//// duets : lcrp.2018.equinox.2 ////


#142

Great! Thanks for pulling it together @jasonw22!

Here’s the very short version of the process that @papernoise and I followed. He might like to expand on it.

  1. Create a common pool of source sounds, made or recorded separately (agreed keys and tempo)

  2. Take it turns to write one complete layer/part of a track using only the above sources, each layer agreed beforehand (e.g. harmony, percussion, bass, etc.)

I found the second part a really fun challenge - only adding, no rearranging or taking away from the previous layers. It’s like that “yes, and…” idea in theatre improv. In general I found this really helpful for just getting things done - I work on a laptop and it’s too tempting to constantly tweak and rearrange structures. I’ve done remote collaboration where we share either small blocks of sound or lengthy jams, with the intention of chopping them, looping them, etc. later and it can take forever for no great gains. We did make one small change to the structure when we had about 8 layers.


#143

Doh! Just caught a typo in “weathercaster” on the back cover. Will fix.


#144

The process for myself and @ermina was quite fluid and came about naturally. We spent a few emails chatting about influences and thoughts on process before deciding to go with “let’s see what happens.”

All we initially agreed was that we’d send each other some sounds. @ermina sent me some really interesting field recordings he’d done with contact mics and I sent him a bunch of sounds I’d been making using software I had on my old iBook - mainly Cloud Generator, Thonk and Soundhack.

Next, we both used mainly offline processes on the sounds to come up with a load of variations and shared those. I used programs like Spear and Metasynth. I think @ermina used Csound and possibly some others - I’m sure he’ll add some detail here.

Then we began building things together in what @ermina later described as something akin to Kubrick’s “non-submersible units” process.

We took all the sounds and variations we’d shared and started working on building what I called “assemblies” - blocks of sounds mixed/spliced/overlapped together that almost became mini compositions in their own right. By the end of this, I had a minute of sound that we thought would work well at the start of the track and another minute that seemed to be a natural end. @ermina assembled a great section for the middle of the track joining my two parts together.

We’d both decided a short intro was needed and that’s where the fun started. I think it must have taken 4 or more hours of work between us to get that first 10s of the track! Hence its title.

It was a really fun project to be involved in. Thanks to @jasonw22 for the great idea and to @ermina for being such a talented person to work with.


#145

fantastic! :slight_smile:
nice work @jasonw22, and @Angela

'underground process talk…
working with such an amazing artist, it was easy on my end
beepbox /audacity /voice memo app vocals…
back and forth via email a few times
everything I sent came back super cool,
and @quixot added awesome new sounds,
including incredible vocals!

so fun, thank you!


#146

Ouch. Just noticed I fat fingered the silence truncation at the beginning of @abalone and @quixot’s track. Will fix that too.

EDIT: oh phew, got home and realized there’s no problem with the track, but was just a momentary glitch with the bandcamp app on my phone while I was driving.


#147

Got the typo fixed and then shipped out the first 3 physical CDs. If anybody catches any other bugs, please do let me know as soon as possible!


#148

And another great album, I enjoy(ed) it very much.
I’ve got 2 favorite songs(nah, no names), but those songs sound like live-improvisation instead of songs.
Thanks to Jason, Angela and everybody involved!
And of course… thank you Matt for doing this with me


#149

Thank you @jasonw22!

Btw what happens to the money from bandcamp? Just curious.


#150

I don’t think there is money, or maybe just enough to cover the costs. And if there is money, I hope Jason has a nice cold beer from it.


#151

Or two!!

I guess you are right… Just had the thought that it would be nice if there’s some money coming out of this project that could be donated. Maybe a naive thought while having my first coffee of the day :blush:


#152

The money from CD sales covers the cost of manufacturing and shipping the CDs.

I did have a nice cold beer this weekend!


#153

I’d love to hear more process stories if anyone’s inclined!


#154

Not much to add! I was actually quite (positively) surprised by how fluid and natural the whole process was. I was a big pleasure to work on this with @Jet!

@jasonw22 @Angela Love the artwork!

And now I’m really looking forward to listening to this!


#155

Thanks for putting this together @jasonw22! I took a listen to the first half last night, some really really impressive music being made on this here forum.

My collab with @jwhiles was super interesting. The song we put together was definitely something I never would have done on my own.

From my perspective, the process went like this:

we started with a simple sound – a recording of a recorder, by @jwhiles.

I put that into a sequencer and tried to come up with a few interesting musical ideas, and moved the project to Ableton Live.

@jwhiles extended the sound motif and added some glitchy drums, along with an automated bpm shift – something I’ve never done before.

I took that and tried to extend it into more of an arrangement, adding some ‘live’ recordings from the online shortwave radio scanner: http://websdr.ewi.utwente.nl:8901/, the simple bass part, and so on. I also in places added a back beat to tame the glitched out drums.

As I recall, @jwhiles added one more round of polish / ideas / drum programming. We stopped when we weren’t immediately inspired to keep going with the track.

On the whole a fascinating and unique experience–so different than working alone!


#156

thank you so much for putting this all together @jasonw22 ! I just finished giving the album a listen and there are lots of fantastic gems. here are some notes from my take on my collaboration with @giftculture

we are friends RL who play modular together, including a couple times in front of small groups. until now it had all been improv, so we thought this would be an opportunity to give ourselves a kick to hunker down and work on a Real Thing. we both have a pretty good idea of what styles the other person likes so we decided to both make some recordings on our modulars and go from there. @giftculture suggested that we use Ableton Live with Splice to collaborate. this tech choice was a pretty good experience overall, more thoughts on that here: Ableton Splice

very early on, I made some modular recordings which appear here and there, most notably, the solo groove you hear during the first 30 seconds is a SSF Entity + TipTop SD808 being driven by a Teletype and going into a Rainmaker. pretty sure that is the only modular on the track, although @giftculture may correct me on that.

@giftculture took my recordings and assembled a basic structure with bass and percussion loops, and added in the wah pads. at this point the dub sound began to emerge. I wasn’t able to help much with Splice during this time period because I was not up to date on my Ableton plugins so I was mostly restricted to listening and commenting.

three weeks before the track was due, we decided to have an in-person session. this mainly involved @giftculture driving Ableton with me making mostly-helpful suggestions in the background. this is when the d&b fills emerged, and we made the bass a lot more active. we were reasonably happy with it at this point, but kept going back and forth online, with @giftculture manning most of the polishing since he is way better at Live (I’ll be playing some catch-up there, soon!)

on the weekend before the track was due we met up for two several-hour long sessions. on the first day we ended up trimming tracks where the layering was making things sound too muddled. this was the peak of testing out our mutual “Yes, and…” experience as it can be hard to kill your babies. the cuts made individual bits shine more and we decided that it was good but needed more melody to create interest. near the end of the first evening, @giftculture improvised an early version of the fantastic and distinctive space melody. on the second day we made that resolve more interestingly, sprinkled in the faux vocals, and did a ton of fiddly tweaking with effects, mixing, and panning. this got us to a place that was near to what you hear on the compilation.

during the final week we had a few more ideas but most of them seemed to hit diminishing returns. I was convinced that I could do some cool Clouds processing but everything I did was meh. @giftculture and I did a few more rounds of iteration with tiny mixing and mastering tweaks, and we called it good a couple days before the due date.

I had a ton of fun and learned a lot and am excited to work on more in the future! it feels great to finish something that I’m happy with, and working together was a blast.


#157

This is great! Thanks so much to @jasonw22 for wrangling it together, and to @Angela for collaborating on the great artwork.

I can’t wait to listen to the whole thing.

For my track with @fjna we kept it pretty minimal. I recorded some initial tracks improvising on the Serge with a heavy dose of reverb. Then I sent stems to @fjna, who added some incredible live performance of bells/bowls/chimes/something? (@fjna can add more specifics about how he recorded this).

From there I took it back and did some editing, mixing, and really not that much. It came together really easily and I love how the two very different parts play off of each other.

Oh, and the strange “voice” things at the end is a recording of voicemail phishing/spam that I received threatening to “come and arrest me” if I didn’t give them my banking information.


#158

@sandy well thank you for your kind words, which i can return. Your input was very relevant and has been decisive in this track. :slight_smile:

indeed this was a work of offline processes (not to make a pun on the online nature of processes in-between). I used mostly fscape, a bit of Virtual ANS and probably csound as well (there are files in my render folder, but no source code related to those).

I find it revealing that after a few exchanges, sounds had been iterated upon, mixed-cut etc so that in a little time from now i don’t think i could ever reconstruct the steps and who of us acted where. It puts a core of “letting go” in a work of precise control; (and that has shed light on some frictions in my usual process), decisions, for me, were relatively easier to take (not in the sense that each sound would have been calling for its own “obvious/natural” place amongst others, but in a sort of a relationship with sounds that was lightened from most of the symbolic metadata that usually come with re-contextualized phonography.).

The “non-submersible units” is a thing i have used in another project at the same time and it has proved a nice “trick” when the macro-form is not a very important parameter or is unpredictable or does not want to give hints on how it should be.

Ok, now on to listen to everyone’s works ! And a big thank you to @jasonw22 for another multi-dimensional contribution to the community.


#159

I will hold my hands up and say that @GoneCaving did most of the heavy lifting on our track (e.g. structure, processing). We began by collecting field recordings from our trips that took place during the project. These were transformed into most of the sounds in the track. I created a few percussive loops using polyrhythmus and the Sigur Ros drum kit in ezdrummer. @GoneCaving then mixed these in with his melodies. I then played the drums (sloppily) on my microkey to create a trip hop ish type feel. This was mixed into the final section of the track.

The processing at my end was minimal basic room reverb on the kits. We ran into a slight prob when we discovered that we were on different versions of live, but managed to muddle on!


#160

There were a few more modular bits on the track - the dubby pad was an E370 going into a morpheus filter, and way in the background, there was a chopped up sample of some water drums that were sequenced in the ER-301.

As @mirth mentioned, the best part of all of this was embracing the “yes, and…” while avoiding the “no, but…” as much as possible. It was lovely being able to trust the instincts and tastes of @mirth as a writing partner, and doing this project was a great catalyst towards doing more work together, a lovely official kickoff to our musical partnership! <3


#161

Yes, I think we both suffered from a lack of time due to external factors. To @steveoath’s treated field recordings and drum loops, I added some texture from one of the presets in Audio Damage Quanta. And the mix was run through Valhalla Room, and one of the Ableton delays.
I must say that despite the lack of time, I did enjoy the process, and would love to try it again (ideally when work is taking up less of my time and energy).