I continue to be amazed by the versatility of the Play Quantize and Humanize Quantize features in Scaler. When combined with the performance modes, playback speeds and voicings, all kinds of cool things happen.
As a simple example, I played this using an expression, one of the voicings (which I can’t remember) and play quantified enabled. The same expression was applied to the 6 mapped chords and the voicing really pulled out the strings from the steel acoustic.
This little clip was a single take bounced directly from Scaler hosted in Tone2. Please forgive the simple muscularity, I was just tapping away… but listen to the near perfect timing created by Scaler. It makes splicing together pieces of performance modes easy and more importantly a blast.
If this is at all interesting to anyone but me, let me know and I’ll drop some additional details.
Yep, just one instance with 6 keys mapped to chords and perform turned on…nothing else other than some settings set. This is just the tip of the iceberg. When you factor in speed of playback, chords structures, voicings, instruments and quantization settings, the variations seem limitless. There is so much more here than I ever knew.
I’ve burned hours in the last few days just tapping on 7 keys and I never played a chord. The really cool thing is that you get sucked into the patterns and you start to hear bits and pieces of combinations and sequences that you can easily tie together by improvising. If you make a mistake, you can just keep playing and if you are paying attention, it smooths itself out. Maybe lots of other people use Scaler like this, but it is new to me. With a little practice, Scaler is a melody/topline machine!
For those that might be curious about this approach, here is a related post with some additional detail.
Actually no, just the stock Steel Acoustic. Unfortunately, the save session using the Replace Existing option does not always work for me so I lost the session state data and can’t tell you any of other details…
