i'd appreciate your help.

is this compelling as a beat/groove?

beat test

or does it sound too random to make musical "sense," like a poltergeist in an electronica percussion factory?

thanks for listening. :-)

to clarify, i'm not looking for "good job" or "bad job" ... rather: in your opinion could this function as a successful percussive groove for a piece? or does its extreme off-the-grid asymmetry make it noise more than grooove?

*scratches head*

Hm, I think you did a good job... of getting rid of any discernible rhythm.

OK, seriously: Don't the terms "beat" or "groove" imply at least some kind of pattern/repetition? I can't hear any in there (and I'm used to odd rhythms). Seems even more random to me than most of the other stuff you've posted here - and which I like!

Of course it depends on what else you want to add, but on its own I wouldn't call it a groove. Maybe ask Tom Waits for a collab?

werner

it definitely IS more randomized than most of my "free grooves." there's a musically logical flow to the macro realm (density, number of events per second) but in the micro realm (the grid, pulses, subpulses, etc.) it's waaaaaaaaaaaaaaaaaaaay random. but i'm very interested in whether the macro (density) logic makes it usable as a groove, despite the micro (grid) randomness.

I can definitely hear a certain (ebb and) flow. However the brain (mine at least) seems to try and follow rhythmical and melodic patterns that occur randomly, disappear again and thus loses orientation. The macro realm seems to be heavily overshadowed by the micro randomness.

It's certainly a tightrope walk - but an interesting one for sure.

werner

As it is, I'd say no. In the context of a composition though, my stance could change. If a relationship can be established between the macro scale events here and that of another instrument, hidden grooves might fall in the pocket, so to speak.

You know I love it as-is though, right?

I'm not sure I understand the problem? I think maybe using the word groove confuses people, but I learned long ago that when you say groove it's not going to fall within the typical push-pull. Anyhow, I think aside from the crash/splash sounds, which threw me a bit, that it's a great beat piece. There was randomness, but I didn't feel it was disorganized, if that makes sense? The real fun should be when layering reveals spin-off grooves, as Justin alludes to.

cool idea: points of formal intersection.

which are those? (these are all samples from the map lazyfish included with his reaktor ensemble Krypt ... though i didn't use Krypt to generate the piece.)

If you don't mind, i'd like to load this into Renoise and try to jam along with it.

The cymbals.

This needs more random spaces between it's notes, imo. There's not a bone in my body thats motivated to gyrate to this groove. But then again, it feels out of context with something else I haven't experienced yet. I could make this work for me in a composition, but in a stand alone fashion it feels pretty cold and empty. And I would also encourage the loss of the cheap crashes and cymbals.

It doesn't make my head bob, no beat detected over here

please do. then post your results for us to have a listen to. :-)

poly, jazzy,

what about the cymbals don't you like?

i'm such a non-drum-aficionado that all of these lazyfish Krypt samples sound pretty much equally effective as electronica blips and blaps to me. to tell the truth, i don't much like the samples. i find them musically dull. but i quite like the sound of a dense/chaotic overlapping of them.