I’m also trying to record at least one hour from each instance when the mix has had much more time to mutate - after the eighth hour, with less care given to matching up the times. Wotja lacks a pause button, but the very slow development of the pieces means that the lost bars are unlikely to be missed. The idea for the relays has been to record four roughly continuous hours of audio for each of four instances, an hour at a time, with a few bars lost here and there in the process of stopping and restarting the recording process.
.jpg "james wotja")
In this case, I did less tinkering with the choice of instruments than I have in other experiments, turning my attention to the composition rules and fine-tuning the expression of the instruments until I had something I could happily listen to for the hours that would be necessary - as many as twelve and a half so far for a single instance of the mix.
James wotja plus#
The Wotja mix, “Positive teal,” consists of a complex lead tracks featuring fairly generic synths and a bit of bass, plus three more tracks of pretty, but not particularly distinctive synthesizer ambience. So, in order to explore the extent and character of that development it has made sense to allow the development to continue hour after hour, but also to record multiple instances of a “single” composition at similar lengths, both as audio files and as midi files.
James wotja software#
But because the software introduces gradual and partially random development into the composition as it unfolds, the sameness is relative - particularly as that development is allowed to continue. All of the various tracks that will make up relays & reconstructions are instances of a single composition assembled in Wotja, the generative music software I’ve been using on most of the hors du troupeau tracks. (November 11) - The song remains the same - more or less.
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