This YouTube Video that I have posted presents a walk through on sub patching. Sub patching is a way to breakup and organize a much larger patch. When you add the pure data object [pd~] or [pd "sub patch name"] it opens a blank pure data patching window. The first object needed to be added in the new sub patch window is the object [inlet]. This [inlet] object receives the inbound signals & messages from the previously added [pd~] object on the main page of your pd patch. From this point continue with your patch configuration in the new sub patch window. In this YouTube video I circle the [pd~] of the sub patch window I open next. Hopefully you can easily follow along in the video, pause it if you need, to understand how I have broken up my larger single screen patch into smaller ones. This post to my journal contains screen shots of all the patch & sub patch windows found in this YouTube presentation.
* All YouTube videos are performed direct to desktop and use the MS GS Wavetable for sounds. This is NOT the case for the tracks uploaded to soundcloud which are performed on my studio synthesizers and midi components. You will see references in these patch images to the MS GS Wavetable and [pgmout] objects initializing GM instruments on specific midi channels. Be advised if you are constructing these patches for your own use, you will need to adjust these settings to your own instruments or midi gear.
The poly rhythmatic core that I have defined in my previous journal entrees, soundcloud tracks & YouTube videos is also used for this midi composition. In this image I explode the PITCH branch of the poly rhythm [metro] tree. The biggest difference in this pic of my core poly rhythm patch are the sub patch [pd~] objects; [pd kick], [pd hh snare], [pd bass] & [pd keys]. These [pd~] objects attach the [metro] core patch to their defined sub patch windows using the [inlet] object. This isolates the core patch on the primary patch window, making room to expand, develop controls for the patch & help clean up the overall patch construction.
The kick drum or [pd kick] sub patch, labelled here as the KICK DRUM PATCH randomly creates the on / off pattern of the kick drum across an eight step sequencer & then repeats. The [inlet] object sends the [bang] to the [random 100] from the [pd kick] object of the poly rhythmic core patch to create the generated kick patter for the following 8 steps in the measure. The predefined percentages can be set to determine how many or how few kicks will be played. The last [random 100] & [moses 50] objects determine which kick drum sound will be heard. I like to have different kick drum sounds in the mix for creating difference in tone.
The Hi Hat & Snare patch or [pd hh snare] sub patch, labelled here as the PERCUSSION PATCH, randomly creates on / off patterns for the Hi Hat. The [inlet] object sends the [bang] to the [random 100] from the [pd hh snare] object of the poly rhythmic core to create the generated Hi Hat pattern for the following 8 steps in the measure. In my previous generating patch in F#, I started playing with a configuration for the bass guitar that instead of randomly generating notes across the 8 steps, is now triggered by the different instruments in rhythm. This approach created a more humanistic feel to the performance. I moved this idea to the HH patch and branched the snare off of the Hi Hats rhythm. This configuration created a much more realistic approach to the snare in the rhythm of the patch. This quickly developed branches off of the Hi Hat patch for other percussion instruments like toms & cymbals. The [delay 250] objects when adjusted by the horizontal sliders to 504.3 elevated the percussion playing to a VERY humanistic feel.
The bass patch or [pd bass] sub patch, labelled here as the BASS PATCH, randomly creates on / off patterns for the bass notes. The [inlet] object sends the [bang] to the [random 100] from the [pd bass] object of the poly rhythmic core to create the generated bass pattern for the following 8 steps in the measure. This bass patch manipulates two groups of identical midi notes in key; [38] [42] [45] [47] [49]. Doubling midi notes [45] & [49] respectively. The 8 step sequence of the patch randomly shift back and forth between these two groups. The design of the bass patch was arrived at more through feeling than a calculated structure.
The "strands together" soundcloud track. This track uploaded on soundcloud was made with this patch/sub patch configuration. I accompany the track with a performance on my Korg Wavestation EX & layer it with the Korg Wavestation SR rackmount. I use the factory metropolitan sound found on both these Korg devices. Stands together is in the key of F# just like my previously uploaded track, Island. I think? There were rapid changes that occurred to the HH Snare & Bass sub patches that moved me quickly to a new song idea. The new configurations defined above in these two sub patches rapidly produced strands together from the original Island patch. To accompany the track with my own performance I quickly whittled down the available chords in the sub patch into chords that accompanied my playing. The final recorded performance uploaded to soundcloud was composed, performed & recorded in a day. There are still a few moments at the end of the track where my playing is just a bit off the percussion's rhythm.
* KicKRaTT; MUSIC, ALGORITHMS, DOCUMENTS, GRAPHICS & LOGOS: ISNI# 0000000514284662 *
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