Algorithmic Music Composition Series
Programming Improvising Drum Sequencers in the Max Environment | Algorithmic Music Series
Concepts, Tools & Techniques
It can be hard to get rhythmic variety using a step sequencer when you want a bit of breakbeat or improv feel in sections of the drum tracks. Yes, there are DAW tools like flams and note choppers, not to mention the tedious hand drawing of notes while zooming into ever more narrowly arrayed grid lines. And there are sample libraries of beats of course, which you cannot use if you ever want to monetize your music with YouTube Money, for example, which disallows any use of audio sample packs whatsoever.
A workflow I find productive is to use step sequencers, piano rolls and midi files to lay down the main through-continuing beats of a song or instrumental piece, and introduce some customized Max sequencing to push the drum patterns beyond the strict grid of pattern building within the DAW.
The Max patches detailed in this article are not the most complicated, but they get the job done. Generally I like large and sparse patches that do very narrow tasks because I like user interfaces where it’s very clear to me visually what’s going. I don’t like hiding data in tables or lists where I can’t parse out real-time behaviors. If you like super compressed patches that have a lot of functions like algorithmic Swiss Army knives, these drum sequencer patches may not appeal to you.
I’ll ground this discussion with some examples, two patterns of Max-driven drum section rhythms — in isolation, and in context of the full mix — to give a sense of how annoying these patterns would be if they had to be made using a step sequencer or piano roll (at least, I would find them annoying to make in the DAW).
Even aside from the labor of hand notating these rhythms, the main point to make is that I wouldn’t have come up with these short rhythms on my own using the DAW tools. Max programming generates ideas that I don’t have, producing material outside the more limited scope of what I might be compositionally thinking at any point of the process.
Pattern 1: Solo’d
Pattern 1: In the Mix
Pattern 2: Solo’d
Pattern 2: In the Mix
Yes, as soon as I get my freer drum patterns I tend to loop them, but that’s an aesthetic decision : ) I find that a very fast way to work with algorithmically generated material is to record a lot of it, most of which will sound awful, then pick out the best bits for use in the composition.
I’m not a believer in putting the program in the driver’s seat of the music, and prefer to continuously make decisions about the usability of the output. I might take a different approach in a live context but I don’t do live music so I use tools like Max in a more assistive rather than prescriptive or deterministic manner in a music studio environment.
To hear these patterns in the context of the whole song, they show at up timings 4'27 and 5'04 in the music video below.
Two Types of Drum Sequencers
Strict Improv
So far I’ve developed two general types of ‘improvising’ drum sequencers, what I call Strict and Free. The strict kind is based on creating mathematical divisions or multiples of the BPM. In this example, the BPM clock is replicated, divided in halves, by a third and a fourth, and also multiplied by two, three and four. These clock variants of the BPM are used to set the timing of various metros that can be used to trigger the drum sounds, which in this case are samples in FL Studio’s FPC drum pad plugin. Gates (actually, gswitches, but they are serving a gating function, hence the ‘g’) are used to randomly switch certain drums off and on based on a random function.
Note in the image above that my BPM mult has a ‘roaming BPM’ option triggered by other objects which set the BPM adrift into other metronomic spaces if I want to explore tempo. This roaming BPM is similarly set up in a strict mode, where a switch is used to alternate between multiples of the BPM that include 3/4ths and x1.5 options.
I like randomizing gswtiches as a method for either passing or ‘derailing’ midi triggering info because I like their UI aspect for understanding what’s happening with a pattern. I find the UX of working with these gates provides more useful information in this regard compared to toggles and buttons. I also tend to limit the number of drums involved, in this case 5 (even though a drum pad like the FPC has 32 sample slots — 2 banks of 16 each). When you’re algorithmically producing drum patterns, I find that more than 5 drum samples being triggered randomly gives me a headache, which is more a biological than musical rationale!
At the improv-heart of this strict sequencer is the ‘drumBanger’ patcher which essentially switches between these tempo options based on a random function. Each drum, then, is doing its own random but strict thing metrically with one of the mathematized BPM options.
A Complete Content Guide to Sound & Design
Free Improv
The ‘free improv’ approach uses the BPM information to trigger random metro timings for each drum in the set — each drum gets its own timing, and each timing is a random number generated with each BPM pulse. These timings have no mathematical relationship to the BPM itself. In this example, ten drums are set up so keep the ibuprofen handy. A global speed limit control prevents timings that are too fast for musical comfort. Gates for passing or derailing the midi control data can be randomized for each drum as well, which makes the output of this algorithm a lot looser and more chaotic in overall feel.
Velocity Rules
Both patches make similar use of pitch note/velocity/duration formatting. The velocity is randomized but a value of +60 is added to ensure that no beats are too quiet for the mix. Drum samples are short so the same duration suffices for all note triggers.
As you can see from the image below from the piano roll, there is quite a lot of velocity variation with each drum hit!
Full Manual Control
While these Max patches have been designed to add the power of random values to your drum sequencing, they also allow full manual control of the parameters. You can switch back and forth between the two ways of organizing drum patterns with either patch, and add intentional modifications to the randomly produced patterns.
Patch Code
You can find the patcher code for each of these models, Strict and Free, at the bottom of this article.
The Max compressed text code for the two patches described above can be found at the very bottom of this article.
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Harnessing Randomness in Drum Sequencing
Strict Improv
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-----------end_max5_patcher-----------
</code></pre>Free Improv
<pre><code>
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-----------end_max5_patcher-----------
</code></pre>
