|[audio:http://www.cornwarning.com/chaircrusher/Chaircrusher-2011-08-14-BeatRepeatLFO.mp3|titles=Beat Repeat/LFO Experiment|artist=Chaircrusher]||http://www.cornwarning.com/chaircrusher/Chaircrusher-2011-08-14-BeatRepeatLFO.mp3|
It’s hard not to be an electronic musician without developing a fascination with random/stochastic processes as a compositional tool. Particularly because when you pay attention to e.g. a Max Roach Drum Solo he seems to be balancing random choices with intentional ones. While Roach knows what he wants in broad outlines, part of what makes his playing great is that he has learned to simply allow his muscle memory and hind brain take over and introduce surprises. By letting go of a score and conscious control he’s participating in randomness shaped by his will.
Max spent a lifetime developing the skills as a musician to allow this sort of freedom in his playing. This demonstration clip is what happens when you set up many random Max For Live LFOs to modulate many, many different things. At the core, LFOs are modulating the Repeat and Grid parameters of a Beat Repeat effect. Then two more LFOS modulate the effect send levels, going to a reverb and delay. A third LFO is modulating the rate of the LFO modulating the Repeat parameters.
Then more LFOs modulate the regeneration level and ‘echo reverse’ parameters of the delay, and the size and predelay on the reverb.
One drum loop is the sole audio source for this. All this modulation introduces a currently fashionable sort of crackle where changing parameters introduces audio discontinuities.