The base chord progression here doesn’t really change, and the lead changes just a bit. The arp just goes along with the chords in general. But in this project that’s all supposed to be unimportant, so it just starts off with this base. Then, in jumps one of my fave FX, the time/volume manipulation gate. We begin cycling the gate effect presets (almost as its own instrument) to create some really interesting sub-themes within the song throughout; the conjunction of the lead coming together with these ‘random’ gates allows for a whole range of new exciting lead sounds. The lead itself doesn’t deviate from it’s theme, and most of its notes are actually a measure or over that. Gating creates a lot of interesting combinations, especially when shuttered along the chord progression, which makes it seem quite fresh for most of the song.
Eventually I get bored with the arp and gate it as well, though a bit less. Here I decided to use the equalizer as well and change the sounds at will. I move the peaks around most of the spectrum I can get to.
Not really my type of music but the junto is about experimenting, right? Enjoy!!
The assignment made me think a lot about effects. I don’t usually consider a difference between sources and effects, maybe ‘cause I listened to a lot of dub in my youth: the mixing desk / echo machine as instrument. Also an interesting reference could be this book https://www.amazon.co.uk/Sonic-Experience-Guide-Everyday-Sounds/dp/077352942X which talks about sound effects in everyday acoustic situations and how they affect our lives.
Anyway… this piece is an outtake from an improvisation with a complex patch of effects, too complex to be called a chain. The rhythmic percussion-like sound is a delay line randomly changing its length on a clock. This goes to an impulse-response reverb loaded with metal samples instead of room I.R.’s
That’s why it sounds a bit like a 1980’s metal percussion band - bow gamelan or something. There’s a delay which plays back at half speed and some filters and feedback loops. The input is a tie-clip mic which I put in some seashells, also crumpling paper. this just sets the process off and controls the pitch of the feedback (= the resonance of the shells). Mostly i’m steering the patch by moving the microphone and tweaking the filters. Not so happy about the recording but no time to mess around with it now.
this track is a 'remix of 'likeababy from the upcoming k-blamo ep
the effects used came from this lines thread:
'dfxtransverb, taldub3, and klanghelm mjucjr
a couple mlrv samples - vox and bongos, got mixed in after…
More on this 241st weekly Disquiet Junto project — “Compose a piece of music in which the material processed is secondary to the processing”
I started with this track Les-squeegee – Slow-times-at-planet-roosevelt-samples-junto-see-description . Started in later adding some pulsing fx fed into a big reverb. Copied to another track pitched down 12 a DI fx on that. Took the original and kept as is but volume down so it would be in the background til the very end when that is all that is playing. Converted to midi and and put a 19 sec length midi note so it would hold. Used Auturia CS-80 soft synth. The synth gives it more of a science fiction feel to me.
Made a short ska/dub piece and copied into six other lanes. Added up to 3 effects in each including reverb, delay, chorus, tape, flanger etc., but also eq’d each one to bring out a different sound. Finally got a nice mix that was recognizable but sounded completely encapsulated by variations of itself. Still looking for just a bit more I ran it through a different chorus while tweaking wet/dry mix and distortion mix live. Then I took this before and after pair and set each in a new channel and automated pan controls to sweep sides for the length of the tracks. Tools including but not limited to Cubasis, Audioshare, Aum, Frobulator, Muckraker, Nebulizer, Swoopster, AUFX:Space, Dedalus, Novation, Duplicate and Zero Chorus…yikes!! It sounds only slightly overworked
I started off with the assumption that maybe if I made an effect that drowned and mangled the sounds with convolution reverb delay and spectral filtering -that I might be able to put any combination of sounds in to such a system and they would all come out sounding almost the same or atleast as if they fitted with each other…So I quickly recorded thirty seconds or so each of the following- a wooden xylophone, a toy piano accordion , a melodica , dropping bits of paper and shuffling around picking things up, and acoustic guitar… it turned out what little ‘musical’ content was in the original recordings still survived to some degree and the wooden xylophone had to be left out but all the other elements apparently fitted into the general wash along with some pitch shifting for good measure too.
I used a simple idea with just two effects for this week’s @disquiet
I began with same simple phrases and then added a basic delay. Next I reversed each of the tracks.
For the mix each track play both forward and backward throughout but I fade between the versions - so tracks A, C and F start at -inf db while B, D and E start at 0db.
At the midway pint the volumes have revered so we are still hearing everything but forward tracks are now backward etc. Then the whole process repeats until we end up where we started.
I hope I got it all right… Anyway here is my submission to “Disquiet Junto Project 0241: Foreground Effect”.
First time I use llllllll.co… Don’t know if I manage to embed a sc-link…?!
Made an patch on my little modular. In the modular I also have a simple sampler… I turned on the radio and sampled some seconds. It’s Swedish, a lady taking with skånsk dialect.
Effects: In my rack I have a reverb Ladik R-330 and I just (how suitably) got an external stomp box, a Zoom MS-70CDR. Almost max reverb on the Ladik reverb and on the Zoom I used “ParticleR” effect. During the recording I wiggled the modular and stomp box. I recorded on a cassette deck first, on an old TDK AD cassette (type 1). Used Dolby C. Then I recorded from cassette deck to computer. All I did in the computer was to apply normalize and fade in and out.
Observe: I used the picture – with lens covers? – and applied some effects to it.
As usual I don’t listen to the other submissions before I have uploaded my own. Makes it much more fun.
Interesting the Zoom reverb also acts as some sort of compressor and limiter. Takes away the dynamics of the modular. Hmmm.
I normalized the track lengths to 3 minutest and then added various fade-ins and fade-outs to the tracks.
The resulting “sonic debris” was then fed into the Rotor effect processor (think Leslie speakers) that comes with Studio One 3 Pro. The exercise was then to gradually suck everything down the vortex and to learn how to automate multiple parameters of the plugin.
this is ¶radio hummingbird’s contribution to this week’s disquiet junto with the serial number 0241. in short, the requirement for this contribution was to record a piece of music in which the material processed is secondary to the processing.
this piece has been created using a looped singing wine glass “played” at three different tone levels which is then routed through various channels of ¶radio hummingbird’s modular synth travel kit. no other gear has been used and the only post-processing applied was LANDR for mastering the recording.
enhance your listening experience by using headphones and enjoy what you hear. thank you.