Hey Jonathan,

I applied the counterpoint method to a baseline. This was actually a by-product of trying out some of your methods. I sometimes apply octave stacking to my bassline, so the bass gets a bit heavier. Having already tried to apply counterpoint movement to the melodic part (which I kind of did before; in fact it was just polyphonic music, but this results in counterpoint motion either) I did the same for the baseline. And the result was really great! My bassline was already very "wild"; no strict tonic-rythm pattern, but up/down +/- 3 halftones.

Now, I moved the octave-shifted copies individually for some notes, as I already for the one octave version to emphasize some notes. Also, not moving all octaves equally gives some more control over the sound. However, I kept about 80-90% of the notes the same for all octaves (parallel motion). The changes were a mixture of counter motion and oblique motion (most times the middle octave stayed constant; while the others did parallel or counter motion).

I additionally combined some 1/8 to 1/4 notes, but for one octave only, which reduced the mechanic stiffness even more. The result has much more life in it and is a more complex experience to the ear.

Here is my result:

 

Let me know what you think about it! And keep up the good work... you explain things in a way so that I can memorize them quite well. Thank you!

Regards, Stefan