iPad session - Borderlands, Aparillo and Fugue Machine
practicing for shows later this month- experimenting with using only modular and RYTM mk2. liking where things are going.
Some sketches from a few weeks ago… more techno-y than my usual style.
hi guys, sorry its been a while. Anyways, Ghastly is finally here. If you want to check it out please please do. This album drove me absolutely crazy and I am so proud of it. Hope y’all enjoy.
Or for you streamers out there:
Sounds killer! Congrats!
so stoked for this (you knew that already, tho)!
I’m curious what it was like to get the album to the point where it was very nearly finished, and then invite someone else to help mix at that stage? I heard some earlier mixes and know you already had things sounding super solid, so I’m curious if there were any big challenges or things you learned from having another set of ears late in the process on such a personal, self-directed, introspective thing?
a new video after a long, involuntary, hiatus
Getting the hang of new toys - Teletype, Cold Mac, w/, curses iteratas, Skulpt
Improvising along with a generative patch - pressure points & branches -> teletype to make the notes
I am new to the community, and to modular: https://soundcloud.com/darrendchase/cold-eye
somewhat against my better judgement, i did an interview and recorded a track for AE modular.
here’s the track
the interview is too embarrassing to link.
Matt Chistensen (Zelienople) and I released a new 20 minute song for guitar, Micro Mellotron, and modular synth yesterday called “Cargo.” You can check it out on his Bandcamp page.
Well this was my first time getting anything mixed externally. Ironically I learned a lot more about mixing having Matt mix the album as opposed to if I had mixed it myself, because I had to learn actual terms and descriptors for what I wanted. We also mixed from August until December (not kidding) with a sanity break in October (I couldn’t hear the songs anymore) and Matt was really incredible and patient with me the entire time.
The hardest thing for me to fight during the mixing process was my own perfectionism and neuroses. I would constantly go back to Matt and be like “none of this is working, let me work on it”. So I’d go back into the ableton project file and change EVERYTHING about the song, add new harmonies, add different drums, add arps, change the time signature, etc. After I’d send it back to Matt and he’d mix it like an angel, I’d listen to the new version like "what the hell, you just overcomplicated and fussed up everything".
Realistically it could have been done within a month, I just felt so insecure and insufficient in my arrangements that Matt had to mix a billion versions of some of the songs that ended up being pretty true to the original mix. Goodnight Texts is an example where we pretty much went back to the basics, with some minor enhancements. Eat is on the other end of the spectrum, where the changes I made to it (video game sounds) were super last minute and ended up being exactly what the song needed.
It was also super awesome to have someone I could email who knew a lot about music theory, because I pretty much dont know jack. So boy it helped immensely that I could email at 2:00am and be like “does that kick sound like its off key? what the hell is that” and have him to bounce things off of when I felt too stuck in my own head to move past something.
I’m doing it differently this time around, because I learned how to mix better demos while I’m working. Now I’m able to get them pretty damn close to how I want to sound, so I can have him come in and brighten things up or make those drums really kick some ass without having to put Matt through revision hell. Mentally, because the things I’m writing about are different than the subject matter of Ghastly, it’s been easier so far for me to quote on quote “finish a song” and let it be. Also I think I’m more confident that I am making the right choices now, and I try to not ever second guess that when I am bobbing my head and moving my body while producing, thats a great sign that I’m in the right place. There’s more trust there. So, we’ll see if I go mix crazy again, maybe it’s just who I am. But I wouldn’t have known or learned any of this without going through my mixing meltdown.
A quick little study at making a pseudo-natural forest or swamp soundscape.
@jonatron + I’s second album as Outer Heaven is out now, entitled “Slower”. I keep describing it as “like dead c but with eurorack”, but this blurb I wrote explains it a bit better:
Outer Heaven’s “Slower” is moreau13.
Their second release, “Slower” sees Outer Heaven revisiting the areas they explored on “Dredger”, collaging years of personal and collaborative recordings into 7 tracks of freeform material - Jon Scheer aka disc image providing crisp digital manipulation, Brandon Hurtadoproviding hazy tape manipulation. Recorded at “brookhaven, fairfax public access, the house of rock dracula, arlington, and richmond, 2016-2019.” Art by Brandon Hurtado.
digital release available at https://moreaueast.bandcamp.com/album/slower
(tape release will happen if there’s sufficent interest)
Hi! I hope this is the best place for this.
I’ve been working on an album for a good while and I think I’ll be self-releasing it. I’m currently making a small EP that I’ll release before the album to kind of get myself out there. This is the first of the two tracks I intend to make. I would love some opinions on it. Thank you.
Fun day of noodling with iVCS3 and Animoog apps
Thx Simon…might be definitely taking you up on that especially since I just bought my first piece of analog gear, a Behringer Neutron, should be here in a few days - I’m very excited about it but will surely have loads to learn about incorporating it into my workflow and recording and such…can’t wait though!
So I’ve been learning how to create some “space” in my music and made this along the way! Really glad how this one turned out. Used just one acoustic guitar sample for the whole piece.