"I have been researching the way in which people interact with music production technology, and how the products they use have an impact within their music production. I wanted to create a sequencer device that encourages the user to investigate different methods of sequencing, alongside having a genuine practical use within the industry. I have created a sequencer called the Chance Trigger, that utilises ideas of probability alongside layering and poly rhythms in order to allow the user to create complex rhythmical information."
The Inspiration
There are a vast quantity of devices exploring various methods of sequencing. The aim of my device was to be versatile, with it being used within live performances and studios. Polyrhythms and euclidean rhythmic theory is very complex and I wanted to simplify this into my device. Although my device does not create perfect repeating polyrhythms it does create complex patterns related to the concept, furthermore it has a probability component which helps to add completely random alterations to the rhythms. Within music we use probability within our perception as well as our production. Probabilities allow us to predict music and determine features about a track, when music becomes too predictable it loses its durability and meaningful impact (Temperley 2006). Probability is a highly efficient method in inducing variation into music, and consequentially limiting the tedious nature of repetition within music (Brown and Sorensen 2009). The device enables extensive pattern development, each pattern had 4 different variations in which the pattern is shifted across. Overall there are 40 different preset patterns, and a limitless amount of potential patterns due to the random probability.
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The 2 most prominent devices for the inspiration of my device are the Polyrhythmus sequencer and the Figure App. The Polyrhythmus is an extremely extensive sequencer allowing the creation of really complex patterns. Figure is an App which uses a circular style sequencer and allows the user to make music quickly on the go. I wanted to create a device which allowed the creation of complex patterns but was also easy to use allowing instant access to unique rhythms in a variety of environments.
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References
Brown, A.R., and Sorensen, A., 2009. Interacting with Generative Music Through Live Coding. Contemporary Music Review, 28 (1) 17-29.
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Temperley, D., 2006. Music and Probability. Cambridge: MIT Press.