In my post of March 20 I wrote about how I worked with KORG minilogue.
This instrument has 99 preset sounds. They are more or less common synthesizer sounds, some of them interesting, some of them less interesting. I had a little prejudice about those sounds, but I had to admit that there was good material among them. Finally I found four sounds, which I started to develop and modify. Then I saved them every now and then to the instrument and had 11 sounds in total for the performance.
As I mentioned, my first sound was Flutes Key (046). A bit empty and tedious at first sight, but even more so it enabled me to shape it in different ways. And, the apparent similarity with the acoustic flute was a good base for combining both sounds.
I liked my next sound Drip City (093) for some reason. It was a sound, from which I didn't know what to do, but couldn't leave it out. So I left it as it was and used it in a section with the bass flute's tongue rams and key clicks, changing only octaves.
As for the narrative, this banal sound was somehow associated with a bad prophecy to be manifested in the following crude Rhino bass (059) part. I loved the latter for its secco and pure structure, I shaped it in some ways, like for example with help of detune and extreme octave switches. My last sound was Dream Seq (095), again a sound with very fine composition and sensitivity for key touch. This sounded in the final part of my piece in transition from the lament to peace bells.
Most of my modifications were quite simple. I detuned the pitches, moved the octaves, changed the extent of delay or chord complexity (Voice Mode Depth), manipulated ADSR, shaped spectral density etc. For real-time processing I used one of my favourite tools, LFO, targeting shape and pitch with different degrees of rate and intensity.
This instrument is worth to explore more deeply...
I hope I will work with it again soon.
