#9

Going to try and get some time this weekend to do a new piece for this - but in the meantime, back in 2017 there was a prompt to the Electronic Music Philosophy group to do something similar. I made a piece using Veljo Tormis “Kust tunnen kodu” (How Can I Recognise My Home) - a track which was involved in a copyright dispute when Mark Bradshaw thought he was copying a folk song for the music to drama ‘Top Of The Lake’ - but he actually copied Veljo Tormis’s original and still under copyright musical setting of the folk song’s words.

The full album is well worth a listen (as is everything the group do - some fantastic work on show there)

7 Likes
#10

“*To ‘cover’ a song usually means to play your own version of it”, Marc wrote. Usually is an important word here. Usually I take these assignments literally. Not so this time. I have used the assignment as an excuse to achieve two things. First getting a MIDI-file into the Yamaha QY10 sequencer, and second make my synth sound like a cello. The original is played by the QY10 and the internal organ sound. It has no cello sound. Then I fade in the synth. All analog gear. Standard wave forms, noise and a filter. Subtractive synthesis.

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#11

that’s a beautiful sound! (also, for me it goes between sounding like a cello, and cat’s singing “meow meow meow meow”, both bringing such uplift to my ears :+1:)

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#12

I decided to choose a short track from one of my favourite albums, Brian Eno’s 1977 album Before and After Science.

“Energy Fools The Magician” is a wonderful track and I feel it’s always been a bit overshadowed by the other material for one reason or another. It’s a track that posseses a loose, moody (ambient?) jazz feel, similar to Miles Davis’ Get Up On It (1974) - especially the epic, “He Loved Him Madly” where I can hear a strong correlation with Eno’s more sideways excursions from the 70s, such as “Energy Fools The Magician”, Music For Films (1976) as well as “Over Fire Island” from the previous album, Another Green World (1975). I remember reading that Eno was obsessed with this particular Davis album. On these Eno tracks - much like “He Loved Him Madly” - bass and percussion provide an elastic, asynchorous bed for everything else (keys, synths, organ) to float around.

With this is mind, I thought I would add what I felt wasn’t there on “Energy Fools The Magician”: namely guitar, warbling synth and something a bit arhythmic to compliment the skittery, haptic feel of the original track’s fretbass and spacious drumming.

When I pulled the original track out of the mix, I was pretty satisfied with the result. I stuck to a one-take rule for each of the overdubs, so as to not overthink the process and respond instinctively to the melodic, harmonic and gestural aspects of the original track, as well as my succesive additions.

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#13

I went full music nerd in this week’s Junto, in which one is to “cover” a tune by recording something that obscures it, and then reveals it at the end. The “covered” piece is a canon by Orlando di Lasso, which I first saw in 1973.This version includes trip-hop pads and bossa-nova piano, but somehow it all still works.

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#14

Hey All, Being more a midi jerk and sample mangler than a performer I chose to work with a midi file cause it is Mozart and 333, you can’t go wrong with that. Slowed it way down and arped away. Arps are another cool invention for the non-performer.

Here is Glen Gould receiving oral pleasure while he plays it.

Hope all are well. Peace, Hugh

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#15

I’m getting back into playing guitar, and I’ve been listening a lot to Pete Cosey’s work with Miles Davis–just love it, and while I’m no Pete Cosey, I thought it would be fun to rip over the first track from 'Dark Magus." I started out with some atmospheric-ish stuff but soon tossed caution and subtlety to the wind and just tore it up with various patches on my Roland GR-55 guitar synth.

9 Likes
#16

My track this week smothers a modern classic.

I recorded the drums and guitar playing along with the original, then recorded a bass part listening to those. To spice it up, I ran the MIDI part through a couple of soft synths.

Thanks for listening :slight_smile:

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#17

The GG video is awesome, thanks for that. And it sparked a very good track from you, on of my favourites, bravo! Yo did a great use of arpeggiators and delays and all.

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#18

Great track and I love the video. The side profile of you drumming looks like you are doing the funky chicken. Very cool.

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#19

Like others above, I started by transcribing an arpeggio from a favorite track and then wrote my own line to accompany it. After shifting the tempo and processing/re-processing many times, this track emerged.

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#20

So happy someone noticed

1 Like
#21

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#22


I thought 4 Non Blondes’ 'What’s Up" was rather boring, but without the help of my fellow bandmates I’m not going to make it a lot more exciting.

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#23

Great sounds, the video effect is super cool too :smiley:

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#24

This track has grown out of a deep diving into a Roland EF 303 effect processor that is also a monophonic synth (TB303 clone). All effects and the start bass line come from the EF 303. This bassline has a 3/4 meter while the second bassline from the Doepfer MS 404 is 4/4. Nice polymetrics. Bitonality also when some bass playing and guitar is added.
For the disquiet junto project I have choosen an old Solomon Burke song that I´ve learned from The Pretty Things: “Cry to me” The Pretty things version impressed me most.
RIP Phil May.

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#25

Love that heavy playing.

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#26

Disquiet0464
Absolute Ditty
• Key: F minor BPM: 124 Time signature: 4/4 DAW: Reaper
• Instruments: Piano, Bass, Synth, Percussion
• Plug-ins: EtherealEarth, Analog Dreams, Polyplex, The Maverick all by NI
• Downloaded a track by Marco Lucchi – Piano Patterns #9 rework Pete Swinton (v2)
• Used the above track as the reference track
• Added my own tracks to cover the reference track
• Creative Commons — Attribution-NonCommercial 3.0 Unported — CC BY-NC 3.0
• piano patterns | Marco Lucchi (bandcamp.com)
• Marco Lucchi | Free Listening on SoundCloud

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#27

Quite an inspiring prompt. I wanted to use music from a band that you can’t possibly hear streaming these days, only when you have the original record. Blanketing and hiding that had something about it. Compressor, gates and filters, with lots of sidechaining.

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#28

A song I was taught to play on the guitar, when I was at high school, from a local band going places. I played the guitar part against the original recording and recorded the MIDI. My guitar playing is rusty at best. I tidied up the MIDI a little (not, perhaps, in the spirit of the prompt) then played it through three VSTs. I then proceeded to blanket the result with echoes, reverbs, gates and finally, deciding the original was still quite recognisable, reversed the MIDI and Paulstretched it to twice its length.

7 Likes