whistles & charges. Business as usual. A very simple sequence. "Wolf Whistle" & "Whistle While You Work" are played so that they both end on the same pitch at the end.

{110.} 5. Lower/Upper 3 Whistling Programming Etc.. Variations = 8 X 2:20 @ 48

This sequence is simply designed to be changed while it's being played by changing the Programs & w/ other live internal sampler manipulations that can't be preformed in the Programs - such as pitch & loop controls. These live manipulations must be done carefully because changing some of them will undesirably radically change others: e.g.: changing 60 (Wavesample Start) turns off 65 (Loop Switch) & resets 62 (Loop Start) & 63 (Loop End). The 4 possible Programs per each keyboard half are as follows:

1. the 1st version of the sample as ordinarily used

2. a monophonic version

3. a polyphonic version in wch parameters 28 (Mix Mode), 31 (Low Frequency Oscillator Speed), 32 (Low Frequency Oscillator Depth), 33 (Digital Oscillator Detune), 34 (Digital Oscillator Balance), 37 (Filter Resonance), 50 (Attack Rate), 51 (Peak Level), 52 (Decay Rate), & 53 (Sustain Level) are radically altered from the 1st version

4. a monophonic version of #3

The sequence is designed to maximize the differences between the programs. Thus chords are held wch will be heard only in the poly parts & keys are held down for gradually lengthening times to highlight differences in Attack Rates, etc.. This is done by playing (in Program 1) C2, then Ab2, Eb3, B3, G4, Eb4, Bb5, & Gb6 - waiting to start each successive note until after the preceding 1 has played thru its initial envelope once & letting each note go when each new 1 is sounded. The shortest version of this is approximately :22. A :03 pause is allowed to show off differences in release patterns. This is then repeated w/ all of the notes held down.

These are then released, another :03 pause occurs, & the 2 part pattern is replayed starting on the 5th note (G4) & ending on the 4th (Bb3). This time, however, the loop of each envelope is allowed to play thru once before the next key is depressed. This cycle is approximately :38 + :03 X 2 = 1:22 long. The total time is: :50 + 1:22 = 2:12.

In order for this sequence to be played in its entirety as intended each looping must be played once thru each of the following Program permutations (not necessarily in this order):

L1 + U1

L1 + U2

L1 + U3

L1 + U4

L2 + U1

L2 + U2

L2 + U3

L2 + U4

L3 + U1

L3 + U2

L3 + U3

L3 + U4

L4 + U1

L4 + U2

L4 + U3

L4 + U4

In my original plan for this, each of the 8 notes began a cycle. This made a whopping total of 22:50 X 16 = 6:05:20! I decided that was tooooo looooong!!!!! Then I tried an abbreviated version in wch the total was still too long at 6:40 X 16 = 1:46:40! Finally, this 1 is 2:12 X 16 = 35:12. Playing this I found it more accurate to stretch it to 2:20 X 16 = 37:20. Alas!, even that's too long so I've stripped it down even further by only using the permutations in wch the 2 halves are at equal volume:

00:00: L1 + U1

02:20: L1 + U2

04:40: L2 + U2

07:00: L2 + U1

09:20: L3 + U3

11:40: L3 + U4

14:00: L4 + U4

16:20: L4 + U3

This yields 2:20 X 8 = 18:40.

{111.} 6. Lower/Upper J9 1 = 1:00 @ 48

What can I say about this? Jeanine Farrall was here, I sampled her voice, I played around w/ the samples & made the 3 sequences that finished off this disc. The sine-wave-like shrillness of her voice resolves into more gutteral humaness.

{112.} 7. Lower/Upper J9 2 = :35 @ 48

This cd be subtitled the "Drinking & Slobbering Machine" or, perhaps, the "Hocker Assembly Line". 12 measures of 8/8 or some such.. The 2nd version has a snappy "Warbler" "solo" "overtop".

{113.} 8. Lower/Upper J9 3 = 1:42 @ 48

"Clean That Flamenco Dancer Out of the Pool Would You Honey?". Lower 3 Program 3 allows the gurgles to fade in & Upper 3 Program 4 makes the voice more subtle.


"Sequences #8"

{114.} 1. "Realistic" David Prentice Solo = 1:23 @ 48

Somewhat late at night, after listening to a Bernard Parmegiani piece w/ violin in it, I was inspired to create a new violin sequence using David Prentice samples (see also sequences {49.} & {53.}). I slightly modified the Lower 3 & Upper 2 samples & accidentally saved the Lower 3 sample to the Lower 2 position - thereby erasing the original Lower 2 sample. Since, as usual, I cdn't afford discs to create back-ups w/, this was permanently lost (ignoring the possibility of retrieval from a parallel universe). I went to bed.

The next morning I decided to experiment w/ creating a new sample so I broke the Lower 3 (now also 2) into 8 parts w/ different beginnings & endings - but all culled from the same original sample. This made possible much more realistic variations & nuances that what I'd previously been able to accomplish. The sequence takes advantage of this to create flow using Lower 2 Program 2 (Mono) & Upper 2 Program 2 (Mono).

{115.} 2. Revivified Neil Feather Driver = 2:15 @ 48

For this "Revivified" series I took some of my older samples & changed them in ways initially developed largely as a result of the David Prentice disc accident described in the previous entry. The samples used for this are of Neil Feather playing his "Nuguitar". If this is a more "realistic" Feather sequence (as w/ the Prentice 1) it's because Neil's frequent use of his 16 second digital delay wd enable this type of layering & speed manipualtion.

{116.} 3. Upper Revivified Piano Driver = 5:00 @ 48

Track 13 here:

The sample used for this is of a subtly ring-modulated piano sound being played in a short figure (yet another mini-sequence). As w/ the preceeding 2 sequences' samples, it's broken into 8 variations w/ different excerpts & loopings from the intitial sample. As w/ {113.}, the attack time is set for the maximum fade-in. This is a polyphonic sample so that each of the variations can be played as tone clusters. As usual, since each sample is a mini-sequence, the playing of more than 1 "note" of the same sample simultaneously creates phasing that yields composite melodies that change as the loops cycle thru their permutational relationships. 6 of the clusters are 4-note & 2 are 3-note. As usual, again, the 8 note polyphony limit causes a sudden cessation of the least recently played cluster when a new cluster supercedes it.

The 2nd version recorded uses the lower half of the same sample pair wch has its attack setting at the more typical instantaneous. When creating this sequence, I experimented w/ a large number of variations wch included using both halves of the sample rather than just the upper. After much trial & error, I preferred the simpler upper-only version recorded 1st here. This 2nd variation involves my playing live the lower part that I rejected using in the sequence. Its intrusion effects the sustain time of the sequence clusters by cutting into the polyphony limit.

{117.} 4. Upper Revivified Vibres Driver = :48 @ 48

This is a more (almost) "metered" rhythmic bit. I like it alot but I can't think of anything to write about it except for some minor technical notes about subtle things done to create a seemingly complex melody w/ limited mini-sequences. This latter info doesn't seem worth relating because it doesn't really posit much new ideas.

{118.} 5. Lower Revivified Vibres Driver = 1:12 @ 48

More of the same as in the last entry.

{119.} 6. Klezmer à là John Berndt on Alto Sax = 2:38 @ 48

I had John Berndt play 16 variations on the "same pitch" on alto sax & sampled them. John preferred that I not loop the samples & that I keep them as unchanged as possible. The clean & 'punchy' abruptness of them led into this 'klezmer' sequence.

As usual, the 1st version recorded is straight. The 2nd has the DX27S "Jazz Guit" (Jazz Guitar - Normal Mode, Group 1, 21) playing using this set of pitches: D, D#, E, A, A#, & B.

{120.} 7. CCMC sure are Exciting to Play W/! = 1:18 @ 48

footage of the concert that the samples are taken from is here:

Using Disc #1 Lower/Upper 1 samples of the C.C.M.C. material (see also sequences {73.} & {75.}), I tried to make a fairly fast moving bit that would be exciting because of its sudden "synced" tempo changes & steady rhythmic patterns. Since C.C.M.C. are an improvising group, it's highly improbable that they've ever played w/ this particular kind of unison. As such, the "excitement" of the title comes partially from playing w/ the samples of C.C.M.C. to create this type of unison - causing a simulation of them to conform to an unlikely structure - as well as from playing w/ them originally.

{121.} 8. Basic Sound = 1:52 @ 48

Many of the sounds that I build are meant primarily as segue sounds to be used between sequences. As such, they aren't originally intended to be sequenced themselves. For this sequence I decided to deviate from this practice. 1 of the earliest discs of samples that I made for this type of purpose is 1 that has excerpts from tapes I made of mutated other recordings. The upper 3 of this disc is from a 2 digital delay alteration of a record about speaking w/o a larynx. This sample begins w/ the narrator saying "basic sound". This was used as a focal point for this simple sequence. The lower sample is from 8 samples from tuning an FM radio - made almost 2 yrs after the "w/o larynx" sample but in a similar spirit. "Basic Sound" here is deliberately muddled & vague.


"Sequences #9"

{122.} 1. Mono Bass / (delayed) Pan Flute / (delayed) Suspende7! Driver = 12:16 @ 48

(the only speed it can be played at)

There are 3 pre-set mono sounds on the DX27S: Mono Bass, Mono Lead & Mono Sax. Mono Bass (Normal Mode, Group 2, 03) is distinct from the other 2 by being non-sustainable. This means that if a Mono Bass note on the DX27S is held down while other notes are played or if successive notes are played Legato (slurred/joined) that approximately the 1st second's worth of notes will be heard as a Portamento & then no further sound will be heard until a non-linked fresh attack is keyed. If other (non-non-sustainable-non-mono) sounds are being midi-controlled by the same key-downs then these will continue to be sounded while the Mono Bass is inaudible. If a chord is played, the Mono Bass will play a quick Portamento - while the other (non-mono) sounds will play the chord.

The (delayed) Pan Flute sound (Single eA-2) was originally created for the K1m Multi "Q Call & R" & the (delayed) Suspende7! (Single eC-7) was created for the K1m Multi "Stringy". Both have delayed attacks: Pan Flute is delayed shortly & Suspende7! is delayed fairly long. They also have shifted pitches: Pan Flute is a semi-tone higher than the key-down (i.e.: if a "C" is touched on the keyboard, a Pan Flute "C#" is played) & Suspende7! has 4 shifted pitches w/in it: the 1st at 2 octaves higher (sortof), the 2nd at 10 semi-tones higher, the 3rd at 6 semi-tones lower, & the 4th at 3 semi-tones higher. The 1st of these sustains & the last 3 are Pizzicato. When the last Pizzicato ends so does the sustain! The Mono Bass (since it's a bass sound) is transposed 2 octaves lower than the Piano pitch would be. These delays & pitch-transpositions were meant to enable 1 key-down to trigger both a conventional "melody" (meant in this instance to mean a succession of different pitches) & a "klangfarbenmelodie" (meaning a succession of different timbres). See sequence {11.} 3. "Sentimental" Q Call & R Driver.

This is the 1st of my sequences to take advantage of midi-controlling 3 devices set to sounds w/ different envelope characteristics in order to create a somewhat complex polyphony by using different key-down times. In other words, if a short key-down is played, only the Mono Bass will be heard; if a slightly longer key-down is played, the Pan Flute will play a note a semi-tone higher shortly after the Mono Bass is heard; if the key-down is even longer, the Suspende7! sound will also be heard. How long the key is held down will determine how many of the different pitches w/in the Suspende7! are heard. Whether a key-down is held while others follow or whether the notes are played Legato or whether a chord is played will also determine differences (as explained above), etc, etc..

Further complications can be introduced by changing the Midi-Patcher setting so that the Sequencer isn't controlling all 3 of the devices: e.g.: so that it's controlling K1m#2 while the DX27S controls K1m#1 - so that a different polyphony (then the purely sequenced 1) can be played by playing keyboard simultaneous w/ the sequence, etc, etc.. In this latter instance, if the sequence has a sustained key-down, a playing of the DX27S will not trigger any new Mono Bass sounds but will trigger new notes on the K1m.

If a Multi-Verb program preset sequence is used (see sequence {66.}) yet another pitch changing variable can be added. If not all of the devices are being effected by the Multi-Verb it gets even more complicated - enabling somewhat complex "inter-instrument" polyphony at the control of 1 player using predetermined material (the sequence) + 'live' material (the keyboard playing) + a hybrid of the 2 (the Multi-Verb program preset sequence (predetermined) + the foot-pedal control of it ('live') - complicated by the usually unplanned entrance point into the program preset sequence cycle), etc, etc? Oi Veh!!

This sequence is designed so that playing on the keyboard can be either pitch-specific in relation to the sequence for a 'narrow' tonality or 'random' for a 'random' (mostly chromatic) tonality. The "'narrow' tonality" consists of playing only, e.g., the minor intervals in relation to "C" that are generated by the playing of C4 as a trigger for the 3 sounds primarily intended to be driven: e.g.: a depression of C4 generates 1st: C2 (Mono Bass), 2nd: C#4 ((delayed) Pan Flute), 3rd: what is probably 'really' C4 (1st part of Suspende7! envelope) followed by A#4 (2nd part of Suspende7! envelope) followed by F#3 (3rd part of Suspende7! envelope) followed by D#4 (4th part of Suspende7! envelope). Since the lower pitches are 1st: a double octave, & 2nd: a tritone, it's irrelevant whether the intervals are higher or lower (i.e.: no inversion factor is introduced). What this means in relation to the actual sequence is explained after the sequence itself is described.

The system of the pitch progression is determined by a combination of the built-in pitch progression determined by the nature of the main driven sounds (the possibility of secondary driven sounds not alluded to in the name for this sequence comes later) + an exploitation of how different key-down times determine wch sounds (& their pitches) are heard.

The 1st key-down of the duration variables is only long enough to play the 1st sound (Mono Bass). The 2nd key-down is only long enough to play the 1st 2 sounds (Mono Bass + (delayed) Pan Flute). The next 4 key-downs followed the implied progression of the preceding: introducing each new sound of the Suspende7! 1 by 1. The last key-down allows the 2nd sound to sustain past the end of the last Suspende7! sound. The pitch sequence follows the same sequence of the pitch sequence of the 2nd-to-the-last sustained keydown but progressively moving thru the duration variables - starting w/ C4 (i.e.: middle C). This is played 1st by having separate attacks, 2nd by having legato attacks, & 3rd by playing chords.. Oi Veh!!

Therefore, the key-down pitch sequence is as follows:

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ separate attacks @ duration 1.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ separate attacks @ duration 2.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ separate attacks @ duration 3.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ separate attacks @ duration 4.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ separate attacks @ duration 5.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ separate attacks @ duration 6.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ separate attacks @ duration 7.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ Legato attacks @ duration 1.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ Legato attacks @ duration 2.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ Legato attacks @ duration 3.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ Legato attacks @ duration 4.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ Legato attacks @ duration 5.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ Legato attacks @ duration 6.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 w/ Legato attacks @ duration 7.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 played as a chord @ duration 1.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 played as a chord @ duration 2.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 played as a chord @ duration 3.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 played as a chord @ duration 4.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 played as a chord @ duration 5.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 played as a chord @ duration 6.

C4 (wch sounds like C2), C#4, C4, A#4, F#3, D#4 played as a chord @ duration 7.

The result of this is that in the separate attacks cluster all sounds are heard articulated; but in the Legato cluster only the Mono Bass's 1st attack is heard followed by a faint Portamento - while the other sounds are heard as before (in the actual programming of this sequence I played it so that the beginning of the 1st 3 of the durationally determined sequences are played w/ separate attacks at the beginning (i.e.: no Legato joining the last note of durational sequence 1 to the beginning of durational sequence 2, etc) so that 3 Mono Bass attacks are heard - after that Legatos join everything together so that no more Mono Bass attacks are heard in the Legato cluster) ; & in the chord cluster the Mono Bass plays a more substantially audible Portamento while everything else plays staggered chords.

What starts as a punchy bass-line quickly transforms into something much more progressively drawn out in wch the bass almost completely disappears. The suggested 'narrow' tonality 'live' interaction thru keyboard playing simultaneous w/ the sequence playing would involve playing variations on the 'theme' - w/ the 'random' tonality generated by playing any notes. If the Sampler is allowed to be heard, suggested sounds for it would be either bass sounds or sounds w/ delayed attacks (such as those used in sequences {113.} & {116.}). Examples of this latter would be Lower/Upper J9 3 (program 3 or 4) or the Upper Revivified Ring Modulated Piano.

If the Lower/Upper Revivified Ring Modulated Piano samples are used then the 5 notes of the theme played in the lower keyboard half would have the Piano mini-sequences played instantaneously w/ the attack & looped & the 1 note in the upper keyboard half would have a fading-in attack that would differentiate it. If programs 2 or 4 of the #3 Whistling samples (gradual attack + mono) are used then the 3 cluster sections will be substantially different from the 3 cluster sections when program 3 is used (instant attack + poly). Obviously Upper & Lower can be mixed from different samples, etc..

The 1st version recorded here just uses the sounds of the title w/ no 'live' intervention. The 2nd version uses the DX27S SyntheBass (Normal Mode, Group 2, 02) instead of Mono Bass + the Lower #1 Whistling samples (8 samples - program 4: changed to mono midway) & J9 Upper #1 Downward Glissando into Looped Fluorish (program 4: delayed attack setting: 16). The 2 K1m sounds are effected by the Multi-Verb program preset sequence. The Sequencer controls everything & the keyboard controls itself & the Sampler. The keyboard-controlled interaction is focused on the 'theme' pitches.

For a separate recording, an entire 100 minute cassette is used to explore the various possibilities! The straightforward version is played 1st. Then the sequence is allowed to loop thru 3 times to finish off the 1st side w/ various experiments tried. The sequence is looped thru 4 times on the 2nd side w/ as many experiments thrown together as complexly as I can manage.

{123.} 2. A Smattering of Speech Crutches = 9:00 @ 48

Jen Lahn, my collaborator in this instance, chose to be sampled saying the following 8 "Speech Crutches": So, Actually, Um, I mean, Like, Really, But, You know. Jen made her own sequence w/ these that's not included in this listing. My original intention was to record the 41 permutations of all the words as listed below (41 X 8 = 328 - the maximum allowable w/in the 333 note limit). These were not created in accordance w/ any rigorous system - I just made sure that no phrase is repeated & that no consecutive phrases begin w/ the same word.

These were to be mostly recorded w/ substantial space between them so that when the sequence is played simultaneously w/ my playing something else it can act as a sortof facetious commentary. All of the samples are looped. The 1 word ones are looped so that their ends stutter & the 2 word ones are looped in their entirety. In all but 1 of the playings of the phrases, the loops aren't allowed to play beyond a slight hint. In all of the playings, there are no choruses of the Speech Crutches. The exception to this latter was meant to be the word "So" played on 3 keys in the last line.

Unfortunately, after the 39th line, every further attempt to overdub crashed the sampler/sequencer. On my 3 attempts to play this back after rebooting, the system crashed on the word "So" in the 39th line (the 8:45 mark) every time. This resulted in my recreating the whole damn sequence minus the last 4 lines (to be on the safe side)! This enabled me to play the last "So" as a (4 note) chorus after all. Alas, by line 31 I made a mistake & repeated line 17. Rather than go thru the whole recording process yet again, I just let it stay that way. Of course, the 'melody' of each of the lines is different even though the words are in the same order.

So, Actually, Um, I mean, Like, Really, But, You know

Actually, Um, I mean, Like, Really, But, You know, So

Like, Really, I mean, Actually, So, But, Um, You know

So, Actually, I mean, Like, Really, Um, You know, But

I mean, Like, Really, But, You know, So, Actually, Um

Like, Really, But, You know, So, Actually, Um, I mean

Really, But, You know, So, Actually, Um, I mean, Like

But, You know, So, Actually, Um, I mean, Like, Really

You know, So, Actually, Um, I mean, Like, Really, But

So, You know, Actually, Um, I mean, Like, Really, But

Like, But, Really, Um, You know, I mean, Actually, So

So, Actually, You know, Um, I mean, Like, Really, But

Um, I mean, Like, Really, But, You know, So, Actually

So, Actually, Um, I mean, You know, Like, Really, But

Actually, Like, Really, But, You know, So, Um, I mean

Um, Like, Really, But, You know, So, Actually, I mean

So, Actually, I mean, Like, Um, Really, You know, But

Um, You know, So, Actually, I mean, Like, Really, But

So, Actually, I mean, Like, Really, You know, But, Um

Actually, I mean, Like, Really, But, You know, So, Um

So, Um, Actually, I mean, Like, Really, You know, But

I mean, Really, You know, Um, Actually, Like, But, So

Actually, Really, But, You know, So, Um, I mean, Like

So, Actually, Um, I mean, Like, You know, Really, But

Actually, But, You know, So, Um, I mean, Like, Really

I mean, Um, Actually, You know, Like, Really, But, So

Actually, You know, So, Um, I mean, Like, Really, But

Um, Actually, I mean, Like, Really, But, You know, So

I mean, Actually, You know, Like, Really, But, So, Um

Um, But, You know, So, Actually, I mean, Like, Really

So, Actually, I mean, Um, Like*Really, You know, But

Um, Really, But, You know, So, Actually, I mean, Like

I mean, You know, Like, Really, But, So, Actually, Um

Like, So, Really, But, You know, Actually, Um, I mean

I mean, You know, Um, Actually, Like, Really, But, So

Like, I mean, Actually, So, Really, But, Um, You know

I mean, Like, Really, You know, Um, Actually, But, So


the lines that didn't make it:

Actually, So, Um, I mean, Like, Really, But, You know

Like, I mean, So, Really, But, You know, Actually, Um

Um, So, Actually, I mean, Like, Really, But, You know

Like, I mean, Actually, So, Really, But, You know, Um


*[these last 2 words (Like & Um) are really reversed]


As usual, the 1st version recorded is straight w/o any other playing & the 2nd version provides the material that the Speech Crutches can act as 'commentary' to.

This 2nd version is played simultaneously w/ the 1st 9 minutes from the February 4th, '97 "Speech Synthesis, Whistling, & J9 (+ Performa, etc..) - Part 2" tape which incorporates playing of a note of my "Melody #5" from a MUSICWORKS CD + excerpts from my "Drying Clothes Made Entirely from Zippers" from the Audio Alchemy CD + A SimpleText reading of an explanation of the Speech Synthesis project + a mixing of a SimpleText reading of a "Vocabulary" w/ a simultaneous playing of the same sampler phonetics "Vocabulary" + the use of effects other than the effects used on the Speech Crutches, etc.. Each of the Speech Crutch phrases is processed thru a different effect.

{124.} 3. Decadent Pop Rock = :27 @ 48

4 samples were made of Jen Lahn popping Pop Rocks candy in her mouth. I tried various sample manipulations that I hadn't experimented w/ before using the filter parameters so that the pitch characteristics of the sound wd change over time. All of the samples also have their pitch lowered & the upper samples are mono. The highest upper sample has a short loop so that a square-wave-like sound is produced at its end wch can then be sustained thanks to the mono.

I wasn't very inspired by these samples when I started working on sequencing them so I decided to make a very simple short clumsy machine type of sound w/ them to be basically used as background for something else undecided upon. This sequence played all of the samples in a fairly straightforward way for :27. This sequence was then played into the computer so that it cd be compressed & otherwise altered & fed back into the sampler to replace the original Pop Rocks samples.

As such, a straight version of the sequence was pitch-shifted until it was reduced to :01.29 long & was rerecorded as lower sample #1. For lower sample #2 the sequence was reversed & also reduced by pitch-shifting to :01.29. Upper sample #1 was pitch-bent in an ascending glissando to :01.29. Upper sample #2 was heavily delayed & echoed & reduced w/ pitch-shifting to :01.30 (close enough). On all of them, the filter settings were kept the same as w/ the original samples but the pitch was lowered to the maximum & the loop was extended to the maximum. Slight tweaking of their individual volumes brought them into approximate uniformity.

The same sequence created for the 1st (now replaced) set of samples is used to play this new set. The result is even less 'articulate' than w/ the original. Some might call this Lo-Fi, I prefer to call it Speculative Fidelity. This is basically a study for an intended series of more articulated interaction between the computer & the sampler in wch the use of sample pitch lowering can create mini-sequences of greater length than previously possible & in wch, hopefully, the samples will be heard w/ greater differentiable clarity.


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