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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My track is based on simplicity, almost minimalism.

I was thinking about a way to use and play with Re:mix (M4L version of MLRV) and I ended up with 2 groups for 2 different samples (see pic), with no multitracking only recording a stereo track.

Samples are from simple melodies that I recorded from my guitar. The kinda jambee sounds are made by the “click” of the rough cut of the sample being retriggered.

Yes, there is some post-editing, but that’s all!

Didn’t have time to listen to the album atm, but I want to thank @jasonw22, once again, for his devotion to this awesome project. Also, thank you @hightowersdeepwells for your kind words, this is really rewarding!

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great work!
thank you all, esp @jasonw22
so cool to be a part of this! :slightly_smiling_face:


made with: monome grayscale 64

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I can’t highlight any specific track by name yet, but great work everyone! And thank you @jasonw22 for taking the lead on this!

For my track I used the Nord Wave and El Capistan in Sound on Sound mode. I used a variety of oscillator types from the Wave - samples, variable color noise, FM algos, and analog modeling. The Wave is pretty magical!

The beginning of the track is what I had rehearsed previous to recording, but the rest was off the cuff. It was recorded all in one take with some minimal post-production in Ableton - EQ to remove some high-mid harshness, Saturator for a little gain, and a splash of reverb.

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I mentioned above, but the patch for my piece is just Mangrove to W/ to Clouds, which I played via my MIDI keyboard. W/ is doing sound-on-sound and then slowly cutting it away at the end (the “worn tape” setting is crazy beautiful, isn’t it?), Clouds is adding smeary 8-bit delay. Added a bit of drama and reverb in Ableton. (There’s also the remains of a ground loop hum in there that I didn’t notice till I was editing)

Anyway, that’s the boring part. The interesting part, and I think the thing that makes the piece work is the contrast between the opening using mostly diatonic harmony to layer up a consonant texture, and then cutting into that with wilder, more resonant riffs using plenty of non-scale tones.

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Yes definitely. Incredible prowess and amazing tension created against the harmonious underpinning. Would love to understand this but it sounds like a lifetime of learning and I don’t have a second one…
The quality from everyone here is outstanding and is a credit to all in this community. Whilst I haven’t had time to get through the full playlist, and aside from @alanza, @Plym and @Olivier deserve a mention and Lumena’s guitar style too. I am especially interested to hear Plym’s patch notes.
Well done to all.

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Thanks, @yoyosandshoes ! I sadly haven’t had time to give this a proper listen yet, but I’m hoping I can get to it tomorrow.

For my piece, the initial constraint was simple: start with the simplest of building blocks (a sample of a four-note Earthsea sequence fed into a Plaits), and then use whatever means possible to extend, expand and transform that original element.

Echoes/distortions of the sample were created through re-recording and manipulation using both digital and analog mediums – I consistently recorded snippets to cassette and 1/4-inch tape, and then further mangled them with MLR, Glut, w/ etc. Once I had a little archive of variations on the original sample collected in Norns, the bulk of the piece was performed in one take using the Playfair script.

Also! Major props and thanks to @jasonw22 for the hard work - logistical and creative - that’s been put into this terrific project.

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Nice process. I love the approach. And also forgot to thank @jasonw22 for the hard work!!

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A huge thank you to @jasonw22 for putting this all together. And thank you and congratulations to all the participants for making a beautiful release. I’m beyond honoured to feature along side all of you. Haven’t quite got through the whole record, as I need to be able to really sit down and enjoy and absorb. But so far I’m just extremely impressed with the quality, range/variety and creativeness. This forum proves to be a place of endless inspiration, again and again. I think the theme for this LCRP worked out so good!

My approach for this was to use the guitar as the only sound source, so I dealt with that with a couple of different tools. The main compositional tool was to just improvise and record. Started out with a couple of instances of Norns’ MLR. I really enjoy playing guitar through that, having hands on control over speed, patterns, looping and the overdub function works so well! So yeah, when I had that first layer recorded I did another one trying to respond to what was already there and fikling out some gaps both in terms of time and frequency. Then I gave my Infinite Jets a spin - the glitch mode with wet/dry at around 50% so I could provide some lead-ish motifs here and there. I also ran that through a looper so I could layer some more clicky/choppy sounds along the way. Lastly I did some arrangement in Ableton Live. Mostly just shaping, sculpting the information I had recorded. Tried to highlight some sections, repeating some of them, and also focusing on contrasts in dynamics.

Can’t wait to listen to the rest of this. Been trying to get through a couple of tracks a day. And thanks for the feedback. Really appreciated : - ) I will return to this thread very soon.

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