Swing renoise song6/2/2023 ![]() I also use a lot of short stereo delay to spread parts out across speakers. Slight off-sets and some randomization went into the sequencing of the harmony parts. Ring modulation and bitcrushing are used to make it a bit more digital and crunchy. I love compression and am not all that into washy reverb. This part of the tune was half sequenced on the 202, using the internal sequencer, part MIDI-synced, part good luck, and a whole lot of hand editing and chopping in Renoise. The good part of this is that once it’s all running, I get nasty, off-time, wacky stuff happening. Then, I have to sync Renoise (my sequencer) to Live, which can also get a bit messy. I usually tape sync the thing by recording the output of the Tape Sync jack into Ableton Live, time-stretching it to tempo, and sending that back out to the 202 as audio. It doesn’t have MIDI and the CV for pitch and gate goes through a really old and pretty lame digital microprocessor, so you get odd, off-time, messy, and unpredictable results. That being said, the sequencer on the 202 is a real pain in the ass. I traded a semi-messed up MicroMoog keyboard for it about seven years ago. I have an old roland MC-202 analog bass synth that I love. Every time something in the song changes, the wheel changes. I like to think of the song as a wheel, rolling in an empty space. Because of this, there are something like 40 separate tracks of audio (the tune sounds simple, but, because of the software I use each variation in volume, a different effect is used every time, and anytime something is offset I had to make another track). I intended to make a track where each eighth note was hand-edited and unique. Every once and a while, I’d open the file up and do some editing. ButtaBump is a tune that started in 2007 or so and kept itself half done until Proximity One became a project.
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