Number 10: It’s so much nicer to be able to get to sleep at a decent hour on Friday nights.
Number 9: You don’t have to deal with that one guy who insists that his confusing and non-traditionally notated string of prime numbers is a “song” when the need for original material keeps being mentioned.
Number 8: Drum machines will play what you tell them to play in time, every time, as long as they’re plugged in. Drum machines are always sober and focused. Drum machines will never show up to band practice and ask if anyone wants to do shrooms or molly. Drum machines don’t need a click track, and will never get offended if you suggest playing to one. Drum machines will never loudly proclaim “We can be the next Holy Fuck!” before asking you to trigger a 4-bar MIDI sequence in Ableton to play along to and proceed to drift off the sequence by the the end of the third bar. Drum machines will never call that violent rhythmic inconsistency “swing”. I could probably come up with an entire Top 10 list about why drum machines have the potential to be better than most drummers, but I digress.
Number 7: Your vision is yours, and will never be second-guessed by anyone.
Number 6: You don’t have to share close quarters with coronavirus deniers who don’t wear masks and insist that wild mushroom tinctures, colloidal silver solution, and dirty sea water are the key to surviving a pandemic.
Number 5: If you happen to be an egomaniac, you don’t have to worry about anyone else in the band calling you out on it. You can keep it in check if you choose to.
Number 4: You don’t have to lug your gear back and forth.
Number 3: You don’t have to worry about finding your pedals at pawn shops.
Number 2: You can sound like whatever the fuck you want.
Number 1: All of the credit and blame is yours and yours alone.
What you’re looking at here is Pure Data running two “drunk” objects (as in a random or “drunk” walk along a number line) and sending each result to their own MIDI CC number, which are mapped to the frequency and resonance parameters on Ableton’s Auto Filter effect. I’m just using the good ol’ Amen Break running through Audio Damage’s Automaton VST to demonstrate this. (I love Audio Damage plugins). Something like this would be ideal for me when I’m playing a keyboard line on a polyphonic synth and I don’t have any hands free to do a sweep.
Oh, if you click the “GITHUB” link on the menu at the top, it’ll take you to my Github repository where I keep various and sundry Pure Data patches for anyone to use for their own nefarious purposes, license-free and guilt-free.
I might post more tutorial stuff. I dunno. Who’s even reading this shit?
Hello, longtime Pink Floyd fan here, putting in my two cents about the recent unpleasantness.
The other day Roger Waters uploaded an ANNOUNCEMENT to his YouTube channel wherein he complains about being “banned” from the official Pink Floyd website and all related social media. I find this a little weird. His main issue, other than giving him yet another opportunity to talk shit about David Gilmour, was that he wasn’t able to share his “quarantine” video of “Mother” (from The Wall) on Pink Floyd’s online apparatus, that he had to use his own YouTube channel instead. (What kind of privilege is this considered?)
If I remember correctly, Roger quit Pink Floyd.
I bring up Steve Hackett, who was the lead guitarist for Genesis from 1971 until he quit in 1977. He’s been spending his self-isolation uploading videos of himself performing various acoustic pieces to his YouTube channel, including a version of “Horizons”, a lovely acoustic number based in part on Bach’s Suite No. 1 in G major, BWV 1007 (one of the “cello suites”) that he wrote for the Foxtrot album.
I haven’t seen a single video on Steve Hackett’s YouTube channel complaining about why he can’t share it on the official Genesis channel.
Also, Steve Hackett still puts out decent music. Just sayin’.