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There is a limit to a human being's capability to play notes, and thus upper limit to the tempo of a music piece so there is a theoretical limit at which people can perform notes and switch chords (before the violin bursts into flames), but if we separate the chords for each instrument into two/three/four players, and have each player play every second/third/fourth note, you can multiply the speed by that factor, limited only by the capability to synchronize and coordinate at those speeds.
In that case we'd call it an interpretation of a musical piece or work. Any change to the notes, the way they're played by musicians, or the amounts of instruments involved in the recreation of the music other than what the original artist has intended, it's technically not the same piece. Buuut i digress, too.. :lol:
 
What if it is a recording studio scenario and each of those players can subdivide their own piece and have it reassembled in post as it were?
 
What if it is a recording studio scenario and each of those players can subdivide their own piece and have it reassembled in post as it were?
You mean play every second/third/fourth/Nth note as fast as possible and then mix them all together into a faster piece? Maybe with discrete pitch instruments but if you have bends or glissando or portamento it wouldn't work.
 
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You could go that way if we are pushing it.
For the baseline one though I was thinking more take whatever percussion, strings, brass... sections and get them to play individual bits (not all are going all the time and you could probably split lead chairs in whatever to get it all done faster). Naturally it would depend upon the composition (hah) and if 95% rocked up as snipers lead triangle players you might have a harder time.
Detune, maybe overspeed, oversample, make models as to generate any oddities/greater harmonics that physics say no for in the faster scenarios...
 

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