I designed a Live-instrument the other day. I used this to make a small melodic midi-loop. Resampled and stretched it out with repitch. I did something similar with my percussion-track. Last I played my Microbrute into a Digitech Obscura delay and Boss RV-2 and used the pitch-bend wheel a lot.
There are many great sources of music out there if aliens wanted to learn about terrestrial music, so I decided it would be best to make an example of some of the compositional techniques I tend to gravitate towards. Polyrhythms, compound time signatures, and interval based tonality.
I have two instruments playing, a simple kit and a synth. The synth goes through several single-interval scales to show what kinds of sounds you can get. It travels from minor second all the way up to octave. The drums start with a one beat cycle, then a two beat, then a three beat, and so on all the way up to a twelve beat cycle. Polyrhythm is demonstrated simply by having the synth voice play triplets.
I also added some distortion and delay, because I like those things too.
I did the whole thing with my Synthstrom Deluge. This thing is amazing. https://synthstrom.com/product/deluge/
A party anthem for space shrimps.
made from the noise of singing magnets.
Dont listen to this loud on headphones!
my idea is that all the great harmoic stuff is way above human hearing. Its very fast and short.
really like what you are doing here
Love the rhythms and textures the voice processing creates - really cool work!
'there’s a phone on the wall
Thanks, I got lucky That’s often how these Juntos turn out for me. The freedom of exploring and the happy accidents that follow. Slowing down/repitching is one such technique where you really can’t know how it will sound til you do it. Running pitchbends into long delays was the first time for me, I felt it give me a similar to feeling to the bent harmonica sound in the western film Once upon a time in the west (Morricone).
Hello - after months (years?) of reading Marc’s newsletter, I’ve finally made the leap over the Junto. This challenge tweaked my interest since I was already working on a piece that involved turning a 1960s-era lecture on extra-terrestrials into synthesizer music. But for my submission here, I went in a different way. I decided to think about this challenge from the other side: what if there are aliens making music that we haven’t learned to decode yet? Maybe what we think of as glowing balls of burning gas are instruments…
This composition involves assigning pitches to the chemical abundances of 17 elements in the sun and in Alpha Centauri A and B… and layering them on top of each other as a “trio.” Turns out the abundances aren’t that different, so what we end up with is a series of micro-tone “chords” that progress in order of atomic number…
Produced in Reaper using MIDI and the “Free Alpha” synth. Pitch shifters are automated on each track get each chord to the correct frequencies. The sun is panned center, Alpha Centauri A and B are panned L and R.
I love this, I had a similar idea to make a kaleidoscopic sound out of random audio snatches of popculture, poltical speeches, natural sounds. Everything blends together really nicely, great job
I figured that the best way for an extraterrestrial being to understand our world was to see it through the eyes of a child. For that reason I thought it was fitting to beam some samples of Sesame Street into the cosmos.
However, through a mixture wave dispersion, atmospheric disturbances and an incorrect reassembly of the audio signal by our little green friends the result was a horrific cocktail of frequency and amplitude modulation mayhem.
This was made pretty much live with a few looped samples and the rest mostly just me hitting random samples I had assigned on the digitakt and then quickly messing with some of the parameters.
Pretty rough sounding and great fun to make
I made this for those just passing through the solar system wanting a conversation:
Moog Sub37 > Meris Polymoon
Modal Skulpt > Perforator
FAC Envolver and Chorus
recoded in AUM on an iPad Pro using iconnectivity audio4+
I have a previous track that fits this category if you like, “Ongoing Field Studies in Ewok Dance Music”:
A multi-species piece, including elements to be enjoyed by those with hearing in ranges beyond the typical human 20Hz to 20kHz range.
Hemispheres Suite, Just Friends, 3 Sisters, Erbe-Verb, Sputnik Oscillators, and some utilities.
Thanks, felt a bit lazy this week.
I should also spend time hearing what people have recorded.
Good to see you back.
This time a more emotional approach: a collage of field recordings with a lot of fx, no other sound sources.
When we listen into space, there might be music from aliens … no, wait, I think it is definitely there! We just don’t recognize it, surely for many reasons. One reason may be, that their music gets changed in its travel over time by time and space.
In disquiet0373 we respond to this music as a duet with an arrangement of more or less random electrical wave recordings - in the hope that this will arrive at the end of time and space, changed to something aliens might listen to as music … like some of us do every time we listen to sounds from space.
DIY field recording equipment: Peter Hostermann
Field recordings: Peter Hostermann & Krakenkraft
Arrangement & Soundedit: Krakenkraft
For this project, I started with a sample-and-hold LFO routed through an attenuverter to the pitch input of a precision oscillator. The oscillator was recorded into Ableton Live where I converted it to MIDI and quantized it to two-and-a-half octaves in D minor (melodic).
The MIDI data was then routed to my Yamaha DX7. The DX7 was recorded seven times, each time routed through various outboard gear/Eurorack modules:
- Lexicon MX300 set to “Hall”
- Lexicon MX300 set to “Chorus”
- Lexicon MX300 set to “Echo”
- A Juno 106 Chorus module
- A tube preamp module overdriven for some thick saturation
- The same tube preamp routed through a Gristleizer module
With these recordings as my sound palette, I began mixing them in various combinations until I found three mixes that sounded appealing and reasonably different from each other. I then used automation in Ableton Live to slowly transition among the three mixes, giving all seven tracks their own automation so that the transitions would also have their own character.
All the other bits (drone, percussion, chords, strings, etc) were created on my Prophet 6. Essentially, I just set my original recordings to loop and jammed on the Prophet until I had a collection of embellishments that appealed to me.
I saw the length suggestion that “short is good”
I started off with wanting to use/utilise the Fibonacci sequence, the content was less important to me. I’ve never used a VCA/ADSR on an entire mix before, usually only on single elements, so that was “alien” to me… The ADSR is triggered by a 64-step sequence from the FLXS-1, running in “pendulum” mode: forward, then backward: 0, 1, 1, 2, 3, 5, 8, 13, 21, 21, 13, 8, 5, 3, 2, 1, 1, 0.
Plenty of stuff going into that envelope, but the sequence is more important than the content (this time)
https://soundcloud.com/auralantithesis/disquiet0373-2019-02-24Explorations in contacting non human sentient intelligences.
I tried to focus on different ways to progress and excite a song. This was a really cool prompt and I can’t wait to listen to the other submissions.
So much to appreciate here. I am visualizing this collection radiating from the planet to some unknown end.