First take with Anyma Phi. Sequenced by Undead Timefrog.
A creepy John Carpenter drone comes to life.
First take with Anyma Phi. Sequenced by Undead Timefrog.
Here’s something I did only with loops. It was going to be a slow thing, but became a ten-bar Martian Pop-Punk tune. The chimes at the start turn into a nightmare alarm back on Earth.
With the expansion of my Eurorack rig, I’m finding more reasons to compose with it. Great project this week, as always.
The primary timbre was created by a pair of Morphing Terrariums routed through a Juno 106 Chorus and modulated by the analog chaos computer, Chaotica, which was in turn modulated by chaos using the Triple Sloth channels of Torpor and Inertia. The rhythmic pinging is the sound of an Electrix Filter Factory with no sound input. A Hypersynth Xenophone and my trusty Korg MS2000R fill out the rest of the sounds. An Electribe Black Hole pedal and a Lexicon MX300 were used for FX.
I took 4 recordings of Mars from the NASA site, including sounds from the recent helicopter flight. I recorded them into Arbhar onto multiple layers and used an lfo to cycle through them in omega mode, which created a soundscape. I recorded layers of Qu-bit Chord into Lubadh and re-pitched to create a sustaining tone. Dixie II+>Ripples>Data Bender for the Bass/Lead. I had the digital noise break up the piece and transition into just the soundscape.
The sounds are mainly field recordings of footsteps and ambient noise outdoors. An Instruo Arbhar was used for some of the wind noises and weirdness, mixing in some super distorted frog and cicada noises. A Disting EX played random-ish footsteps. A second Disting EX played back yard ambience into a Vult Freak’s resonant comb filter to turn it into screams and madness, and then through a Doepfer Wasp. A Befaco Lich was used to add messed up reverb. Pam’s clocked everything. Melody was mainly Ornament and Crime and my fingers, controlling an Intellijel Rubicon2 and Bifold.
I tried to make the feeling of trying to remember something, but failing, as the disjointed uncomfortable melody fades in and out.
The sample at the end is a field recording by harveyjnz I got from Freesound: https://freesound.org/people/harveyjnz/sounds/360261/
This was a fun prompt. I got to use tons of effects that are normally too wild to use in a normal song. I did include a few chords that I thought matched the mood, just alternating between CaugMaj7 and Cm9. Augmented chords are just perfect for space themes and changing the third makes it even stranger. It’s there in the background just lightly coloring your perception.
I apologize for my choice of real-world sounds to interrupt the daydream. It was just the most thematically appropriate choice.
Processed hydrophone and granular synth* into parallel effects**. (In space no one can actually hear the sound effects man.) Then stairs, door opening, children playing, jet screams softly overhead.
**Native Instruments Molekular
A dream of future?
Descend to wakefulness.
A young world clouded with vapor trails.
Drones heavily processed with low pass filters to simulate the poor transmission of sound in Mars’ atmosphere along with a heartbeat supposed to be inside your head (or helmet). Ending with the sound of porridge being made on a Sunday morning.
Thank you very much @disquiet for the deeper insight into what you intend by offering these projects ! By the way, I didn’t know about Pessoa, and when I asked my wife, she found me her edition of the “Book of Disquiet” in one of our bookcases. She read this book 30 years ago as a student. So now I start delving into this universe !
I tried to ignore the “me” that would have created nice synth harmonies and chose the following approach:
I started with the idea of an artificial planet, so there are sounds from the inner machinery. I took the “record” literally and recorded the crumbling of paper, a coffee-maker running, coffee-capsules in a tin box and a nearby malthouse from our balcony - all with the help of my midprice smartphone.
Then I created different sounds out of these recordings with the granular synthesizer Padshop, and additionally I used the recordings directly, heavily treated with effects. Everything was done inside Cubase.
I successfully restrained from introducing any melody - something “I” certainly would have done
Disquiet junto 0501
Key signature: C whole tone scale BPM: 104 Time signature: 4/4
The Assignment: Record the sound of a Martian daydream, interrupted
- Listened to the audio book of “We Can Remember It for You Wholesale,” Written by Philip K. Dick
- Mapped out the sections of the song to match my feelings of the story line as I listened to the audio book.
- Used Ableton Live 10 Intro.
“Bus to Tsukiji”, starts with a martian landscape comprised of some of the sounds previously generated for the disquiet prompt on stone processing sounds (Metamorphica). Layered on top of these sounds is a range of synths from NI, Output and Spitfire Audio. The field recording of the Tsukiji fish market a stopping bus were obtained from Soundsnap and the headphone disco pan was synthesized in Ableton Live.
Slightly music concrete approach, I Imagined a harsh static atmosphere undulating, seeping in and out, in an uneven meter. Mostly my own samples , with some from a BBC sound effects record. Sequenced and produced on a Polyend Tracker recorded to Tascam DR40 → Audacity → Here
Thanks for giving it a go. And I’m glad you’re exploring Pessoa. That’s super.
For anyone who’s interested, I was so inspired by this project that I expanded my contribution into a complete track.
Edit: the link to SC is giving me problems–giving it another try.