once again emphasis is placed on frequencies that interest me and how they shift perception in different ways at various timescales
often while making these i tried to play sleight of hand to playfully hide which speed is “correct”…i’d love for listeners to guess which pitch range inspired me to make the piece to begin with or to select a particular sample snippet / drum
i also want folks to wonder whether i’ve laid the drums and other elements by hand or whether they are triggered + looped in some other manner
the third collection is largely focused on phasing relationships between tuned drums and small tone & sample cycles…mostly made “in-the-box” with daw + laptop (though one track began as a norns session & another was built within hsu002 max app)
not sure where else to say this but i spent majority of my time making the kicks and bending all other elements around them
a proper beat tape
i was less concerned with outside opinion of this than 3 (not sure why) . the intent is slightly different
there is more improvisation and variety in the drumming . more finger drumming and syncopation than metronomic unsynced loops
i started shaping the tracklist while planning concentrics 5 and another as yet unreleased project so the last track is a deliberate knod toward some of that and, perhaps, a narrative foil (for 3 and those other unreleased tapes)
a celebration of the many ways to make, mix and warp rhythmic cycles
for those interested, discussion about previous entries in the series can be found here
must shout out @andrew again for gifting the world prosody … i used them on nearly everything
i would love to talk about specific tracks so feel free to ask questions below
just want to say thank you for these releases. they’ve been incredibly inspiring to my process recently (almost to the the point where i’m skeptical of releasing any recordings as i feel i may just be biting your style haha)
also i wanna complement the mixing job on 1&2 (the ones i’ve listened to the most).
they feel like butter. do you usually multitrack then mixdown form there? or is the mixing more of a compositional element and you record the master?
one last thing, i wanted to share an album with you that i’ve been listening to recently. I think it sits nicely next to your work. let me know what you think!
(edit 1 min into vol 4 and it gets a rating of 1,000,000,000 fire emojis)
this is PHENOMENAL i’m gonna take my time with it tonight but needle dropped thru a few tracks and and both impressed and inspired
i see why you shared it with me…thanks!
youre welcome? i super glad some of tunes of mine provided the spark for your latest…go ahead and share it when you’re ready
we each have a unique prism
i make things this way because i like it not because it’s totally original…i don’t think it would horrible if more gauzy loops exist (for example @dan_derks says phylum bears some resemblance to my sonic approach but in many respects he elevated “my style”…it’s a whole new perspective really and definitely fed and inspired me in return . would’ve been a real shame if he held back for fear of sounding alike)
this is a triumph…thanks so much!
i feel more comfortable than ever with mixing and actually enjoy that aspect of electronic music more than arranging/playing the instruments
objectively some of my work (past & present) is horrible on a pure technical level and sonically unbalanced or triggers ear fatigue
concentrics 1 & 2 represent some of my best efforts to avoid fatiguing my own ears
3 & 4 is kind of a mixed bag
there are a few tracks that i might revise or remove if they continue to bother me
now to your question:
if i understand you correctly, tapes in this series were all mixed from the master
i don’t export stems and tweak as a separate session
mixing and tuning sounds in a complimentary way are part of the composition and the flattened end result is as close to “finished product” as i can manage