Nah I don’t mind. I don’t often get to talk about minimalist composers and specific performances 
but of course if anyone has more ideas as to how to achieve these techniques I’m all ears. I’ll probably even finish that piece tonight.
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Tangentially related, buying this CD back in the day blew my mind
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Oh yeah! I bought that back in the day as well 
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I recall buying this album.
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It’s now doable on the Cirklon via a recent beta OS update. You can set a track to run with a range of +/- 12 ticks independent of the other tracks.
I haven’t tried it out yet, but keep meaning to.
Caught a London philharmonic performance of “Music for 18 Musicians” back to back with Gavin Bryars’ 'Jesus’ Blood Never Failed me yet" at the Royal Festival Hall a couple of years ago. So great.
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maybe by setting the same loop in different DT tracks (in FWD LOOP mode), COND. as 1ST, and making each track loop range slightly shorter (also playing with subtle LFO’s)… might give interesting results? I haven’t tried it, but I’m quite curious now!
EDIT: I just tried, and it gives pretty interesting results! copied the same sample on 4 tracks, then slightly modified parameters like loop length, different filter settings, some subtle lfo’s at different speeds for sample tune, panning…
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Sounds like a great plan
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Might as well set different tempo’s then. One BPM difference will give you one beat phasing in one minute of time.
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Not really. The point is to add some humanization into it. Without it phasing sound very static.
I guess if you’re using static samples it may sound a bit static when the samples are close.
But i think the technique sought by OP is indeed just a tempo difference. You get a ‘phasing’ of the rhythm, not the sound.
I think you’re talking about a different ‘phasing’, the one that goes on between the actual sound, not the rhythm.
Not saying your method is no good, but the score in the video of OP actually just specifies a different tempo. That is the way to get that particular effect.
Not talking about a different sort of phasing big fan of Reich actually.
If the goal is an emulation of Reich’s phasing techniques, then some humanization (I.e., the manual tempo nudges) is necessary. His techniques weren’t as rigid as a simple BPM shift.
Aah, ok, nothing said…
I guess i kindof enjoy a more ‘static’ kind of ‘phasing’. Probably a leftover from experimenting with modular.
Given that it was actually played by humans i guess there was not much choice.
That kindof gives me some new notions, like wether or not two players playing the individual lines and hearing each other would unconsciously sync up when the ratio’s between the lines are close to synchronous. Or maybe the opposite, how difficult it would be to keep a different straight tempo in the context of another close tempo without ‘false’ synchronization.
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It’s Gonna Rain? Yeah, initiated by a human still, but I’d say that the particularities of his chosen instruments had a role to play.
I signed up for the forum just to talk about this.
I recently got a digitone and phasing is my jam. It appears phasing is pretty easy on the samplers, just loop samples of different lengths. On the synths, not as much. I’m hoping maybe someone else has come up with ideas on how to make it work better on a digitone.
You can set different track lengths up to 64 steps and set pattern M Length to infinite. So a track of 63 steps “phases” against a track of 64 steps. At slower BPM this very blocky pattern displacement phasing rather than tight Reich phasing. The only way to get a tighter phase is to have a short sequence of notes spread out over 64/63 steps with a the fastest BPM setting of 300. At this point it is tighter phasing but it’s still not a very tight phasing. We would probably want double the steps or more to get tighter phasing using this method.
BPM per track would be another way to solve this.
I’m curious if any of the trigger parameters can affect the length of a sequence before it restarts (when M Len is set to infinite). I’m inclined to think not but I am new to Elektron and am just learning how everything works.
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You could try duplicating each trigger and apply corresponing microtiming for the duplicate. Kind of shift it towards the original trigger. Then have the original and the duplicate alternate with 1:2 and 2:2 conditions, or something like that.
This only works for sequences that have enough room between the notes though and it could be a bit tedious for a full 63/64 step sequence, haha.
Haven’t really done much Reich-Style phasing, but for the occasional polyrhythm that I use, it works nicely for creating groove.
This is the craziest example of Reich phasing (if that’s what this technically is) that I’ve ever seen-
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You might like Ligeti’s Poème symphonique
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Micro timing seemed like a promising approach but it doesn’t appear to affect the length of the individual tracks.