rodney I used two SEQ16s, nothing outside the system. After composing the two counterpoint lines, the subtle changes are derived from using the wire reset on each sequencer. First it's wired to 3/3. As the piece moves forward, I manually patch each wire to a the next available slot, but always leaving one ahead of the other to try and achieve some form of phasing. 3/4, 4/5, 5/6 and etc until all 16 steps are playing in counterpoint to one another. The various rhythmic patters are purely coincidental.
Once the piece climaxes as the LFO driving the FM on the 2/OCS speeds up to the point of oscillating on it's own, I reverse the process by manually patching the wires 16/15, 14/13, 12/11 and so on until they return to near where they started. I stop at 4/3 because I like the 4 against three pattern. At this point the oscillators have floated out of tune, thus I need a quantizer/buffer.
Jihel Yup! Reilly, Reich, Glass, Adams all the minimalists, that's what I'm going for. If I add two more sequencers and a couple more VCAs, I should achieve a lot of the phasing effects many of the minimalists used.
slowscape Yup. I was thinking about Einstein's General and Specific Relativity. I also heard a lecture by a scientist who via computer model showed how the stars are moving. It's bind blowing. We see them and they look fixed. Our sun is revolving around the galaxy at, what, 574,000 miles per hour or something? All the other stars are moving at similar speed, but from our perspective relative those speeds and incredible distances, they look fixed.