#41

I got a Grid a week ago, and after a few days on mlr I planned on spending this weekend with cheat codes. As luck would have it, @dan_derks hosted a live processing walkthrough last night, which was perfect timing (and this wouldn’t exist had that not happened).

I have a section of my OP-1’s tape with a single track recording that I keep going back to, so I decided to use that, as I know it back to front. I programmed a bunch of patterns in cheat codes, turned the volume up and went about the usual Saturday morning routine around the house. After a couple of hours I got back to it, reset everything, and after a while had 3 patterns in 2 of the buffers, while the other one was happily looping. I’m sure someone familiar with cheat codes will quickly spot when I’m struggling, but I’m quite happy with the end result and it felt really good.

In hindsight, it was good that I had the Fates Grid-less for a while, as it forced me to focus on scripts I could use without a Grid - the last few weeks have been filled with Otis, Cranes, and Compass, and it’s been bliss. Now with mlr and cheat codes, I feel I can achieve everything I want to do at the moment, which has never happened to me before with a single instrument (well, yes, each of those is an instrument, and there are 2 physical objects).

You hear an OP-1 patch fed to cheat codes. The sends on the mixer are the resonant filter on a Mirage, and a Polara reverb. The stereo mix is recorded to Live and a Marantz 430, the output of which ends in another Live track. Finally each Live track is slightly panned.

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#42

I was playing “Song without Words” by Fritz Spindler (1817–1905) the other day. This piece was inspired by that piece.

The score is available here.

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#43

Had a sampling session a few weeks ago where I sampled my Strymon BigSky feeding back into itself. Decided to throw some of the samples together in Ableton to see what would happen:

Been applying a lot of the warp engine and some effects :slight_smile:

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#44

My contribution is a surprisingly tonal/classical one (at least in comparison to the other stuff I have done so far for disquiet). Tried to do some orchestral arrangement in Ableton Live. The piece is inspired by the Michael Nyman soundtracks for Peter Greenaway films, that means mostly serial / minimal with added instruments each time, but the basic tracks remain the same. Of course some slight variations might have improved the piece, but I was too lazy for that ;-)…

Praise and criticism are both welcome…

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#45


My take on EDM

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#46

it existed for about 20 minutes on a Sunday flanked by two Chihuahuas :slight_smile:

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#47

Beautiful! Seems to be a promising collaboration, would be definitely interested in the progress and in the result in the future.

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#48


Recently I have decided to work on two of my many shortcomings as a composer, one of them being the song structure and the other one being my first instrument, the piano, of which I have got estranged for a long period of time. My main problem with the piano has been the limitation that when you strike a key, the sound that will be produced by the piano will vanish rapidly without any possibility to manipulate it, if you only use the keys. Regarding song structure my problem as a composer has always been that it seems to be difficult for me to be short and simple. The self-imposed challenge therefore was to write some piano songs. During the process I happily realised that I slowly was regaining my ability to improvise on the piano, which I naturally had, when I was a child. My piano songs derive all from short and simple improvisations on a digital piano which resulted in simple motives, chords, clusters and so on. These piano sounds I processed electronically in real time with the absolutely gorgeous Evolution sampler by INA GRM (https://inagrm.com/en/store/product/5/evolution), in order to solve my problem with piano sound as described above. Within weeks I accumulated seven relatively short and simple pieces all featuring the piano as sound source and provider of musical ideas. I’m posting my Piano Song #2 here, because I’m curious about what you might think about the concept and the result. If you eventually get interested in the other six piano songs, you find them on my Bandcamp for free: http://ausgezeichnetstenohren.bandcamp.com/album/piano-songs.

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#49

Ha, this sounds magically creepy to me(makes me feel… alone… in complete darkness… so very at home for me :woman_zombie:), I really dig the sounds :raised_hands:

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#50

I really like the pensive quality of the repetitions here, and as sounds emerge from the middle of the frequency spectrum to shimmer up high or surge down low, it holds this beautiful balance overall. Nice one!

and because i didn’t realize we couldn’t just keep replying to individual posts back-to-back in threadz :sweat_smile:, i’ll paste this in here, too:

Sounds cohesive! Less like an experiment and more like something which solidified many discoveries into something with deliberate direction… also more engaging than other drone styliez i’ve heard :+1:

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#51

Sounds really great, well done!

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#52

Started with that bytebeat noise thing I couldn’t fit in last week. Two tracks of Evaluator stuff, run through gates and convolutional reverb. Buchla bassline plus the CS-80 Arturia plugin with added ring modulation. Doesn’t feel fully finished yet, I have to admit, but still. Maybe I go back to it later.

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#53

As this piece of music was a lot of work over a long period, I found it fitting for the Woodshed Report. (The music is btw in no way related to Charles-Louis Hanon (track image) but he was a lot about practicing …)

The track itself was created with three old sf2 soundfonts in the PCM Synth instrument of ‘Caustic for Android’; the “fx” is made with a lot of rerouting and usage of randomly LFO-ed filters of a lot of virtual modular synths of Caustic.

The idea was to have a track with a lot of traditional harmony and random destruction at the same time. I myself consider it one of my better works. I hope you have fun.

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#54

This is perfect sound for the Sunday morning sunny window situation I’ve got here.

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#55

Sometimes with tracks like this I really admire the courage to add nothing more and wish I could learn just by listening.

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#56

It really was worthwhile – and I had to smile after 1 minute or so. It’s like a wild painting that you don’t hang in your living room, but that you still want to look at over and over again by some mysterious reason.

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#57

Here’s the latest thing I’ve worked on

I’ve been doing a series of tracks based on samples from Hainbach’s Isolation Loops soundpack. It’s inspired me to work in a different style than I usually do, which in turn has given me an opportunity to record my bass playing. This particular piece starts with a piano sample from the soundpack, and then layers several tracks of bass played with a variety of techniques (fretted and fretless, double tracking, harmonics, and ebow). The result was inspired by Brian Eno ambient material, and the instrumental works of David Sylvian.

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#58

This is really lovely!

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#59

Thanks for the feedback; this project and your input definitely encourage me to explore the drone space more. The multi sequential posts limit is the reason I tend to try and listen to what everyone submitted then post a single response which is @ all the people I have feedback on. The down side there is you can only post @ 10 people at once but since you can post 2 sequential responses you can respond to 20 people in (almost) one go.

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#61

I have been working on adding an AKAI Rhythm Wolf into my looping process. MIDI Fighter DJ 808 ROLI, 2 ROLI BLOCKS, ROLI Seaboard and Push2. Made in Live with a 16 Bar Loop created and manipulated and processing with Roland 808 programing. I ran all of the instruments thru a group with individual compression and limiting. I then recorded a 16 bar loop and slowed it down. I created the intro with the Push and an audio sample that was played using the pads on the Push. I routed a drum kit to the MIDI fighter. For the ROLI I used: Nature Drum Kit, Run Mario Run, Fluid Acoustic Bass and Hades Tube Bass. The loops created are on Noise.FM https://noise.fm/VonnaWolf/wolfrunshed-disquet0435
I Routed the Ipad runnin the Noise App to the input on the Roland DJ 808.
The pig mask is one I created with paper mache and spray paint. The photo of me is a self-portrait captured in a field then edited.It’s one of my favorite masks I have made and photos of myself. We take on a different persona in a mask, we can play. I tried to expand with the set-up and playing like this more.
SET UP photo:

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