Very interesting how this works, setting yourself up with strict rules, and trying to stick to that. More than a couple of times I was tempted to leave the path I set myself - thinking of other samples to use, getting ahead of myself by applying more than one process at the time. But I resisted.

What I have now: 27 samples with a length between 30 sec and 2 minutes. I allowed myself to edit the initial sourcefiles a bit to get a lenght of at least 30 sec. And to keep that a bit more interesting than just repeating the same sample 2 or 3 times, I used: reversing the sample or adding a slight pitch change in time and editing these various versions of the same sample together into one.

Then the processes. I decided on 6 processes in LiSa:
1. ch2 LPF: this is basically playing the sample twice on both speakers, but a little out of sync and with a low pass filter applied - this gives me a lot of low drones (probably too much).
2. ch2 pitch+48: this is a process that plays the sample pitched up 48 semitones together with the same sample pitched down 48 semitones - the high pitched version of course is much more prominent, and works in some cases and not in others - the low pitched version only gives some rumble every now and then - all the time there is some sample length change going on so the loop is not so obvious.
3. ch6 broken + dist: a joystick action, scratching through the sample with extreme panning and some subtle pitch change - all kinda broken and cutup.
4. ch6 filter + dist: similar, but then with a high pass filter changed by the joysticks Y axis.
5. ch6 reg + dist (fixed pitch): my main instrument in the live set, scratching through the sample and applying extreme pitch change with the Y axis.
6. ch5: this is a weird, but a little too obvious stuttering of the sound - probably I'll get tired of this one the easiest.

After applying these processes to 6 sourcefiles (already quite a lot of work!) I can already see that I'll end up with much too much material, every 1st generation file being at least 1 minute, but most of the time 2 or 3 minutes. When generating them I actually add quite a ot of 'musicality' - they are small compositions in themelves sometimes. Also I allowed in some cases to not use a certain process, as it didn't seem interesting on that particular sample. Shouldn't do this too much though, as in other cases I initially also expected a certain process not to be interesting on a certain sound, and it ended up being quite nice.

A thought I had yesterday: if I would have executed this composition process at home or in a STEIM studio, I'd have abandonned it already, or at least changed its direction. Being here in Stockholm with no diversion and plenty of time forces me to keep working. So I'm glad I took on this challenge for experiment.

So today I'll be continuing the 1st generation creation with the LiSa processes, and then decide if I still want to add other processes, more regular ones using Adobe Audition. It seems I'm already generating too much material, but maybe Audition will give me another direction - LiSa can sound a bit too 'LiSa' sometimes.

I also finished Do Androids Dream Of Electric Sheep yesterday. Interesting how different in story but similar in atmosphere it is to Bladerunner. But even more focus on those intense initial questions this process started with (see the pdf with the plan, above).