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https://www.youtube.com/watch?v=Rs9xJuV6NY4
You probably have heard of the idea in the 80ies to build a supergroup consisting of Ian Anderson, Frank Zappa and Keith Emerson, already. I got it per inner Ear-Mail only earlier this year, together with some materials, let's call them spontaneous first steps of jam sessions. I studied the dusty things and tried to clean them up - I tried to make them more interesting for a contemporary audience.

The first two minutes belong to Ian Anderson, interrupted with a melody no musician is able to keep in mind, played by the Big Moog Synthi of Emerson as used in Lucky Man. It is scientifically called the origine of Negative Dialectics, a hobby of Zappa's you are familiar with since the study of Dr. Watson, Ben to be exact. As Zappa was a scientist by himself, he had, with a little help of the Beelzeboubou, access to the IRCAM, where the newest music machine has just been invented, the Granular Synthesis. (The IRCAM is Pete's Garage with its entrance only a few meters beside the big one of the Centre Pompidou, Paris, under the rule of the mentioned Beelzeboubou.) Thus the supergroup melted down the hole first part of their demanding aesthetic program, the Variationensatz Adorno's of 1925, as it seems, according to Watson, familiar at least to Zappa. In piece number three they played the most beautiful music the supergroup was able to play, followed by some nervous screams of Beefheart who obviously was visiting London at the same time. - The rest of the 20 minutes presented here consists of mere variations, as it is known of jam sessions that they do not produce new things when lengthened towards timelessness.

CD with score: https://www.mycloud.ch/s/S00C1EBA9300F439D6278DEB636C539C8AD0604BA7F

https://www.youtube.com/watch?v=Rs9xJuV6NY4
Friends, last two weeks I made a 20 minute piece consisting of 12 parts. The half of them use the IRCAM Multi Granular in Falcon 2 on Cubase 11 Artist, the others the instruments mentioned just below the Youtube video.
I have three questions. 1. Although the granulars in the 6 parts contain different samplings, they sound too much similar (Adorno String Quartet Variations first half and second half, Electricity of Safe as Milk, quasi live instruments accoustic and electronic, and drums). Are my settings unsuitable?
2. The settings can't be added to the automation. Is this a mistake of Falcon or of Cubase? (Many other instruments don't let you safe FXs or parts of the settings, for example the pitch bends for sexy large bendings or small quartertones in the Synthi Anthology 3.)
3. Question of naming: the Granular in Falcon is not part of the instruments but of the oscillators. Is this machine a Granular synthesizer or a Granular oscillator, or something else?

Here the settings of part 4 with the extracted voice of Captain Beefheart, played continuously with the midi note c.

Imagine the Kulturindustrie as a process, and moments in it with as much as power to break up commercialism, i. e. its essence. Imagine Ian Anderson, Frank Zappa and Keith Emerson in tentative jam sessions with the intention to form a supergroup. The record companies put a fast end to this idea, no commercial potential. Nevertheless, this idea is the cloud on which the music presented here sails. You have to know that Zappa knew Boulez and that Zappa was in the IRCAM, the place - in Boulez' garage - where the Granular Synthesis was invented and developed. Last link you have to take notice is the book of Ben Watson with the title "Frank Zappa: The Negative Dialectics of Poodle Play (1994)". Now make yourself also clear that Boulez' Second Sonate has a predecessor shy & brave at the same time in Adorno's op. 3.5 of 1928, and make yourself clear that Zappa was eager to work with the latest electronic machines: you can follow now the meaning of the work without difficulty. But Electricities in Negative Dialectics is not a work of art but a mere piece of a mission: it shows the possibilities of musical software of today and their opportunity to create even discursive formations.
https://www.youtube.com/watch?v=Rs9xJuV6NY4

5 simple pieces with UVI Falcon instruments: Augmented Piano, IRCAM Trombone, Drums from Extreme FX 1.5, Musical/Percussion.

https://www.youtube.com/watch?v=PPxa-Pud6AU

Here some first steps to the IRCAM Multi Granular in Falcon 2. A box of hot spice in a dangerous kitchen.
https://www.ueliraz.ch/granular-synthese/index.htm

The IRCAM Multi Granular as it should sound.
https://www.youtube.com/watch?v=NPZX0AXPhDk

How easy to use the IRCAM Multi Granular with Macros:
https://www.youtube.com/watch?v=PHNpWhwtyjw

Presentation of the first five Granular Presets in the Falcon Factory. A short melody with high, low, long and fast notes shows the preset. Everey sample can be heard as an original sound. You will see, how complex these samples already are.
https://www.ueliraz.ch/granular-synthese/teil-2-analyse-presets.htm

5 tracks with IRCAM Multi Granular, 1 track birds in the evening. All samples in the over 10 granulars from UVI Extreme FX 1.5.
https://www.youtube.com/watch?v=VMOAJFtiY7g

A feedback sound as if on stage. In UVI Falcon, save it as program and use it in a multi. In Cubase, save it as preset and use it together with a guitar on an adjacent track. Use it by written midi file or "live" with a keyboard or a midi guitar.

A Jam Session with Jazz instruments of the Falcon, together with the beautiful voice of Marie Ork, played on a keyboard track after track. - Milachra, name of the Quartet here, is a place where I used to walk around, the Mill, name of the concert, is where I am regular Corona-prisoner without car, my adress: In-der-Mühle/Mill-way. - Don't take it as art music but as a study on the possibilities of Falcon.
https://www.youtube.com/watch?v=Otr79xNpFFM

Two instruments, both new and great for me: 1. "Hammer B" out of the UVI Retro Organ Suite for Falcon and 2. the guitar "Strategy" by accousticsamples for the UVI Workstation, with beautiful harmonics (Flageolett) and the famous Al Di Meola staccati.
https://www.youtube.com/watch?v=sefp3obllu0

Second Jazz study on "Hammer B" of the new UVI Retro Organ Suite and the guitar "Strategy" of accousticsamples, imrovised on a midi Keyboard.
https://www.youtube.com/watch?v=vHEaOOY5dp0

In the normal, classical play, the strings in Falcon's IRCAM solo instruments are boring. You can make them more realistic. I use a multi of three presets. 1. Ordinario KS (KeySwitcher), 2. Fortepiano, 3. Sforzando. Number two and three have less volume. The sound is still insufficient, too little dirty, still not exactly alive. Where to add a little overdrive? I put it on the layer of the second instrument. Finito. - In order to use the whole spectrum of loud and quiet, I increase the velocity amount, but still < 100%.

Maybe there are some people who use the UVI Workstation on Cubase and would like to use a pitch bend automation track. User manual in German, but with many screenprints.
https://www.ueliraz.ch/granular-synthese/pitch-bend-automation-cubase.htm

An unusual constellation: you have a Multi in the UVI Workstation (1) on Cubase, and you have several MIDI tracks without instruments (2), which indicate with notes where and how the automation tracks must be drawn (3). The Multi behaves as if disturbed. In this case here, the second guitar that should hold the long note, sustain, is stalled. Solution (after much experimentation): the soundless MIDI tracks must be muted (yellow M).

This video wants to show how exactly Hendrix works his way through the American hymn: Every note is played in sequence, none omitted, doubled or altered. The guitarist shoots big holes in the musical context like bombs blast through the landscape of an innocent population. - The following UVI instruments are used, in the Workstation and in the Falcon: Strategy, Jazzistic 4, Screan Lead from Hammond B, Feedback Machine, StarDrums, Tuba from IRCAM Solo 2, Plate.
https://www.youtube.com/watch?v=0KlMJDPlLio

A description in screenprints to use Falcon's Micro Tuner for scales with another basis than C, for example an Alphorn in F. May be interesting for Swiss Stubemusiker and Micro Tuning Punks as well.
https://www.ueliraz.ch/granular-synthese/micro-tuning-falcon.htm

On 20 May I described an IRCAM Violin Multi, which is supposed to sound better (= more out of fire...) than the default instrument. Here is this instrument in use, with other instruments on the Falcon: Birds of Fire.
https://www.youtube.com/watch?v=hSD9kFcgE0g

The Squasher in Cubase 11 is a very good plug-in that gives a piece the final touch, similar to the tonal adjustment in image editing ("levels" in Photoshop). In a homogeneous musical piece like those by Status Quo, you can use it in the main Stereo Out, in those with solo instruments preferably only in individual tracks. In this piece, the guitar and the violin have this audio insert effect, once with the preset "Power Guitar 01", for the violin with "More Details". However, an error occurred: in the passages where these two instruments play in unison, i.e. always the same thing in parallel, the guitar pushes the violin to the ground and makes it almost inaudible. The solution, which can be heard here, is to bypass the guitar's squasher in such passages via automation. Mahavishnu Orchestra, Meeting of the Spirits:
https://www.youtube.com/watch?v=FFynD7s__fk

Perhaps someone is interested in following the many small notes, in great musical imagination, of both Zappa and the drummer Colaiuta.
https://www.youtube.com/watch?v=PxKUjuJvHEY