Cryptwarbler at Red Ink 11-17-23

Cryptwarbler, live at Red Ink Providence RI, using a variety of bends.


Connection between A2 and D10 on ROM chip of circuit-bent casio mt-240 v2, slowed down clock, Flute tone, F#3-C6.

Change Ringing - A1+D14/Vibraphone

A1+D14 / Vibraphone: A#3-G#4 - the frequencies follow the pattern Fn = Fn-1 * 2^(1/12) + F0, where Fn-1 is the frequency of the previous note and F0 is the base frequency. Because each successive frequency is a multiple of the base frequency, it sounds loosely reminiscent of the harmonic series. But for each ascending key the keyboard is also adding what it thinks is a semitone in the plus 2^(1/12), so it kind of sounds like the harmonic series is being inflated or expanded. Other bends used: A14+Gnd to change the timbre to a bell-like tone; D4+A9 to add a tom-like tone and also slightly change the bell-like timbre; A2+D7 to make the attack longer; D2+A13 to gliss up; D1+Gnd to gliss down; CLK adjustments throughout to change the character of the effects.

Hysteresis ii - A13+D6/Percussion

A13+D6 / Percussion: Bb3 - hammer rapidly 10 ten times to slightly stagger a warped and elongated sus. cymbal sample. D0, D1+V & D5+G (after D6+A13 off) in various combinations to cycle the sample at various speeds, pitches, directions, to improvise on. The timings affect each staggered sample differently, scrambling them as setup for the next part. Above a resistance threshold of ~120ohms, V+A13, 14, 15, 16, 17 speeds up the cycle greatly, which sounds like a fast scrub through pitches/timbres/durations. Below the threshold, the cycles seems to freeze and loop on a small (~.100ms to 1s) subsection. Because the ten samples are all scrambled, they make a complex polyrhythm by freezing at different pitches/timbres/durations. Right at the threshold (very precisely, a few ticks on a 10 turn 100 ohm pot will tip it over), the cycles will freeze, jump to a new subsection, and freeze again. How long it freezes for is random, possibly due to slight fluctuations in voltage causing it to tip over. While this is going on, G+A12, 13, 14, 15, 16, 17 in various combinations lets you exclusively change the timbre. With 10 turn 100 ohm pot, you can tween between the timbres with white noise in between. The limiting factor is mainly that you cannot connect an Address line to both G and V at the same time (this would cause a short circuit). However, certain combinations of A+V and A+G produce the same sound. So in order to smoothly explore the variety of interesting sounds in this mode, you need to weave between combinations and use these certain special combinations as pivot points. The 'bells' part uses A0-A12 + G to change 'frequency quality', and the ending was a lucky random effect caused by slowly short circuiting between V+D6+A13+G using a pot. Some edits were done in audacity - crossfading, editing of takes together, compression and eq, but can be performed live.