September 29, 2011

More Tempest Stuff...

by Chris Randall

Richard Devine put up a video the other day that got me all bummed out because (through complete coincidence) I was working on one showing exactly the same thing, the fun to be had with the quantized pattern switching and ribbon controllers. Richard is necessarily better at this sort of thing than I am, and once I saw his video, which went up right as mine was rendering, I was all "DAMN YOU RICHARD DEVINE! DAMN YOU TO HELL!"

Then I planned to do a different video.

Then I thought "fuck it" and whacked the Upload button. So here you go. Essentially the same sort of thing Richard was demoing, the quantized pattern switching in Tempest which allows you to switch patterns in the middle of a measure and maintain the measure position, along with some ribbon controller fun. The left ribbon is assigned to decay of all voices, and the right ribbon is assigned to relative pitch of all voices. I'm also using a MeeBlip (the sorta-bass-sound-thing) and a DSI TETR4 (the melody thing). The result is what I feel is a reasonable example of the Crunkstepno genre. Enjoy.

(PS: I did get one ACHIEVEMENT UNLOCKED!!! on this bitch, though. I'll lay money this is the first time a Tempest hit analog tape. What do I win?)


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Oct.03.2011 @ 12:23 PM
Besides the ethics of adding AutoTune surreptitiously, there's the issue that the overuse of AutoTune has led to people becoming VERY sensitive to the artifacts of it. Just because the musicians couldn't hear that it was in use, doesn't mean that it wouldn't be audible to some listeners.

And I suspect that the audience for a roots/folk/bluegrass group are the type of people who would object to the use of AutoTune, as it presents an "inauthentic" picture of a performance. So the presence of AutoTune artifacts in a bluegrass performance could cause the audience to turn against the band, for a decision that they didn't make and was unexpectedly foisted upon the band by an engineer who thought he was being clever.

Oct.04.2011 @ 12:39 PM
bongo_x & beauty pill & seancostello -
Agree with you all totally on the ethics and genre-appropriateness of surreptitious auto-tuning ... The comment was really intended to give an example how "electronic music" processes are crossing over into even acoustic genres where people value "purism" and "authenticity".

My brother gave them mixes that were both non-autotuned and autotuned and let the client choose (the ethical lapse was not telling them the difference). The part that was interesting to me was that the musicians themselves made the choice of the autotuned tracks based on what they -heard-, but if they had known that the tracks were being autotuned, they would have chosen the non-autotuned tracks based on "authenticity".

As I said in a previous comment, all recorded music is artifice. The concept of "authentic performance" starts flying out the window as soon as you set up a microphone. In this context, the only authentic performance would have been real-time and acoustic. But even in the given roots/folk music context, the musicians had chosen to overdub many of their parts rather than perform as an ensemble, etc. So autotune was just one part of a process that was quite different than a live acoustic performance which arguably would be the only "authentic" performance of music in that genre.

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