Just started asking myself how it would be possible to create a whole live set using primarly the Digitone and the smallest possible number of other machines.
In my mind it would be something super stripped down and thus a bit experimental, I’ve just tried creating a few patterns with some simple concepts to maximize the use of every channel, many conditionnal trigs, putting the kick and bass on the same track so they cancel each other.
I also thought of using transition patterns to have a continuous flow between two songs.
I like the challenge but I fear it is going to lead to a very minimalist type of music.
What would you do on your part? Do you think it’s possible? Would you add another machine to help out? A simple drum machine? A looper to help out during transitions and allow for a more improvised setlist?
I personally like to work with a single machine alone very much. And having only four tracks makes it more easy to have an overview over the whole arrangement. That encourages improvisation with sound settings and effect settings and can be very exiting for the audience as well. Go for it!
i am using the Digitone for the bassline, pads and melody (with the ARP).
With the AR MK I im creating beats and play some chord-samples/stabs, vocal samples and white noise fx.
At the moment im just using one pattern (on DN+AR) as a loop and practise how far i can change the sound and build thinks up and down.
Regarding the transitions i was thinking of not sending program change messages from (AR Master) to Digitone, so both units are “separated” from each other and the change could be done individually, so this gives more flexibility.
You can also put a sound (pad for example) on the next pattern as well, so if you change the pattern, the sound (pad) continues and it will be more smoothly. → I think this is want you mean with transition patterns.
Only the Digitone could be really challenging for “dance music” stuff, but for some atmospheric/experimental stuff it could work.
i hope you could benefit a little bit from my answer.
Yes, I believe too that by having less things to manage, you can go crazier on it!
Which machines do you usually do that with? Ever done a whole live set using only one?
Yes, that’s exactly what I meant with transition pattern
I love the idea of using one pattern only but everytime I tried I felt I only came up with the most clichés mélodies and drum pattern because of the lack of time. How do you manage that?
For melodys i usually use trig conditions and give every trig a different condition, so that it makes sense to me. Some trigs (main tones) are getting like (1:3, 2:2), so there is some kind of a main structure and then i add litte variations tones with less structure (1:6 or 10%).
Then maybe a really slow LFO on the FM ratio or pitch, to keep it chromatic i guess depth should be on 8 or 16 (and so on).
For Arpeggiator you can shorten the ARP steps to for example to 5 (Knob F) and mute every second trig (with arrow keys) so its getting a nice flow.
For Pads i like a really slow LFO to Level A/B with a slow attack on AB and AMP. Maybe also LFO to ratio or A/B decay.
For Drum Pattern you can use a 4/4 Kickdrum on a 12 Step Track. Then use a perc (or what you want) on every third trig. This way you get a polyrhythm. The you go further and create trig conditions (x:x, x%) for every perc trig.
This way you build a more complex pattern. When you start jamming you can for example put all trigs on zero volume and then increase the volume of every trig. Or start with short decay amp and go for a longer, open the filter or increase the LFO depth or A/B Level.
I sequence the Volca Fm with the DN during songs and write transition patterns on the VFM itself. This way I don’t have to cue transition patterns on the DN & can bring transition sequences in & out manually.
