Here we have an exercise of the putting together arpeggiated patterns like a puzzle.
I called up a buttload (that’s a scientific term for “a lot”) of virtual synths and dialed into arpeggiated patches. Some fit, some didn’t. The ones that fit together nicely remained after the dust cleared. The ditty itself is nothing more than a 4-note pattern (or 8-note, depending on your opinion): D-F-C-G, then D-F-C-G (that last G one octave lower), one note per measure. Any other notes are from the arp pattern’s “math.” Sure sounds like a lot of tunes I hear on Groove Salad (a somafm.com internet radio station). Except those artists get paid. 🙂
Make a 4- or 8-note MIDI loop. Call up a buttload of virtual synths. Dial into all arpeggiated patches. Process each channel and Pan L-R to taste. Turn off or on each channel on the fly, and you’re done.
In my case, the buttload of synths were: Omnisphere (2 inserts, 1 was a tuned percussion pattern), Albino 3 (2 inserts), NI Massive (2 inserts), Arturia Analog Factory, Stylus RMX. Originally I had a Wurlizter track I played over the top of everything; but it didn’t mesh, and it wasn’t arpeggiated, so… that track didn’t survive the editing process this time around. Maybe I can get my Supertramp on at a later date.
This was my first positive experience using NI Massive, despite owning it for over 2 years. Ableton Live was the host, with just 2 effects on send channels: Vahalla Shimmer reverb, and RP Delay (first time I’ve used this delay–not bad).
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