KARMA™ (Kay Algorithmic Realtime Music Architecture) is a patented
algorithmic MIDI data generating technology that takes input notes and controller
movements and generates complex musical phrases and effects. KARMA
provides independent real-time control over various aspects of a musical phrase,
such as rhythm, duration, accents, chord density, pitch bending, tonal variation,
panning, repeats, randomization, etc.
Why is KARMA different than an arranger keyboard, or an algorithmic composer?
KARMA (Kay Algorithmic Realtime Music Architecture) is a parameter-based
approach to generating musical effects, rather than a musical data based
approach. It is not a system that plays back prerecorded MIDI phrases through
Note Transposition Tables, like most arranger systems (or phrase generation
systems). However, it is also not a system where you set up parameters, press a
button, and sit back and listen to the "music" it generates. It is not the type of
system that is supposed to "evolve" a piece all by itself, according to parameter
settings. One of the ideas behind KARMA is that the user is always in control of
how the music is generated. If you want the rhythmic complexity to increase at a
certain point, well then, you hook up the parameter(s) that can cause that to
happen to a real-time control, and you twist it at the point that you want it to
happen. Although a timeline kind of input control could be a possibility in the
future, the basic idea of KARMA presently is real-time. (And actually, you can
achieve the timeline kind of thing simply by recording your control movements into
a sequencer. But again, the user determines what changes and when it changes.)
You cause it to start by triggering it – you determine which notes it plays and in
which key by the input notes you give it. You determine when it changes activity or
settings by changing the parameters at a certain point – be it a scene change
(which can change a whole slew of parameters at the same time), or moving one
parameter.
In its simplest form, this "parameter-based approach" is similar to what we have
come to expect from the term "arpeggiator": you play some notes on a keyboard,
you have a few parameters you can adjust, and notes come out in some kind of
pattern. For those who must compare KARMA to an arpeggiator, I like to say that
KARMA is like "multiple arpeggiators on steroids, after being given adrenaline
injections, and doing LSD." Really, I feel it has very little in common with any
conventional arpeggiators, and I think you will agree after reading the architecture
description that follows. But if it makes you comfortable to think of KARMA as "an
arpeggiator on steroids", then by all means do so. It can certainly arpeggiate, in
just about any flavor known to man, if that’s what you’re looking for.
algorithmic MIDI data generating technology that takes input notes and controller
movements and generates complex musical phrases and effects. KARMA
provides independent real-time control over various aspects of a musical phrase,
such as rhythm, duration, accents, chord density, pitch bending, tonal variation,
panning, repeats, randomization, etc.
Why is KARMA different than an arranger keyboard, or an algorithmic composer?
KARMA (Kay Algorithmic Realtime Music Architecture) is a parameter-based
approach to generating musical effects, rather than a musical data based
approach. It is not a system that plays back prerecorded MIDI phrases through
Note Transposition Tables, like most arranger systems (or phrase generation
systems). However, it is also not a system where you set up parameters, press a
button, and sit back and listen to the "music" it generates. It is not the type of
system that is supposed to "evolve" a piece all by itself, according to parameter
settings. One of the ideas behind KARMA is that the user is always in control of
how the music is generated. If you want the rhythmic complexity to increase at a
certain point, well then, you hook up the parameter(s) that can cause that to
happen to a real-time control, and you twist it at the point that you want it to
happen. Although a timeline kind of input control could be a possibility in the
future, the basic idea of KARMA presently is real-time. (And actually, you can
achieve the timeline kind of thing simply by recording your control movements into
a sequencer. But again, the user determines what changes and when it changes.)
You cause it to start by triggering it – you determine which notes it plays and in
which key by the input notes you give it. You determine when it changes activity or
settings by changing the parameters at a certain point – be it a scene change
(which can change a whole slew of parameters at the same time), or moving one
parameter.
In its simplest form, this "parameter-based approach" is similar to what we have
come to expect from the term "arpeggiator": you play some notes on a keyboard,
you have a few parameters you can adjust, and notes come out in some kind of
pattern. For those who must compare KARMA to an arpeggiator, I like to say that
KARMA is like "multiple arpeggiators on steroids, after being given adrenaline
injections, and doing LSD." Really, I feel it has very little in common with any
conventional arpeggiators, and I think you will agree after reading the architecture
description that follows. But if it makes you comfortable to think of KARMA as "an
arpeggiator on steroids", then by all means do so. It can certainly arpeggiate, in
just about any flavor known to man, if that’s what you’re looking for.
DRS Productions GEAR
SONAR 6 Producer Edition
Keyboards;
Korg Karma 61 key
Microphones;
5 - Shure SM 58
1 - Shure SM57
Mixer;
Tascam DM3200
All mixes done digitally through computer.
SONAR 6 Producer Edition
Keyboards;
Korg Karma 61 key
Microphones;
5 - Shure SM 58
1 - Shure SM57
Mixer;
Tascam DM3200
All mixes done digitally through computer.
Live Sound & PA Provides Sound for
Live Band Performances and Events in
the Columbus area.
Audio Productions:
Sonar 6 Producer, Recording, Demo's,
Behringer UB2442FX 24 Channel Board
Ultragraph Pro FBQ3102 EQ
Autocom Pro MDX1400 COmpressor
dbx AFS 224 Dual Channel Advance
Feedback Suppression Processor
Microphones:
5 Shure SM58 mics
1 Shure Beta87A mic
2 - 200 watts Samson Speaker System
for Monitors
Call 614 - 774 - 7078
Email for Rates
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Artist Image Consulting & Management
Affordable Personalized Recording & Mastering For Solo Artists
Piano Drum Vocal Lessons Contracted Through Felicia Bond Of
cJazzic Soul Monday - Thursday
Singers, have you brought a Track or Beat and want to record a Vocal
Demo? We Offer Affordable Vocal Recording and Mastering of your
Demo's
All Consulting Sessions are by appointment only!
If Our Services Are Not What You Need, We'll Point You In The Right
Direction to ensure you receive to personalized help you need to
become a successful Artist.
For Appointments Call: 614-774-7078
Or Email Us
TASCAM DM-3200 Digital Mixer
The DM-3200 features 32 full-featured channels and 16 returns for
a total of 48 channels at mixdown - even at its full 96kHz / 24-bit
audio resolution. It has 4-band fully-parametric EQ and dynamics
on every channel and two effects processors, each capable of
running the built-in TC Works reverb processor. Surround mixing is
available with up to 6.1-channel panning, and the optional
IF-SM/DM expansion card adds surround monitoring and
downmixing to the DM-3200.
The DM-3200 provides a new way to record with DAW recording
software. With the addition of an optional expansion card, the
IF-FW/DM FireWire interface, the DM-3200 becomes a 24-channel
computer audio interface, making it a complete studio solution for
professional DAW recording. Built-in HUI and Mackie Control
emulation allows the console to function as a flexible control surface
for workstation software. This gives you the best of both worlds -
total control over your recording software transport and mixing
capabilities with the cue mixing, talkback, microphone preamps
and world-class automation provided by the DM-3200.
The DM-3200 features 32 full-featured channels and 16 returns for
a total of 48 channels at mixdown - even at its full 96kHz / 24-bit
audio resolution. It has 4-band fully-parametric EQ and dynamics
on every channel and two effects processors, each capable of
running the built-in TC Works reverb processor. Surround mixing is
available with up to 6.1-channel panning, and the optional
IF-SM/DM expansion card adds surround monitoring and
downmixing to the DM-3200.
The DM-3200 provides a new way to record with DAW recording
software. With the addition of an optional expansion card, the
IF-FW/DM FireWire interface, the DM-3200 becomes a 24-channel
computer audio interface, making it a complete studio solution for
professional DAW recording. Built-in HUI and Mackie Control
emulation allows the console to function as a flexible control surface
for workstation software. This gives you the best of both worlds -
total control over your recording software transport and mixing
capabilities with the cue mixing, talkback, microphone preamps
and world-class automation provided by the DM-3200.
Darrell R. Stewart Sr. is the CEO of DRS Productions; he specializes in artist management, Recording and
Sound engineering for small to mid sized projects.
Darrell is Manager, Music Coordinator & Sound Engineer for Felicia Bond and her band cJazzic Soul for the
past 6 years. Designer & Webmaster of all Felicia Bond & CSB related Websites.
Darrell's work at DRS Productions Recording Studio can be heard on Felicia's New CD "Ready or Not Here
I Come".
Darrell Recorded Mixed and Mastered the title track Ready Or Not here I Come, Ease Your Mind, Smooth
Groove, Inside I Cry, Look Inside, Twenty-Four Seven to list a few.
Website: http://www.cjazzic-soul.com/DRSproductionsindex.html
Contact: Darrell@cjazzic-soul.com
Phone: 614-774-7078
