Here I began to focus on the repetitive nature of the various pulsing figures, the fixed tonal centre (Eb), along with a sensibility of how the piece moved from ‘pulse’ to ‘pulse’ and introduced improvisational variations along the way, both through technique and technology. What became apparent to me was in fact that each of the essential ideas might be used in a DAW as audio loops to ‘perform’ (or re-mix) these in the same sequence that he had, but rather though cut and paste than ‘blow by blow’. This approach is not at all that unusual in the dance music and DJ world, but was a operational genre that until this point was not especially interested in nor familiar with.
I turned to one of Pro Tools ‘virtual instruments’, intriguingly named Transfuser. After a little work with the manual but particularly Internet blogs, it would seem this was an ideal tool for what I had in mind. What I wanted to avoid was the multi-tempo mapping drudgery from before, but mostly, this piece really did seem to break down into a finite collection of shorter, essential elements that could be ‘looped’ out into longer arrangements – either to replicate his original performance lengths for each of these ostinato pulses, or to freely re-arrange or extend as the work might take me. This proved relatively straightforward, and all of the relevant material was marked up and divided into their essential essence as short sections of no more than four bars each. Each of these loops then were loaded into Transfuser and part of its magic was that it could i) synchronise and pitch/time shift as required with reference to the parent DAW and the tempo /bar line I might choose, and ii) that it could then easily ‘fly’ these parts into the DAW tracks as required, in fact reassembling his work, but now in tempo and locked to ‘smart’ DAW editing possibilities.