video and insight of my “Repeater Slow” at Oberlin TalberTronics Festival


The first of my two honoraria performances at the TalberTronics Festival was a live resampling/remixing of “Repeater Slow,” by my college friend, band-mate, and consult Phil Raath.

L-to-R: Raath, Richardson, and Brooks of “Robot Versus Dinosaur” performing at Old B RockFest, 2004. Photo by S.Kendall


“Repeater Slow” source

When I told Raath about the festival, he was bummed he couldn’t make it, but I encouraged him to at least let me bring his work to contribute. He sent me “Repeater, Slow,” an 11-minute miasma of guitar-loops time-stretched-down-to-near-frozen.

The raw recording lacked the glitching, granular shimmer-stutter that was (to me) a signature of Phil’s earlier (college-era) work, so I chose to honor that (and our history of collaboration) by “remixing” the playback live on my (modified) Korg MS1 microSampler.

Performance Materials:

  1. Korg MicroSampler MS1
  2. DI box and footswtiches (for MS1)
  3. cell phone (source track and video forensics)

For the 3rd concert of the series, I “remixed” Phil’s drone-piece, by which I…

  • filled all 16 patterns on the Pattern Sequencer with a set of drum-beats on the first 2 octaves of keys (following the traditional MIDI drum-map),
  • cleared the drum sounds from the sample slots, leaving the patterns to play empty buffers, or whatever might be sampled into those key-slots.
  • played the drone-track through the MS-1, touching keys while in Key-Gate sampling mode to sample/replace incoming drone/tone into that key’s audio buffer
  • let the Pattern Sequencer run to trigger playback of those sample slots, thus creating “melodies” or “arpeggios” made of small samples from the passing drone
  • continually replace the key-slots to follow the tonal evolution of the source droning source-material
  • switch patterns (using Pattern Select dial) and throttle the tempo (with foot-
  • switch) to add human dynamics.


PR - sampling 2
MicroSamPler… is DANcing with ME… cheek to cheek.


TiMaRA professor Tom Lopez sent the following footage below, shot and edited by his department.



I could not have performed this without the inspiration and source material from Phil, so I made sure to record the applause he deserved (seen from my perspective here).

I learned the computational limits of my phone when the act of starting to film the audience cut off the drone feeding my synth, making for a “rhythm only” outro.

…Thanks, Questions ?

I you have any questions, feel free to comment below or at my YouTube page(s).








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