Using the “Follow Action” function in Ableton Live Clip View while variating clip lengths and meters for each tone as a way to create controlled randomization in productions will generate interesting “temporal morphing” effects. Then I am mixing a layer of Mario Nieto’s Harmony Bloom MIDI-trigger VST, which is also controlled by variating MIDI instances (if/then algorithms), along with some subtle MAX4Live LFOs. The result is a “self-composing” piece that never sounds the same twice.
I’m having fun these days manipulating the “timescape” of geometric rhythms alternating from chaotic tone baths to somber & sobering polyphonies by carefully crafting variances in Ableton clips into a generative ambient/drone/soundscape/New Age (lolz) immersed with Mario Nieto’s Harmony Bloom (Fig. 1). And no, I’m not getting paid by him… yet. This takes a bit of meticulous MIDI mapping and testing, so I’ve made a couple live streams to show my process.
The fundamentals of writing this melodic soup isn’t all about turning knobs, but more predicting the nature and results of how these clips will interact with eachother. I have to have some control over it, or it’s not mine, right? So I composed this octave-spanning, arhythmic, modal-based structure in a MIDI clip, then separated each note into its own moment, varying the lengths of the clips too.
After a couple of rotations, the clips naturally start to intersect differently and sometimes go buck wild. This method of messing with time continuously surprises me with all the different ways to play this combination of notes. I then set up different clips (combined some to save time) and created variations of their instances.
Most importantly, each clip has the “follow action” in clip view activated and set to its own special settings, allowing it to do some really cool things. Usually it’s 60-75% “play again” and the rest “jump to [x]” or start back at zero. See below.
I also incorporate silent/rest clips with differing time scales, at any given moment that section of notes will play go quiet in a track lane for a varying amount of time, then moving on to a one note sequence. (See fig. 3) All have different velocities randomized by Ableton’s MIDI tools, but I plan on modulating with the sacred geometry plug in I have. I’m pretty much going to have modulators modulate modulators anywhere possible so that any decision or change will affect several other things.
This piece can be looped over and over and never sound the same as any other time it was played, allowing this little monster to kind of run on its own. I’m getting to auto-triggering transition material next, but first I want to master this form of controlled chaos and build the tools. So I’m making a bunch of racks that do my bidding and that I can incorporate into a larger project later. All of it is a lot of tedious work and making sure the signal trail isn’t broken in what is turning into a complex Rube Goldberg of a music piece. To be honest, I just want to see how hard I can push the CPU before it says stop.
I’m definitely inspired by Brian Eno, Richard Devine, anyone else who likes to make a ripple on an instruments and watch the effects and modulators take on a life of their own. That’s similar to what I’m doing here.
As far as vibe, I want this to be ambient, environmental, and soothing. But, the environment can be hostile at times, so I definitely don’t plan on it being your typical docile sleep music. I envision it oscillating somewhere between background and introspective tonality, and definitely with some weirdness in between. Erik Satie probably came up with this idea originally, and called it “furniture music,” aptly so. Music that blends into the background but you’ll notice when you need it and want to hear it.
The musings of a mad scientist… Here’s a much more aesthetically pleasing stream I did last night which showcases HB a little bit more. Plus I gave her some purty colors! Enjoy.
