Day 27: Skirting the Laconian Gulf

Sleep came easy and I was unconscious for a solid ten hours. Starting out groggy and unenthusiastic, I felt much better after a few kilometres, even without breakfast.

My target for today would be Mavrovouni, 70km away, and my first stop on the Mani peninsula, the next ‘finger’ of the Peleponesse. I wasn’t going to kill myself however. Most of the journey would be on small roads hugging the coast of the Laconian Gulf, with only a couple of short inland stretches on yesterday’s highway of death.

It being Saturday, I hoped for less commercial traffic, and it seemed that my intuition was right. Also, the main road was more forgiving in this section, with a decent cycling space, good surface, and generally devoid of lacerating vegetation. The few dogs I met couldn’t have given less of a shit about some sweaty guy pedalling past.

The most poignant memorial yet, after my own brushes with death yesterday.

It wasn’t long before I was sailing through the streets of Papadianika, a mid-sized wholly Greek town. I passed a church hosting an Orthodox funeral, so I stopped for a coffee across the street to observe events, the atmosphere dominated by over-amplified chanting priests.

The deceased was carried out in an eleborate ebony casket and quickly driven away. I stood with the old men to pay respect. A group of young beer drinkers nearby looked me up-and-down, debated among themselves, then reluctantly got up to make a half-hearted sign of the cross. Once the hearse had departed a fresh round was ordered and the party really kicked off. It reminded me of the buzz in any rural Irish market town on a Saturday afternoon.

From there it was back to a quiet coast road with awesome cliff views, and a beach that seemed to stretch forever across the armpit of the Gulf. The route was softly undulating, allowing a satisfying pace, but it was hot and gusty. I hydrated at several fuel stations along the way, all of which were crowded with local men doing business, scribbling in notebooks over freddos. These garages are the social outlet in these parts, as there is nowhere else to congregate.

I wafted through endless olive and lime groves, and sleepy agriculture towns where locals were happy to exchange pleasantries. Much less pleasant was the immense amount of roadside litter and fly tipping. Disturbingly, a lot of this waste included discarded pesticide containers and application injectors, most dumped in eutrophied ditches. I took many pictures and will be chasing-up with the companies involved. This is not to excuse the Greek predilection for littering which, frankly, is a national embarrassment.

Overall though, it was a very pleasant day of trundling, perhaps the most enjoyable yet. There was a period of strong headwinds, but it turned into a typically lovely, sunny evening. 10km outside of Mavrovouni I parked at a layby to watch and listen to the huge breakers below, as the sun set on the mountains beyond. Shame about the toilet ‘facilities’ though.

Beauty…
..and the beast

To get to the campsite at Mavrovouni I needed to go straight through the large tourist town of Githio. I was expecting a standard Greek piss-up venue, but it’s actually a very nice place, with a long promenade leading to a centre choc-full of upmarket restaurants hosting mostly well-heeled Greeks, with their speedboats and yachts parked nearby.

Githio

Strangely and by coincidence, just then I had a recurring attack of jogger’s nipple. With such a debilitating condition I would need to spend Sunday recovering, and maybe dine with the jetset in one of these fine establishments 😜

But for tonight it was onwards to Camping Meltimi up the road. Now THIS is a campsite! Situated on a lovely beach, well-managed and reasonably priced at 10 euro per night. I found a quiet spot under an olive tree, pitching-up on soft grass. Then it was a walk along the sand to a nearby tavern for a dose of fried cheese, peppers and rice while listening to sweeping Greek ballads. No idea what they’re singing about, but it all sounds so damn tragic. Raki was poured down my throat in recompense.

No tragedy here though. Great day, good mileage, happy out!

Goodbye Tempest, Hello Freedom.

Well the Tempest turned-out to be a damp squib for me. Or rather DSI’s inability to implement features that were hotly discussed over a year ago. Maybe they will eventually pull the rabbit out.

Even so, there seem to be a lot of Tempesters who are perfectly happy with the current OS, and that has to be respected. As with everything else in life, people will have a different approach to, and expectations from, such an instrument. Everyone should come to their own conclusions.

[youtube http://www.youtube.com/watch?v=QereR0CViMY&w=400&h=255]

For me, the hardware interface, the sound and the overall concept were incredibly appealing. The forum was abuzz with excited discussions about the untapped potential, and we looked to be in line for a classic that would finally put the Roland box voodoo to bed. A powerhouse on paper, a legend in the making.

Now don’t get me wrong – in some respects it’s nearly there. I had fun designing sounds on this machine and I learned a lot along the way. The glass is definitely more than half-full, and I certainly do not regret the purchase.

But the sequencer is still too rudimentary for my needs. I didn’t see anything in the recent betas that give me confidence in user-requested improvements beyond the necessary bug fixes. DSI’s prolonged silences do not help. To me, most of the requests seem reasonable, and there appears to be broad agreement on the most important. The persistent bugs, though not serious, reveal a lack of attention.

Nobody is asking for a Cirklon-killer – only that the machine is given a sequencer worthy of it’s potential. And it seems so tantalisingly close.

At current pace, by the time the OS is ready, the second-hand market will already be mature, new competing products will have been released, and DSI will have lost sales. Brand damage has already occurred. I am amazed that the can’t see this! I would have said ‘bemused’, but it’s actually quite sad. I really want DSI and their products to succeed – the innovation is wonderful – but there seems to be no ambition to finish the job.

I can only speculate that the feasibility of new features is dependent on internal hardware limitations such as the the 4mb limit (honestly, what were they thinking!!), rather than the coder’s inability. He seems talented, if disorganized and overworked and, it would appear, fighting some serious battles to squeeze better performance out of this box.

Nevertheless, my biggest disappointed has been their habit of raising expectations and not following through. I honestly didn’t expect that, and I fell for it wholeheartedly.

They are also not giving the game away regarding what’s possible or likely to reach implementation. Engaging in further feature discussions seems pointless, as none have materialised. Beta testing has been the simple repetitive process of pointing-out the same few bugs in every release.

Admittedly my passion boiled-over after seeing the latest delay (of several months) was due to focus again shifted to the Prophet 12. OK guys, but at least tell us! It would be ridiculous to expect new product development to stop, but it is also reasonable to expect that existing products should receive the necessary attention.

In short, I am extremely disappointed with DSI’s behaviour. I would not have accepted this from another company, but I was rooting for DSI to succeed, and I trusted them. More fool me.

As a sweetener it was revealed that Tempest and P12 share a common codebase, and DSI have said that features will be rolled-back into Tempest. This sounds great, but makes me wonder, since the Oscillators are completely different, and P12 has no sequencer – the element that needs most attention. Time will tell.

I do earnestly wish DSI success with P12. It looks like it will be a winner and they have clearly worked very hard on it. They must be congratulated for the risks they are taking to innovate exciting new products. In the grand scheme of things, complaining about a few missing features seems churlish.

But when it comes to Tempest, I’ve simply lost faith. It had to go.

With the proceeds I have fostered a beautifully-built MIDIbox Seq4. Now THIS is a sequencer. It completely obliterates DSI’s effort. Open-Source with frequent updates still after 5 years of development. All that user input has been eagerly gathered and distilled into a great interface and a smooth, almost effortless workflow. And zero fuss from the unpaid developer.

IMG_2010

There is more than enough cash remaining to start a nice modular and have a big party. I’ve already sourced the PCBs to make my own drum modules, which will be triggered by Seq4’s 8 analog outs. I can simultaneously sequence FM percussion provided by FS1r. What I lose in compactness I more than compensate for in flexibility and power.

Not only that, but there is still change to cover the entire expense of my 4×4 build AND to a fund a new build using a new third-party ladder filter in a 2-octave keyboard enclosure.

My first Eurorack module is ready to be assembled. Little Dieter is due to be born any day now…..

IMG_2007

I’m sticking with open-source hardware from now on. No more ‘black boxes’. It’s AD 2013.

There will be no pining for Tempest.

Here are some Kits and sounds – the ones I managed to backup before the new owner ripped the Tempest from my arms. FWIW, he’s absolutely delighted with it.

Have fun!

I dedicate this one to DSI 😛
(One of my favourite basslines and easily possible on Tempest)

[youtube http://www.youtube.com/watch?v=e4OtIb6wDCQ&w=400&h=255]

The Euclidean Algorithm Generates Traditional Musical Rhythms

What do African rhythms, spallation neutron source (SNS) accelerators in nuclear physics, string theory (stringology) in computer science, and an ancient algorithm described by Euclid have in common? The short answer is: patterns distributed as evenly as possible. For the long answer please read on…

http://cgm.cs.mcgill.ca/~godfried/publications/banff.pdf

Tempest Kits: Starship Stim v1

OS 1.3 is coming soon and it’s looking good. So I’ll be pushing out some ‘proper’ kits after it’s release.

This first kit is a taster – it has no drums. Rather, it is the soundtrack from an imagined life aboard a roving interstellar craft. No samples used – this is a nice workout for Tempest’s analogue side.

The top row of pads are drones – various ambiances, the bottom row are computer and ship noises. Bank B is fully stocked – 32 sounds in all.

To activate a drone, press one of the top 8 pads. The sound will continue until it is stopped or it’s voice is stolen. Several of the drones are designed to ‘choke’ each other so as to help prevent a cacophonous mess. But that’s largely up to you. It’s easy to go overboard.

To stop a drone, select a sound by pressing Shift + pad and press the Mute button twice. By pressing the Solo button twice, all sounds will be cut except the currently selected pad.

It takes a little practice but learning to coordinate it all is good for improvement of live tweaking chops. YMMV.

Use the volume and filter controls to get a nice balance between the drones and twist the bottom eight pads to your preferences. There’s lots of LFO action going on here, and slight tweaks can lead to nice surprises.

All sounds are velocity sensitive. Some are pressure sensitive. It is recommended to use seperate outputs and lots of FX 🙂

Play around with them (they don’t bite) and have fun!

Here’s a quick demo direct from Tempest’s main output. One take, no sequencer. A fraction sent to reverb.

I bet you can do better, so:

Here is the Kit:
StarshipStimV1_Beat

..and the individual sounds:
StarshipStimV1_Sounds
These will likely import to your ‘User3’ Folder.
Exported from Beta 1.2.6.18. I will update these as new betas are released.

If you make something nice with this, leave a link for da Massive.

I am open to Kit suggestions, but these must be backed by DRY audio examples.

Lemme know 😛

Tempest Recipes: Claps

I received a stern e-mail from the ether demanding to know when I’d provide a clap recipe. Rather than disappoint, and to avoid any risk of painful retribution, I’ll channel some ideas.

In the tradition of previous recipes we’ll nail-down the basic concept, leaving you with abundant noodling fodder. Let me preface by saying that Tempest makes fantastic claps!

The essence of the clap is that it is several sounds in one, each offset by a tiny amount, differing in volume, pitch and other nuances. Think of several people clapping at the same time – they will never hit at exactly the same moment. Multiple individual sounds separated by a few milliseconds produce a chorus effect that responds beautifully to reverb. Clap sounds are as varied and important as snares, and can scream individuality. So let’s make a basic clap template that you can twist to your own desires.

Initial explorations looked at using Tempest’s MIDI delay, but the available delay times are not short enough. Then I tried using square and sawtooth LFOs to quickly turn Oscs on and off. There’s a Guiro in there somewhere. Not great for claps though. If only there was something like a ‘crack module’ as found on some software synths….

The good news is that we do have a way to do this in Tempest: we create custom ‘cracks’ by using the envelopes and their (blink and you’ll miss it) delay parameter. Not to be confused with the MIDI delay, this parameter is accessed in the envelopes screen by scrolling 2 pages to the right and ‘delays’ or offsets the triggering of the envelope. With 5 envelopes we have bags of flexibility and control, more than enough to rival the crack of dawn.

The question is how exactly to use the envelopes? We could use one envelope per oscillator and have 4 sounds play in rapid succession, or we use 1 or all 4 oscs mixed and modulate the VCA so that it opens and closes very quickly. Or a mixture of both approaches.

  • To keep everything simple for now, just load the ‘Resonant 4k noise’ sample into Osc3 and pitch it down to -12 semitones.
  • Turn Amount values to zero for all envelopes, including the Amp envelope. We want these under full velocity control.
  • We start with the main Amp envelope. Leave it’s delay at zero because it will sound first. I set it’s velocity amount to 127 so that it is always the loudest portion of the clap. If you don’t already know – to set the velocity amount for an envelope, it’s on the second page of the envelope screen. Alternatively, when on the first page in the envelope screen, press shift to reveal the Velocity Amount (‘VEL AMT’) control. Use a short decay of around 20.

We can set different decays for each envelope. They can overlap without cutting each other. This brought to mind some interesting layering applications that I have noted to explore in a future recipe….
Back to our clap:

  • Keep in mind that our goal is a quick succession of hits that trail-off. To begin our ‘crack’ go to the pitch envelope, scroll 2 screens to the right and set the destination as VCA level. Yes, the pitch envelope is freely-assignable like Aux1 and Aux2 😯

The Amp and Filter envelopes are hard-wired, however don’t forget that, if we wish, we can still assign them to VCA level in the ModPaths…

  • For now, give the pitch envelope the same decay (20) and a delay of 30. Scroll back to the first screen and start turning-up the velocity amount. You should gradually hear the first ‘crack’ being introduced. Leave it at around 30. Essentially, it’s the Amp envelope re-triggered with new settings. To make it more ‘clappy’, reduce the delay to a value of 5 and let’s move-on to the Aux-1 envelope.
  • Here we repeat the same procedure but using different decay(25), Velocity Amount (40) and delay (8) amounts.
  • Then onto Aux 2 envelope, rinse and repeat. As this is the last part of the ‘crack’ give it a slightly longer decay (30), lower velocity amount (20) and, of course, a longer delay (11).
  • From here’s it’s mostly about balancing the envelopes. The key parameters being delay, decay and Velocity amount, but don’t be afraid to experiment. Notice how, when switching between envelopes, the screen stays on the delay page. This makes it easy and fast to tweak the crack to your liking across all Oscs. Combined with the tonal power of 4 oscillators, 11 on-board clap samples, not to mention a healthy injection of chorus and reverb, I would be very surprised indeed if you don’t find the basis of your perfect clap in there.

With 8 ModPath slots there’s absolutely no excuse to go wild – using each envelope to modulate various other parameters (pitch, pan, etc) at each stage in the crack module. That is an enormous amount of clappage, snappage and bappage. More than I could hope to continue writing about. But then, you are probably way ahead of me by now…

Note: I did make a crude attempt to measure the range of the Envelope Delay. At an amount setting of 127 there is almost 6 seconds between initial sound and it’s sequel. With amount set to 64 the time interval is approximately 3/4 second, and at zero there is no repeat. An amount of 74 equates to around 1 second. This indicates a log-scaled control. However, for claps we shouldn’t need to become bogged-down in spurious precision when we can just trust our ears. The delay does get short enough and you already know what a clap should sound like, no?

Tip: Try this with your snares/sticks etc. with even shorter envelope delay times – you may be pleasantly surprised!