whew! 24 songs in all. Tube doors are closing. If you didn’t make it this time, better luck next time!

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This one is going to have to be a double CD. 1 hour and 46 minutes of music!

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Wow, that’s awesome!

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Released!

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For my track, I used an old Windows app (run on OS X via Wine) called Aural to generate MIDI, messing with the parameters a bit as it ran, to vary the tune, while recording the MIDI in Ableton Live. Used Spectrasonics Keyscape for the Clavinet+wah sound. This is then sent through a couple different delays.

https://www.auralfractals.net/

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still making my way through, but the flow of the tracklist is really lovely! thank you for putting this all together!

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It must have been all those mix-tapes in the late 80s…

:wink:

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Whoot! Just logged on to share the below and saw @jasonw22’s post! That was fast! Thanks so much – going to download now…

I had meant to post these earlier, but they got swamped in my to-do queue. Just remembered now; I think they’re really cool. Two satellite photos of actual June solstices!


In the top one, you can make out the Sahara and the Arabian Peninsula; it’s from 2011. The bottom one you can probably figure out and was from last year.

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oh man, @steveoath this pocket operator piece!!

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I was inspired by the idea that a solstice is both a minimum and a maximum (globally), coupled with the initial suggestion to use a single instrument. So I wanted to see how much music (maximum) I could get out of a single sustained note (minimum). I wanted it to be fairly consonant and to expand in a kind of branching way.

I initially imagined using what I thought of as a pitched delay, where each repetition of the sound would be raised or lowered by a given amount, to build the vertical structure. I made several attempts to build one in Max/M4L, and was finally successful, when I found that there was already such a beast in the tutorial devices! I ended up using that one, set up in an effects rack, coupled with a ping-pong delay I had built a while back (the native Live one has some limitations I don’t like).

Initially, I imagined several waves of this kind of thing weaving in and out of each other, building over time, but as I worked through the different approaches that I had taken, I realized that one of my initial tracks was pretty much exactly what I had had in mind, just shorter. Voila!

Thanks, all, for your welcomingness (izzattaword?) and support. I’m so grateful to participate in this community.

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I’m pretty sure that track was made in a web browser, if I’m remembering correctly…

I love it!

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Only half way through listening to it but there’s some really great stuff!

For my track (under the name 7506) I decided to see what I could do working only with the Koma Field FX Kit I just got. There’s basically 4 layers: the percussion comes from the delay at maximum delay time, and is some kind of clock noise, then there’s a track of spring reverb feedback, another of delay feedback, and finally some buzzing from the spring reverb.

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Omigoodness, so much fabulous music! Loving this…

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And once more, a very enjoyable listening experience! Great job everybody and thank you Jason.(already curious about what’s next)

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Wow the plym piece. I really connected with that one.

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Thanks! I’ll add a bit more details below, but unfortunately my PO died on me so I used www.beepbox.co instead. Similar vibe though.

I liked the idea of maximum/minimum for these LCPs and decided to go minimal this time. The original idea was using my PO arcade, but that malfunctioned on me. I think I can fix it though :grinning:.

Instead I used Beepbox a browser based chiptune writer that I’d used previously after hearing about it here. I found it really difficult to write a “song” as each of the 4 voices is limited to 8 patterns, so having patterns repeat and not get boring was the challenge. Once I’d finished the tune it was exported to Ableton Live for some extra reverb.

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Sounds on my track is all the Crystal Baschet from Sonic Couture Glassworks. I recorded a drone using my Eigenharp Alpha as controller, and layered and repitched it in Live. Then improvised over that, single take, capturing MPE MIDI in Live. After that it was mostly tweaking of the MIDI data (mainly deleting notes, but also editing some of the velocity data), and fixing the levels, and some additional reverb from Valhalla Room.

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My track (track 22) is simply a TT-303 (analog TB-303 clone) into a Big Sky Reverb pedal, recorded in a single take into Ferrite (iPhone app). Then I opened the file in Ocenaudio (mac app) to apply normalization.

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As mentioned earlier in the process when I was beginning to work on it, my one sound source used is the Novation K-Station, a synth I have had since the early 2000s, when I first got into recording. The thing that has led me to hang on to this synth over the years (as well as the sentimental value it holds - I used to make many a track using just this & my trusty old Emu rack sampler) is the excellent user interface. Although there’s a bit of menu-dive, most of the controls you’ll want ready access to can be found on the front panel. As such, it encourages experimentation & programming. This is no bad thing, as most of the presets are atrocious! For well over 10 years, I built up a bank of sounds with it, used it on a tonne of stuff, moved houses (and countries) with it, gigged with it with my old band (jamming objects under the keys to make it drone or left arpeggiated sequences running while playing guitar). This synth has LIVED, so lent itself pretty well to the concept of this compilation.

This well-loved (now quite battered) object has largely been put out to pasture since I got into Eurorack, as I have a tendency to use the equipment that’s in front of me & I have a small 3 tier x 60hp set-up that lives on my desk. However, it was like re-uniting with an old friend to get it plugged in & sending sounds through some pedals again. Pedal-wise, the ever-excellent Count to 5 by Montreal Assembly does a lot of the heavy lifting on the melodic content in the first section of the track.

As ever, huge thanks to @jasonw22 for your continual effort with these compilations and your general aura of positivity that you bring to lines. I’m listening through everyone’s contributions on a sunny day in Sussex & really enjoying them. Special shout-outs to @Plym & @maxijazz for seriously amazing contributions amongst those that I’ve listened to so far.

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