Simultaneously triggering an instrument with loops of different lengths creates a self-evolving composite pattern

Rather than triggering an instrument from a single looped clip, route multiple clips of different lengths to the same instrument simultaneously. Because the loop lengths are incommensurable (e.g. 4 and 5 sixteenth notes), the clips drift in and out of phase with each other in a predictable cycle (the composite realigns after LCM of the loop lengths). The ear hears three patterns simultaneously: the two individual loops and their composite. Additional loops multiply the composite length. This is the electronic equivalent of the Berlin School’s multiple modular sequencers or Brian Eno’s tape loops of different lengths in Music for Airports.

Examples

Loop A: 4 sixteenth notes (one note + 3 rests). Loop B: 5 sixteenth notes (one note + 4 rests). Routed to the same synth, they produce a 20-step composite that realigns on step 21. A third loop of 3 steps produces a 60-step composite.

Assessment

Create two loops of different incommensurable lengths routing to the same instrument. Listen for 32 bars. Describe: (1) where you can hear each individual loop; (2) where the composite pattern seems dominant; (3) when and how often they realign.