not a specific idea but a specific example

I didn’t know had this until now.

I was looking for “a word for rule breaker” in google and this was the first.

I have no idea at the moment how this could be musically useful inside Renoise, it is interesting none the less.

Move the sliders to get something specific.

I used to use a neat music-generating program called Koan Pro, from Sseyo (SOS Past Articles now online (back to January 1994)).

Sadly it is not longer available. It used randomizing within assorted constraints to produce generative music.

You could adjust the degree of randomness such that you could produce a piece that sounded pretty much the same from one play to the next, but with subtle variations each time. Or you could make a piece that was unpredictable.

When creating a new piece they had an option to randomly set all initial parameters. I never liked it because it was too random.

Instead, I would use one the stable presets and tweak from there.

What would be fun to have in Renoise would be a tool that would semi-randomly change some setting or data in a song. Do something you would not think to do yourself, but not something plainly useless. Controlled breakage.

The idea would be to have something that could take a piece you felt was going nowhere and kick it, change it, break it, so that it might suggest a new direction.

For example, have it walk a track and every so often swap two adjacent notes. Or change the spacing between notes. Change the pitch of just one of the instruments. Reverse sections of notes.

Recently I was working on a piece where I had the percussion and bass, and wanted a guitar part on top. Often I use a small Tascam digital recorder to capture my live playing accompanied by Renoise, then pull out sections from the resulting wav file and use them as samples in Renoise.

I had a simple repeating guitar lead as a sample and chopped it up in the sample editor. I then sort of haphazardly used the sliced sample to create a new lead. There was one pattern I really liked, and parts of some other patterns that were good as well. I did a bit of copy-n-paste and came up with a lead line that I doubt I would have imagined on my own, though it still feels like the kind of stuff I play.

You can hear the piece here:

Actually, the bass line in that piece is also the result of dicing a sample of another bass line I recorded on my Tascam, and, again, the semi-random nature of arranging the notes gave me something I like but might not have ever simply played straight-off. It’s weird; if you heard the original bass you’d have the sense that they sound simialr, but there’s also a worthwhile difference between them. It sound like me, but it’s a computer-assisted me.

Pick something that you finished.
Lower or raise each pattern one to four semitones.

You would probably indeed need a tool where you can exclude tracks (like percussion and other stuff that will no longer sound correct at all when notes shift a semitone))

hey, that would be a neat idea, a “no-transpose” flag/checkbox for each instrument indicating if it’s tonal (transposable) or not… then the normal transpose functions would skip instruments with this flag set.

Yes, a wild card, a monkey in the wrench, The Joker, The Dark Half,
The Left Hand, Lost Highway’s Mystery Man, Tyler Durden.

Historically there have been cases like this, where intention was one thing,
but the hand did another. I’d like to call it a “happy accident”.
But this is neither the time nor place.

Anyhow, I settled for the word “drift” to describe this phenomena.
Its different than the word “experiment” because experiments require
mental attentiveness to get a result while “drift” does not.
However, I think if you can spot a “drift”, it can later be
categorized as “experiment”, then maybe one day,
given the status of “standard practice”.

Medieval demonology grimoires follow this sequence as well.
Probably early forms of documented psychology or the scientific process.

I don’t know if this can even be a feature or tool. What I do like
from is the narrowing process using a few parameters
to exclude certain things out. A bit like subtractive synthesis I suppose.

Here is my example, the melody of the first six bars is categorized as “standard practice”,
the next eight is categorized as “drift”. Its the same melody and can even be considered
canon like with rhythmic shifting. I can explain the “drift” part, its just that it wasn’t my intentions.

EDIT: soundcloud example deleted

I know of only three that fit that description.

  1. KeyKit:
  2. Glitch:
  3. Patternarium:

KeyKit giving you more options in the randomizing department.
It was a great tool prior to learning music theory. Randomizing was
there but the “assorted constraints” allowed me to get something
similar to a baroque period sound at the time I used it.

Giving this more thought, my workflow today is pretty precise.
I do this, then that, and so forth. Perhaps any unminded deviation
from that concetration gives the wtf perception. At least now, I have
a word to describe when I want to deviate beyond known experiements.