Up. I like this. I love pretty much anything that makes a positive of limitations. I used an iPad, guitar and octaver fuzzbox to make this.

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This week’s track is called “Melvins-Less” because I’m still recovering from Melvins cancelling their Japan tour last month. It is my love letter to my two favourite Melvins albums (Gluey Porch Treatments and Lysol).

LIMITATION = Everything evolves out of the bottom string on my electric guitar: Tuned down to A. Rolled off the guitar tone control when playing the bassline (only using drop-A string). Used the “Convert Melody to new MIDI track” function in Ableton to generate the drum track out of the recorded bassline. Turned the guitar tone control back up for the guitar part (only using drop-A string).

Had real fun with this one, just wish I could get a better distortion sound on the lead guitar…

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great track, reminds me of the wonderful band (or constellation of bands) “secret chiefs 3”

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This is a self-oscillating patch I made on my sub37 and some effects on my iPad through AUM. It lets me just play with the filter:

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Three-step process by which I tried to assimilate and shape a fairly random mess recorded out of an FM synth in MaxMSP. “Performed” on Digitakt, recorded on Zoom, and treated a bit in Audition. I guess those are all instruments.

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For this months challenge, I decided to do a quick “in the box” experiment. Amongst my, admittedly, too many plugins, I let google cast the dice.


What I hadn’t foreseen was, of course, that my plugins are a mix of instruments and mixing/mastering tools… so I was given the following three numbers: 15, 53 and 51 - giving me the following three plugins:

15 - Arturia Piano V2
53 - iZotope Stutter Edit
51 - iZotope Ozone 7 Vintage Tape
20

The title is a simple anagram of “more random” - but feels somehow relevant to the result…

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The Strachey Love Letter Generator was a computer program developed by Christopher Strachey in 1952. Arguably the first known work of digital literature, the program was created on a Ferranti Mark I Computer (MUC) at Manchester University.

Using a series of templates, Strachey’s program could randomly produce love letters at a pace of one per minute, for hours at a time, without a single duplicate. A simple sentence beginning with the word “My,” for example, could generate over 424 million combinations from only 20 nouns.

Here’s an example of the swoon-worthy prose the Generator was capable of producing:

DARLING SWEETHEART,

MY FANCY TREASURES YOUR HUNGER. YOU ARE MY FERVENT ENTHUSIASM, MY LOVING FERVOUR, MY EAGER LUST, MY PRECIOUS AFFECTION.

YOURS LOVINGLY,
M.U.C.

Makes the heart flutter, don’t it? Feel free to try it yourself.

For this strange (and thankfully short) piece, Suss Müsik consulted an online random word generator with one simple rule: use the first three instruments that appear, in that order, while also using an adjective that appears in the same set. It took a long time, but here’s where we landed:

organ < > corroded
cymbal < > insistent
guitar < > utopian

What does a “utopian guitar” even sound like? Who knows. Maybe it sounds like this. Maybe it doesn’t. It’s random!

The piece is titled Strachey. The image is a mashup of two public domain images from the British Library collection.

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Here’s mine for this week:

I still had my list of instruments from last week and randomly selected 3.

I really liked the outro of last week’s submission, which was all about the 10Harmonics, so I went back to that as my starting point. It forms the bass pedal with (duh) lots of shifting harmonics. 10Harmonics is basically just a tone generator, but I wrote a few progressions after getting the chords doing their thing, by automating changes to the base frequency.

I used Tyrell N6 for chords and ended up writing in 11/8.
A bunch of tweaking of envelopes and such, but otherwise it’s playing straight into a delay plugin.

Magical 8bit Plug is best for Nintendo type sounds, but that didn’t make much sense with where I’d headed, so I used it to make a melody, running through a big reverb.

I really wanted a bit of a beat, but figured drums would be their own instrument.
For a kick-like sound I sent the 10Harmonics bass through a gate that taps out the 3 and 3 and 3 and 2 rhythm which is the basis of the track, pitched it down an octave, lowpass filter, some reverb.
There’s a click in the sawtooth LFO running over the main 10Harmonics part, so I also passed that through a highpass filter and then delay to accentuate that popping sound as the track progresses.

Track name via the start of Missy Elliott’s Get Ur Freak On. :man_shrugging:

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For once I’m not posting this at the last minute. I enjoyed the restriction, as a way to make the task of composition more manageable. I’m thinking using such a technique for sections of a larger work in the future could be fruitful.

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Sorry about the Melvins. Boris is doing some Tokyo shows. That could be cool. You can always reamp a guitar you’re unhappy with. I once worked with a guy who did most things with the intention of “fixing them” later using real-world traditional amplifiers, stomp boxes, stairwells, etc. but captured the feel of those early performances by going simple and direct. I’m likely too lazy to make something like that work.

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Will have to check them out!

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Well that ended up sounding AWESOME. Once the drums kick in it sounds like two separate completely natural performers, jamming together. The pauses on the drumming, especially. Wonderful track!

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They have lots of albums, but I think that the first track on Book M is a good introduction to their world:

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my contribution for the “Random Less”, project.

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My Matrix for choosing instrumentation…

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Cool prompt! Coming from a musical tradition of punk, metal and industrial, I sometimes have to remind myself that less is more!

In reading over the prompt and looking at the other submissions (great stuff y’all), I thought back to a lesson I had with guitarist Wayne Krantz. I saw him perform at Berklee during Guitar Week in 1998 and was totally blown away–it was like nothing I’d ever seen. I had to sit down with this guy!

Fast forward a couple months and I’m in his Soho apartment, telling him I’m in a rut. He puts on the metronome and tells me to pick two, max three notes from a scale and use these to improvise. What I found was, when I couldn’t just blow randomly through my well-worn licks and scales, I had to really think about phrasing and dynamics. And weirdly, my playing became much more musical.

So, inspired by the prompt and my lesson with Wayne, for this piece I did the following:

  1. Asked my daughter to pick the three instruments. They were: piano; three water bottles (shown in the picture–they produce the chiming and percussion sounds); and my classical guitar (she wanted me to play recorder at first but we both agreed that would sound awful :slight_smile: )
  2. Recorded the piano and water bottles on my phone. The percussion sounds are partly crafted from the sound of me accidentally dropping the wooden spoon I was hitting them with. It sounded pretty cool! I should drop things more often.
  3. Dumped the recordings into Live and put down a basic rhythm track. Not much processing, just some limiting, reverb and panning.
  4. Put down some guitar. Here I limited myself to just the root, third, fifth, and major seventh. I flubbed this many times! I chose the least-flubbed/most charmingly flubbed version.
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https://soundcloud.com/ohm-research/spir-disquiet0388

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Last week, I reported that there were too many instruments in the house. I used this week’s limitation to choose instruments that happened to be out of the case, and plugged in. I went with the Hammond S-6 (1950s), An Emmons 10 string push pull guitar (1974ish), played through a '72 Deluxe Reverb, and a random software drum machine. I used my ARP 2600 to add reverb to the track and to process the organ through it’s overdriven filter. I don’t know if the 2600 counts as a 4th instrument, as it was just used for processing…

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Busy weekend means I’ve only just finished the recording I started on Friday, using the baritone ukulele, upright electric bass and drums selected by rolling dice.

I already had a few chords in mind, but the four-fingered one and a small window to record led me to decide on arranging the parts in Live.

A few chords and phrases were recorded, then some drums at the tempo and I spent a little time on Friday night arranging the instruments in my laptop.

On Saturday morning I knew I’d only have a short amount of time to record the bass, as I was going to be in Matong and Wagga for the following nights.

I was stuck trying to figure out some of the root notes but had an idea the track’s key is G.

While I was waiting for my kids to wake up on Saturday morning, I began programming a MIDI bass part and had an idea to use a 5/4 time signature so the bass would start on a different note each bar.

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So I ended up with:

12 string electric guitar, drumset, and these weird tuned plastic tube kid toys.

I played(?) the drums and the plastic tubes blind to one another with the common tempo coming from a click. Recorded both with a Zoom H1n. Started to assemble something somewhat cohesive in Live, then noodling with the 12 String over that to get ideas. Eventually settled on an A and B section and continued from there. There is a little EHX Memory Boy on the 12 string on the B sections. Otherwise its straight in with Amplitube acting as the amp. The plastic tubes I used C and D in 1 hand, then hit both of those with another note and did multiple passes with different notes - E, F, F# and G. Then in Live I added some delay.

I really enjoyed this one and hope to come back to it and flesh it out some more. I would record the guitar through a real amp, maybe augment the plastic tubes with a complimentary synth, and develop the arrangement further - have it actually go somewhere. Oh - and maybe redo the drums :slight_smile:

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