All different types of sequencers can even be linked and synced together allowing endless original musical possibilities. With multiple state machines, algorithmic sequencer states can be in turn sequenced and interpolated in a song-like way. Algorithmic sequencers based on vector progression, Markov chains and physics generate musical sequences in a similar fashion to modular synthesis Different operators and principles guide pattern or stochastic -based endless flow of notes that control internal instruments or external MIDI devices and software. Sequencers use scale subsets that allow very easy and fast grid-based creation of the most hypnotic, catchy or complex sequences possible. Stereo or multichannel audio output can be rendered to wav offline or online while playing or mixing live. Internal mixer with multi-effect buses provides complete track production within the single software. ![]() Indian or Arabic, and their distinct musical scales ? How about generating totally unique tuning systems and exploring their new sonic frontiers with traditional piano roll notation or with more adventurous algorithmic and stochastic sequencers ? Even though not an entry level music software, Dhalang requires no special musical training and only a refined ear for music and sound that go beyond the mainstream.ĭhalang MG consists of internal synthesizers and samplers all tunable to any tuning system. Have you ever wanted to sequence electronic and electro-acoustic music with authentic alternative tuning systems e.g. It can be used as a complete all-in-one solution for composition, or it can be used in conjunction with other programs, or MIDI input and output programs. You’ll find it has a range of possibilities that will keep you occupied for not hours or days, but months on end." Warren Burt / Sound Bytes Magazine It’s a microtonal tuning utility, a series of sound generators, a traditional DAW-type sequencer, a series of algorithmic generators, and a mixer. Burroughs said, “a broader, general view of things.” Dhalang (the name derives from the puppet-master in the Indonesian shadow puppet theater) by the Finnish developer Joel Kivela does at least four different things, and it does each of them well. It’s bloody brilliant."Some apps do just one job well, while other apps take, as William S. One of the problems with Burnett’s soprano tone, especially on something like Light Beings, is that he’s mixed up so high and close, with the rest of the group seemingly crowded in behind him, and yet it’s a Sam Owens recording job at Figure 8 in Brooklyn, and he’s always on it, so the problem may be the need to get this music down hard and as-live, with some compromise on the balance. Carlos Homs, about whom I know next to nothing, beyond some stuff he’s done with Reggie Workman, holds the centre on every track, apparently connected to the leader by some umbilical, mutually nourishing link. ![]() The tracks are mostly long, but seem to fly by at half their documented duration, which is testimony to how tight the writing and arranging are and how completely absorbed in the project the group as a whole is. I have to say that I don’t much like Burnett’s saxophone tone, especially on the soprano, but this is ensemble music that quite deliberately takes much of its language from electronic practice, and from Burnett’s own experiments with an audio-to-MIDI converter, so to compare him with the tenor/soprano stars of a previous generation – Shorter, Henderson, Brecker, Liebman, even Branford Marsalis – doesn’t quite make sense. ![]() Check them out on No More Bebop?, which seems to answer its own question in Peter Evans’s scalding trumpet solo and the leader’s own snarly feature. The engine of the band is the axis of Nick Jowziak and, a more obviously known quantity, Tyshawn Sorey, who keep up an almost frighteningly intense rhythm. The latter contains a wildly exciting vibes solo from Joel Ross and one of only a couple of fine statements from trombonist Corey Wilcox, who either arrived late, left early, or was only called in for a couple of tunes. "After one of those pointless opening fanfares that someone hung onto from the sessions and decided to paste in at the top, this comes out of the traps like a muscle car and keeps going right to the end.Įmbrace Of The Goddess and, most particularly, Picassonite are among the most exciting contemporary jazz performances I’ve heard in a long while.
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