In her words, here’s how Kaitlyn Aurelia Smith explains her performance and how MakeNoise’s Tempi and 4ms Spectral Multiband Resonator were utilised to great effect:
“This patch demonstrates how the MakeNoise Tempi can be used as the foundation for complex timing variations in a very predefined way, which is incredibly useful for intentional composition.
“In this patch I have Tempi Channel 1 pulsing the "Odd" input of the 4ms Spectral Multiband Resonator. Tempi Channel 2 is pulsing the "Even" input of the SMR. These are the only 2 that remain consistent in their time - although they are phasing. Channels 3-6 of the Tempi are set to divisions and multiplications of Channels 1 and 2 by factors of 2 and 4. Additionally, Channel 6 is patched to the Tempi MOD Input. During the performance I intermittently activate MOD Mode on Channels 3-6, causing them to rotate.
“Tempi Channels 3-5 are sent to the CV Bus of the MakeNoise to trigger Maths, Function, direction and clock of Pressure Points and X-Clock of Rene.
“The Quantized CV Out of Rene is sent to the CV Bus and then to 4 voices, all tuned to different harmonies, that I bring in and out with the RxMx and the other mixers. I used Maths and Function as an analog shift register to take these sequenced voices out of parallel motion.
“The DPO's Mod Osc is in LFO Mode, and is modulating the waveshape of the STOs, the frequency of the MMG, and Telharmonic Flux.
“The 4ms SMR plays the main harmonic structure and foundational rhythmic voice of the piece ( being pulsed by the Tempi ). I am recalling 6 preprogrammed presets, each with different chord voicings as well as EQ settings. I am also unlocking a bass frequency to change the bass line note.”
Video shot by Sean Hellfritsch: https://twitter.com/shellfritsch