Erlanger Programm: First sketches – and noise counterpoint once again

Starting with this post, I have finally synced the documentation and musicmaking timelines – meaning that from now on, everything you read describing my progress is actually from the time it was authored, not weeks or months before.

I continued to implement what I had composed recently regarding the noise counterpoint for part C. There were two further takes for voice 1, and about four for voice 4 – the “no input”-oriented one.

Having already rehearsed voice 1 quite well, recording it again went rather swiftly. The same was true for voice 4: taking my experiences from the first voice, I was now much more efficient in both defining the setup and finding out how to perform my graphical score.

Interestingly, the setup for this voice which only has effects boxes as input is much more simple as the one for the first voice. Note that the MiniBrute here is only used as a filter, not as a standard synth.

Nerdville setup for part C, 4th voice
Nerdville setup for part C, 4th voice

But what does this stuff all sound like? I decided to do some test renderings of parts that have already taken shape. The first one is the digital mockup of the album’s closing part a’.

The next one is a really quick render of part C: only the respective last takes for voices 1 and 4 were used, and voices 2 and 3 weren’t considered at all (note that this does not mean that something is missing: as pointed out, the counterpoint is complete with any two voices of the full four).

Afterwards, I went on to define the setup for the following voices 2 and 3, but didn’t record anything. But the setup is assembled, the samples (for voice 3) have been loaded into the KP3 and the patches are defined, so this should be a breeze.

The last setup: Part C, voices 2 and 3.
The last setup: Part C, voices 2 and 3.
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