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feet of clay

by Queer

/
1.
Stepping Out 11:01
2.
Sidestepping 07:51
3.
4.
Meandering 19:26
5.
6.
Step Lively 09:51
7.
Step Inside 10:45

about

The Klee Sequencer, Scott Stites gift to the bizarre world of music making via persuasion. Here, the beast is being coaxed into churning out slight variations in rhythm in a manner similar to a sculptor working his clay.
The Klee is in random mode so it is continually receiving incoming gates from the Pittsburgh Game System. If the same pattern of 16 gates is input repeatedly, then the Klee will output the same sequence. To alter the sequence I’m using a four stage switch to switch between the four different tracks of gate sequences. Each 16 step gate sequence plays 8 times before the switch moves. The Klee outputs 3 sets of CV & Gates, each driving one of the 3 voices; A, B & A+B. All the CVs are patched to separate Quantizers. Through the magic of the Klee, the notes and the gates for all parts are interrelated, creating interwoven melodies and synced rhythms. A little echo is added to the mix and a second, slower, echo is periodically sent a short burst of the mix by a random, clocked envelope. In order to keep the mix changing up, Frames is used to fade each of the three voices in and out, controlled by a slowly moving function generator that takes about 30 seconds to sweep. And finally, to help the sequence change over time, I’ve patched 3 clocked random triggers to the Game System controlling the cursor’s movement; down, left, & right. A fourth random trigger flips the status of any step the cursor is sitting on, gates are turned into rests and rests back into gates. As cursor travels randomly around the grid it periodically alters all four Game System sequences and slowly alters the patterns being sent to the Klee.
The Game System is in drum trigger mode so the first two rows of eight are the first track of gates, rows 3 & 4 are the second track, and so on, a Doepfer switch chooses which row is active. The O’Tool is showing the Klee voltage that drives the BassLine: It is patched from the A+B output on the Klee. In a manner similar to a Turing machine, the Klee will spit out very high notes when the incoming gates are densely spaced and the shift registers fill up, conversely, if few gates are passing into the Klee the voltage being output can be very low. The bassline is triggered by the Klee’s Nor gate output meaning that once the registers fill up, the other two gates fire a lot and the bassline doesn’t fire at all. When the registers are sparsely filled the Nor gates fire often and the bassline notes drop very very low. Because of this the basslines would sometimes drop to a flabby bunch of noise when it got too low. I just wanted the bassline to cut out so I used a Ladik Comparator to compare the lowest note I wanted with the one just below it, those are the two voltages shown in the O’Tool. Then I used the Intellijel Plog to stop the gates that come from the Klee and trigger the bassline envelope, worked like a charm.
Each piece of the album differs slightly in the way that recurring material is coaxed out of the machine.
Like most ambient works it should be listened to as quietly as possible for best effect.

credits

released November 25, 2018

Dedicated to the brilliant efforts of designer Scott Stites.

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all rights reserved

tags

about

Queer

Bending musical traces around gender and fashion, Queer returns to remind you of that which you both love and fear more than anything.

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