My contribution is an improvisation on the Native American Flute, recorded with a single mic through a tube preamp. It is panned hard left and has only a touch of reverb to sweeten the sound. The key of the flute is G (Pentatonic).
Edit: for the life of me, I cannot figure out why I cannot embed my SoundCloud link the way everyone else does. So frustrating! If someone has any clue as to what I’m doing wrong, please let me know.
I used a female choir voice and glockenspiel, going for a dreamy, angelic effect. Everything is high-pitched so there is plenty of room to add lows and mids. It’s panned to the left, although the choir voice is not 100% to the left to give it a little separation from the glockenspiel. No processing, so you can add whatever effects you want.
I tried to keep things simple, leaving space in frequency, harmony, and instrumentation. However, I really liked the long held beating bass notes, so built a three part structure where they could take more space in the middle section, while the bass as a whole is less dominant in the other two sections.
Apologies for the somewhat shifty meter - it just felt right when playing. Score to follow soon. Can also supply a left panned mono version if desired.
Some distorted piano with electronics. Hope you enjoy it!
The piano sound is done by bitKlavier. I recorded two tracks with electronics with Bastl Softpop and BugBrand Cube Weevil and after that the piano improvisation was done. The idea was to start with something very sparse and low lones and getting denser with higher tones. The piano track is used as a sidechain input on the two electronic tracks.
Track is sampled viola plus a “pitched scrambling delay” M4L project; it’s the first public use of this thing I spent most of 2018 working on (I’m not fast with this stuff). It’s based on four [buffer~] objects, each of which can be played back forward or reversed and be re-pitched +/- an octave, by semitones. Record/playback is determined by dial-able parameters that key primarily on amplitude of the incoming sound. I discovered in retrospect that many others have done similar things; I am mostly please with how this came out and learned a lot in the process.
Looking forward to hearing others’ contributions and what folks do with them in the next two steps!
I also used lap steel for mine and then deconstructed it. It’s a relatively cheap instrument that I reach for far more often than my mandolin or banjo when working on tunes… If you’ve got money to burn, there are some really cool pedal steels that pop up on craigslist, etc. I’ve never made the leap, but the lapsteel is where a lot of pedal players I’ve met started.
I was having trouble embedding soundcloud here until I realized that the soundcloud link has to be on it’s own line in the text box, ie: NOT part of a sentence on the same text line. Hope that makes sense, it’s confusing to type it.
Quick single take with my current favourite setup, my Zoom H1 microphone recording a thrice-“repaired” (“prepaired”?) acoustic guitar into SooperLooper, controlled with a XONE:K2. When happy with the 5 superimposed loops, I rendered them with Jack for about 3 minutes, and only normalised + faded in and out in Audacity, all of it on my Ubuntu Budgie + KXStudio lappie. I like the feedback and the background noises lately (my partner asking if I’m recording, and getting herself a snack in the kitchen; fridge humming; clock ticking).
If someone wants to work with some drony repetitive acoustic background!
“…how to get past the point of little noodles with my modular…”
This! How to create variations. The impatiens/curiosity that make you unpatch too soon…
Guess the answer lays in the decisions you have made regarding your modular
(midi, sequencer, digital/analog etc…) and time. Three years for me now and still
only few outside the community would appreciate what I do… #idontgiveup
Great idea! And if you can buy more than one then that’s even better because you will want to experiment with different tunings. Exploring the advantages and disadvantages of each tuning, coming up with your own, and finding a few that really allow you to get the musical stuff that you want is a lot of fun.
We drove from Newcastle to Canberra around midnight. It was so so hot that evening. And the next day. My best friend Mark and I live in different cities. We always plan to make music together, to write an album.
At the end of three days of not making music I said to him I’m catching next next bus back home.
Then we started making something. I told him ‘Play something sparse, give it lotttttts of room’. I recorded him improvising and here is a few minutes of those sketches.
This weekend I was visiting my girlfriend (Elisa) in her hometown Crécy-la-Chapelle which is a little medieval village to the East of Paris.
Being away from home meant quite severe constraints on the instruments available. We used a Nord Electro keyboard (with no audio interface we had no choice but to use the keyboard as a midi controller…) and Synth-1 softsynth to record the chords and a basic VCV rack patch for the percussion sounds.
Faced with an overwhelmingly large number of existing patches for Synth-1 we decided to impose an additional constraint to determine the patch to use. So, we picked a random passage from a random book on her bookshelf. This turned out to be “The memory was lost with one high tide wave” from page 47 of The Melancholy Death of Oyster Boy by Tim Burton, so we decided to use a patch called “sea-01”.
BPM: 98, time signature 4/4
Panned 100% to the left