Emulating Reich's phasing technique in Ableton Live 

too kind! thanks

the best, any who profess will be remanded

big time! thank you!

I love you guys

@@Savvier I take credit for being the guy that inquired to Philip. All work was done on his part. I wish I had his skills!

@@eldepleto289 I love then inspiration comes to life right away. I actually used similar technic but with two samplers. the start point of one was modulating with slow lfo

thanks for your support!

yep, was gonna say the same thing - much easier and quicker

As noted below, it is close but not quite the same. Of course there is no "right" way, so if you are happiest zooming and shifting the loop point, then that's good! The difference between this device and simply zooming in and dragging the loop point is that with the loop point method, the phase shift occurs in one jump at the end of each loop, while with the method shown here, the shift is continuous. Only moving the loop point without shifting the notes is like telling the percussionist to play the pattern at the same tempo as the other player, but wait a little bit longer (or a little bit shorter) after playing the final note, as opposed to playing the whole pattern at a slightly slower or faster tempo. The result is a stair-stepped phase shift as opposed to a smooth, linear one. With this device, I wanted to create a device that emulated what Steve Reich composed. on that note, another feature of reich's approach was to describe the change in tempo as occurring over some number of bars (e.g. "reduce the tempo such that the phase shifts by a quarter note over 60 bars"). This device make it easy for one to do that by performing the calculation for them.

yes, brilliant idea! my devices don't care if the note is muted or not, but to your point it may make sense to discard them from transformation. in fact this would be a powerful way to achieve the objective of devices like pattern transform, where you only transform certain notes. a device whose sole purpose is to manage mute-ness would act the same way that the top section of pattern transform does. you could mute several notes, perform transformations, then unmute the muted notes. thanks so much aaron!

it does. it's incredible how much it changes the rhythmic character

Certainly, though I never did really understand the musical reason to derive a clock pulse from a pitch. Like, do I want A#3 to play at a higher tempo than A3?* Also, the perceptual nonlinearity of pitch means that the tempo doubles every octave. *Ok... Tea Leaf Dancers: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GW1NTN5vMyY.html. Though I assume Flylo achieved this by just keymapping the amplitude-modulating LFO.

@@p__meyer yeah, I like the key tracking method better, but like I was saying, any DAW that can rip "groove" from a sample will allow you to save these patterns. In ableton Just make a different midi track for each of the different rhythms you want, plug a note in to make each rhythm, turn each track into audio, then extract the groove of each audio track and save with titles that let you know they go together. Then you can apply it to whatever you want.

@@p__meyer Actually, tf am I talking about? Take a track of like 1/8 notes or 1/4 notes in your tempo, sample it, then the sample is doing the same thing in C or whatever you set root key to.

its' close but not exactly the same, because it doesn't shift the position of the notes themselves. in practice that may not make a huge difference

User Library > MIDI Tools folder.

thanks! it should be in the email - if you have trouble, just reply to the email and i will help you out

No. Research the audio recordings by Reich referenced in the video. Listen to the full compositions.

haha uhh maybe… hurts my brain to try to figure it out! if you can make that work i would love to see

@FullCircle11 - Not really.... You wouldn't have the gradually increasing drift out of synch (phase); just a mix of dry and 'phasey' signals. However; I have previously done some experiments with these things in Ableton though............ 1. - Choose a loop and route the audio out to two new tracks... - One dry. - The other with a delay set to 100% wet. - Set the delay to 'time' (rather than tempo synched 16ths). - Gradually automate the delay time over a chosen length ..... - Pan each hard L and R if preferred. I automated from min > max over 132 bars at 90bpm and had some nice results. The longer the period the subtler the effects (note: these Steve Reich performances are often over period of 10-20+ mins). 2. This not really the same effect as in the video, but still fun...... - Take two identical phrases/loops (I used vocal samples of a short line of dialogue for this) - One clip = warp mode off (You will have to bounce a long loop of the sample for this if you don't have Abe12 as you can't loop un-warped samples in older versions) - One clip = warp mode on (with warp markers set to the loop start and end points.) - A third dummy clip was then used to slowly automate the global tempo. The unwarped audio plays back at the same rate whilst the warped one slowly increases of decreases speed. ...Like I said; not quite what we have in the video, but some interesting results much the same depending on the tempo curves you choose (I think slow > fast > slow works best e.g. 60bpm > 120 bpm > 60bpm as you get the re-scyncing and the double-time meet up in the middle!). Fun to be had with hard panning them left and right too... You get some trippy 'time-bending' effect over longer periods as they drift in and out of sync (I think there's a fancy name for this effect but it escapes me). Aside from Steve Reich; also have a look at some of Raymond Scott's experiments of a similar nature with tape. Enjoy.