//// hylozoic : lcrp.2018.solstice.1////

[maxijazz]

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!

[abalone]

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

made with: monome grayscale 64

[kirklandish]

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.

[alanza]

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.

[yoyosandshoes]

then cutting into that with wilder, more resonant riffs using plenty of non-scale tones.

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.

[Olivier]

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.

[yoyosandshoes]

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

[Plym]

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.

[steveoath]

Had a listen last night. This is really great. Hats off to @jasonw22 again for putting the tracks together in a manner that really feels cohesive.

[steveoath]

The CDs arrived while I was away, but picked them up today. Just want to say these are really nice @jasonw22. #nospoilers