@gentil I like the subtle urgency that the delay gives to the guitar part. Gives it a kind of nervous, trembly energy.
Thanks! Love it! Sent you a fawning DM.
Lovely one, thanks for adding me to that trip.
Not fair, I know because I already submitted one, but I couldn’t resist doing this with @alanza’s Monosynth Study:
It was the first thing I tried earlier in the week, and I played this nice riff on my new Boppad drum controller… But I worried I wasn’t a good enough drummer yet to pull anything off other than that one riff, so I set it aside for a different trio-part-two project (submitted above).
Only I kept coming back to this to try out more. So today, after beating on the pad for three hours, and way too many takes (and a little bit of note fixing in Live)… here is this, turning Alanza’s electric water arpeggios into a thumpy frenzy in an abandoned factory.
Panned hard left & right so if anyone decides to build on this they can mix it as they see fit. If you want a stereo stem of my part… just ask.
this is great!! I like the pairing of your human playing with my sequenced riff!
Took @circlingcrows awesome glitchy string track and added some filthy drums to it. I’m hoping the contrast has some room for a third musician to do something cool with it.
I think I’m going to do one more real quick as there are way too many rad tracks being left at the table.
Ahh the joy’s of modular synthesis! @Calytrix laid down this excellent generative exploration of sound using several modules in a “Krell patch”. According to learningmodular.com: “Recreating this patch is a challenge many modular musicians like to tackle. It is based on the 1959 movie Forbidden Planet, in a segment where they supposedly play the music of the ancient Krell race. In general terms, each note has a random pitch, envelope, and duration.”
To add contrast to this, I added some more sonic explorations using a single module, the enigmatic “Interstellar Radio” by Schlappi Engineering. https://schlappiengineering.com/products/interstellar-radio/ I ran into Eric Schlappi at a Modular Nights concert in Seattle and he told me he discovered after releasing it that if you patch the error out into the signal in of the module, all kinds of crazy things will happen. He was right. All sounds on the right channel came from this patch with no other external control. The only other thing I did was run it through a mixer to control the volume.
The manual for the Interstellar Radio tells you to plug this module in and “Converse with infinite space”. Sounds like something aliens would do.
Added some rhythm to last weeks arpeggio venture – yes I sticked to my entry.
As I’ve been spending a lot of time on my modular rig that was the source for my drums.
Befaco Sampling Modulator acted as a sequencer for Intelijell’s Plonk running a Lofi Snare together with a racked version of the Teenage Engineering PO12 serving the rest of the rhythmic session with some added Reverberation provided by Make Noise’s Erb Verb plus some incidental noises.
It feels that there is something missing to glue it all together or just a disconnected duo somehow.
Hopefully next week I can tackle that
I had today off work, so I spent it experimenting with patches to try to get something that paired with @alanza’s Monosynth Study. I ended up with a percussion patch after I discovered a sort of “steel drum” sound from patching the Cs-L into the Morpheus. This patch would not have been possible without Euclidean Cricles, because I absolutely cannot sequence rhythm…
Very nice, very alien!
Would you mind allowing the downloads on SoundCloud? I’m keen to work on it next
Wow, this is so groovy!! I love how your percussion / bass patch rolls with my synth!
Whoops. Downloadable now
Thank you, I’m glad you liked it!! It took… a few tries to get it to sync up, but it was a lot of fun!
With “Through The Wire” singing in my head, I did actually manage to pull together a submission after all! @mzero and @Calytrix’s cool uses of my piece rallied me to try and make something, even if it would have to be quick.
I ended up using @sevenism’s cool reversed-piano piece “left” (chosen in a humanly random fashion from the list of untaken pieces). I decided something mildly atonal and skittery would be fun to layer over the reversed piano, so I made minor adjustments to my current modular patch to allow Teletype to mediate between two channels of Kria and ran it at a fast tempo.
Recording was done in two passes: first I played the modular, tweaking the patch for timbral changes. Then in Ableton I “played the mixer”—listening along to @sevenism’s original piece I brought mine up and down in the mix to build drama and act as though both were playing along to the same conductor. The resulting recording is sent through I think the “Bright Reflections” Ableton reverb preset just over 50% wet and then panned hard right.
We should do it live!
Didn’t make this one and it looks like I’m going to miss the next as well, but I look forward to listening to everyone’s pieces!
I want to express my gratitude for all of the support from everyone who used my tracks for these projects. I appreciate you helping me grow as a musician and helping me keep going even on days, weeks when I feel like throwing in the towel. Thanks again and can’t wait to see what everyone does next week!
Hi I’m often late to things.
@encym and I enjoyed collaborating last year (Triermusic – They-call-me-the-backwoods-debussy-disquiet0316), so we revisited our partnership for this year.
I listened to encym’s short guitar improvisation, and heard a motif a few times that grabbed my ear. I figured out the tones and then used that as the basis of my half.
I improvised my way through it, using MIDI so I could go back and edit my performance as need be. I tried to use some unexpected tonal shifts - moving the outer voices by half-steps and not thinking about the chords. I ended up making a few tweaks to my MIDI performance, mostly for timing.
The next, unsuccessful, step was to try to run the MIDI data through a hardware synth, but I had some weird problematic distortion, so I ended up just layering two different Ableton organ presets.
The final step was to mix - finding the right balance was tough (different instruments at recorded at different times in different places). I ended up using Ableton’s Spectrum plug-in to see where in the frequency spectrum the guitar “lived,” and then use EQ on the droney organ to cut out that space. Also, I set the compressor on the organ to be sidechained to the guitar, which worked well. The mix was rushed, but overall I dig it!