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DW SSC drum kit

Tuesday, June 22nd, 2010

Specialised Shell Configuration, or SSC, is a process which mixes DW’s various Collector’s Series shell options to create the ideal kit. By exploiting the differences in construction methods across individual drums, DW claims to be able to maximise sonic qualities.

This particular kit – the first SSC kit to reach the UK – was assembled by DW’s master drum designer John Good.

Build

To fully appreciate the SSC concept, some familiarity with DW’s shell designs is required. The standard Collector’s Series shell consists of seven plies, each 1/36″ thick, with the plies cross-laminated in the usual manner. The outer layer of ply runs horizontally around the shell.

“In performance the snare was close to orchestral – it gave perfect responses even when played right in the edge with the lightest of touches.”

After much experimenting, John Good came up with the VLT or Vertical Low Timbre shell. VLT shells include another layer of ply, making a total of eight, with the plies arranged so that the grain of the inner and outer plies runs vertically. This encourages the shell to vibrate more freely, resulting in a lowered fundamental tone.

John Good’s research continued and in 2008 DW’s revolutionary X-Shell made its debut. Again based on an 8-ply sandwich, here the grain of each ply runs at 45 degrees with the plies cross-laminated at 90 degrees to one another. Sonically, X-Shells have a lower fundamental than VLT shells.

Then in 2009 DW announced the arrival of the VLX shell. Similar to the X-Shell design, VLX shells are 8-ply with a 45 degrees grain for six of the plies. The other two plies feature vertical grain and are strategically placed for maximum effect. VLX shells take another step down in terms of fundamental tone, making for an even lower note.

As with the standard Collector’s Series shells, 3-ply reinforcement hoops are optional across all the different shells. Drummers ordering a Collector’s Series kit have been able to specify from the various shell configurations before now; what’s new about SSC kits is that DW now recommends the optimum shell for each drum.

DW ssc drum kit

John Good is confident that DW’s expertise in this area will create kits in which the component drums are in complete tonal and dynamic balance: 8″ toms, for instance, through the nature of their size can sound tinny and slight alongside larger drums. By making the 8″ tom an X-Shell, its fundamental tone would be lower, giving it a richer, throatier response with which to compete with the rest of the kit.

At the other end of the scale, floor toms can be capable of dark shudderings that would register on the Richter scale but won’t translate into a distinct note front-of-house. Here, VLX shells with their super-low fundamentals would enable you to keep the heads relatively taut but still extract resonant notes. So the theory extends across the kit.

(2 pages; go to page: 2)



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DW SSC drum kit

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Connect the Bots: Black Allegheny, An Entire Album Made by Algorithmic Swarms

Friday, June 18th, 2010

Swarm Music Album Black Allegheny from Evan Merz on Vimeo.

We’ve heard albums made by singular compositional minds and by bands. What would an album sound like if composed by swarm intelligence, by computer evolutionary models of individual agents or bots? That’s the question asked by composer Evan Merz in his new, full-length album “Black Allegheny.” (At top: the composer explains in a video.)

Western musical and creative tradition is steeped in linearity, from the forward motion of the music staff to the mythos of Aristotle’s Poetics.

So, maybe it’s little wonder that generative music – music that may not have linearity, or a beginning, middle, and end – hasn’t exactly been a big hit with the kids. Pioneers like Brian Eno have helped spread the gospel of generative music, but apart from lots of interesting experiments, there hasn’t been a lot of actual musical content. If you were to make a stack of generative music albums, your listening list would be fairly short.

All of that could be about to change. Programming code, the essential medium in which such models can be developed, is more accessible than ever. It’s also more visual, thanks to the popularization of tools like Processing, which can help make the abstract rules of generative music easier to grok. Merz, for his part, has taken on the challenge with his own Java-based software.

Saying the bots “compose” the music may be a little misleading. Generative music needs rules to operate. Before Eno, there was John Cage, whose “chance” compositions were as much defined by choices of materials as by ranges of indeterminacy. Merz makes a nod to Cage’s notion of a “gamut,” a collection of raw musical elements used as the input in the chance system. Here, though, Merz is aided by something Cage didn’t have: a swarm of intelligent “agents” can navigate those materials via simple rules, giving the music form and substance. Because they aren’t aware of the big picture, the music evolves more naturally, rather than being subjected to an over-arching narrative.

Or, as Merz puts it, “the tiny ant on the ground knows only what it sees around it.”

So, that’s the theory — what does the music sound like? Far from “ennui,” as Merz puts it, to me the results are organic. The structure is emergent from its materials, sounding almost like a natural physical process, like watching ice melt. The content ranges based on the gamut; like a lot of generative music, some sounds a whole lot like Brian Eno’s work. Others borrow from minimalist composers (Reich’s music itself might be seen as partially generative), and others take on an edgy urgency. The models that determine the bots are based on a popular, simple mathematical predator/food model, one often used in these works. Sometimes, you might imagine that evolutionary struggle playing out in the music.

You can read more about the process of developing this tool and the compositional ideas behind it at Evan’s blog:
Black Allegheny, Swarm Generated Music [Computer Music Blog]

For more explorations of sound and composition, check out Noise for Airports, which recently featured the work:
http://noiseforairports.com/

And you can stream the album or buy it for yourself for the light price of US$5 — though I’d like to see a software release, since that would mean each playback could be different. (Eno released an album in software form in the 90s, though tracking down the software now is evidently impossible – anyone with tips?)
Black Allegheny @ Bandcamp [Stream / download purchase]

<a rel="nofollow" target="_blank" href="http://evanxmerz.bandcamp.com/album/black-allegheny">Imperceptible Time by Evan X. Merz</a>

Swarm Controlled Sampler – Becoming Live from Evan Merz on Vimeo.

Continue reading here:
Connect the Bots: Black Allegheny, An Entire Album Made by Algorithmic Swarms

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FLStudio Tutorial Melodies and Transformations Part 2

Tuesday, December 15th, 2009

This is NOT a beginner video. This is Part 2 of a two part tutorial for FL Studio. Be sure to watch Part 1 first. www.youtube.com In this Part we will take a look at using tranformation to elaborate a base melody. topics include retrograde, rythmic transformation, population transform, inflection, and context. A brief intro to song structure and harmonizing additional tracks is also covered.

http://www.youtube.com/v/wyoSRa9KK6c?f=user_uploads&app=youtube_gdata

Read the original:
FLStudio Tutorial Melodies and Transformations Part 2

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Loopmasters releases Doodlebug – Jazzy Hip Hop Theory

Tuesday, September 22nd, 2009

Loopmasters Doodlebug - Jazzy Hip Hop Theory

Loopmasters has released Doodlebug – Jazzy Hip Hop Theory, a sample library featuring hip hop sounds.

For the first time ever Doodlebug from the legendary Grammy award winning Hip-Hop group Digable Planets is proud to share with you their freshest jazzed out Hip Hop samples from some of the most talented musicians in Philly and New York City, exclusively for Loopmasters.

Cee Know the Doodlebug along with drummer/engineer Gary Dann have put together a group of experienced musicians that have played with doodlebug on live performances and studio sessions throughout his long career in the music industry from the days of the Digable planets to the formation of his recent solo project The Cosmic Funk Orchestra.

If you are looking for true live played Jazz and Hip Hop samples for your productions from one of the founders of the positive Hip Hop movement of the 1990’s then this is one rare, fully pimped collection of royalty free samples destined for head nodders and cosmic musical evangelists across the globe looking to make future classics and retro chic productions.

Doodlebug – Jazzy Hip Hop Theory features

  • 600+MB of heavyweight Hip Hop goodness.
  • 160 Hip Hop Drum loops.
  • 57 Funky Bass lines.
  • 76 Funky Guitar Licks.
  • 180+ Saxophone and Flute loops.
  • 79 Upright Double Bass Loops played with warmth and flavor.
  • 27 Rap and Spoken phrases from the Doodlebug himself.

Doodlebug – Jazzy Hip Hop Theory is available as a Main Zip, Apple Loops, Reason Refill and Live Pack, priced at

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