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The model works really well on a subdiv of 8. the syncopations are dynamic enough to be interesting, but not so complex as to lose the listener. the sense of time is not compromised by blocks that cut across bar lines, since the source sample is accessed modulo its own length. since the model assumes the source sample is an integer number of bars long at the given tempo, then access beginning of the seventh eighth note of the first measure will sound relevant and correct. because cuts in eighth notes are the stock in trade of style, the model has been optimised with this situation in mind. cutups which involved 5 unit blocks tended to sound more awkward than three unit blocks. this is the motivation for keeping possible block sizes less than or equal to half a bar. yet to avoid the clichs of the style, allowing 5 unit blocks gave a greater originality. still, 7 unit blocks would reveal too much of the original breakbeat. so for this modification to the algorithm, use the set: oddnumbers2 a cutup using 16ths is more easily interpreted if played against a solid backing beat. then it becomes a very dextrous cutup indeed. this is only if the groove of the breakbeat original is in straight 16s. otherwise the algorithm must be adapted with groove information, as below. as for subdivisions which have prime numbers other than two in their decompositions, these play against the source breakbeat, which is usually quantised in rigid 16s. used to cut up source audio that is not itself rhythmic, they can lend their own rhythmic flavour without any clash. or the clash is itself an interesting musical effect.
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Clauswitz, a 19th century military strategist, rings true today. reality has a nasty way of rendering even the best map, and the associated career terrain an engineer might reasonably expect to encounter, obsolete in a hurry. 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