LCRP >20 characters release out now

Here’s the latest LCRP release, with tracks from 36 different forum members.

The process was the LCRP classic: everyone submits a few sounds each and then the same people make music using only those sounds.

If you’re one of the 36 contributors, please feel free to talk about any aspect of your track you like here.

The title was just to keep it unique, more than a concept about the music, but I came up with it when it was clear there would be a lot more than 20 of us. So it’s more than 20 characters, in the sense of someone being quite a curious / suspicious / shady / whatever character, as well as a nod to one of those little distinctly lines foibles.

I had no idea how to pick a track order, but rather than just going with alphabetically by artist name I alternated either end of the alphabet. So those of us in the middle of the alphabet are stuck at the end. :slight_smile:

If I got any credits wrong or anything, let me know!

If you want to start the next LCRP, go for it - happy to chat via PM or whatever too.

30 Likes

So this one’s mine. I was really overwhelmed by the number of samples we ended up with so decided to choose 15 at random and see if I could make something that way. I think I was really lucky! (I was going to mention all the people, but you can’t @ >10 in one post. But thanks all.)

It all came together pretty easily around adrien75’s acoustic guitar recording. You hear his guitars after Leverkusen’s opening recording. The rhythm section is a combination of my glass drums, _mark’s crackle glitch, fakeg3nius’s acoustic bass on the off-beats, and more percussion from Blit. I can’t remember why it felt best in 5 4, but after making a rhythm with my drums in that time signature I sliced up the others to make them fit. I was surprised how little I had to do this with the rhythmic material to make it work.

I ended up with two sounds from mrshpot - “Long reverb bell hit” shows up like a cymbal from time to time, but more significantly I made loops out of randomised comb feedback and found they worked surprisingly well almost like soaring guitars. They’re fading in about 3 minutes in.

abalone’s little vocal sample brings us to the half way mark, and then I brought in slices of the mad metal sax “Hate Supreme” courtesy smapti, layered with Blit’s Speak’n’Spell sounding voice.

@davey’s Hydraulic recording forms a kind of percussion fill around 5m30 and then I brought in 3 more sounds for the ending which I thought worked surprisingly well together: TelevisionName’s “not a modem” with virgil’s “brassy” and leonard_bowman’s chickens! :chicken: They all come in via a highpass filter sweep in that last minute. The “not a modem” is pretty quiet, but definitely adds to it IMO. Those last sounds in concert inspired the track title.

And that’s me! Keen to hear from others.

13 Likes

Thanks to @Jet, @Gregg, @papernoise, @jasonw22 and everybody involved (such a great amount of wonderful samples to work with!).

Right now I’m not at home and I can’t remember which samples I used. (This afternoon I’ll edit this post with a detailed list.)

But basically I loaded two samples on Cheat Codes and three or four into Borderlands.

Borderlands output into Strymon Volante into Neunaber Immerse Mk II into computer.

Cheat Codes 2 output recorded to Monome Tape and then imported into computer.

I recorded a video of the live take.

A friend of mine did the mix, hence the track on the compilation sounds so different than the one on youtube.

That’s all!

EDIT:

Samples used:
@Anatol Cocoquantus Loop, @dnealelo Bowed Psaltery and Viola Arpeggios, @eelromance Harp, @LazyCircuits Vinyl Crackle, @vehka Guitar, @_mark High Bowls

12 Likes

So here’s my track, it’s called Critters:

Working with other people’s samples has been quite a challenge, and after a couple of failed attempts I decided to throw all the samples (except mine) in a drum rack in Ableton Live (no attack, short decay, no sustain and release (I also discovered the life-saving “apply to all siblings” feature by right-clicking on a parameter)), triggering them with @rjonline00’s little pup

Then something emerged: @dnealelo’s Bowed Psaltery snippet sounded very musical to me so I used little pup to generate a melody, and then I generated the second melodic line from the pitches of the first.

Lots of effects, Ableton Redux, Echo, and Hybrid Reverb, and Unfiltered Audio Byome, Sandman and SpecOps (they have sample and holds! woohoo!), mostly in send/returns feeding back into each other and also to themselves.

Thank you all for doing this, especially @Gregg for making my track sound much better :slight_smile:

11 Likes

I’m still amazed you used all the sounds! So just to be clear, for each sound you only play the very start? The main rhythmic stuff sounds really cohesive, just slowly evolving bippy percussion. If that’s many different sounds I wouldn’t have picked it. But maybe I’ve misunderstood you.

3 Likes

Actually I’m not sure how many and which ones I’ve used. I’ve put them all in a drum rack and then I let lil pup pick them up at his liking. Yeah, mostly it’s the start of the samples, but some wouldn’t work so I moved the starting point somewhere else. :slight_smile:

Ah btw no automation was used, I “performed” Live while recording, just like I like to do with my usual dawless setups.

4 Likes

Very thankful for the opportunity to take part in this, thanks to Gregg and Jet especially for organizing & mastering, no small feat! Of course thank you to everyone who took part, I’m listening to the whole album now and am really inspired by what I hear, lots of great tracks here!!

For my track “Willow” I started with the vinyl crackle by LazyCircuits and some birds from Freema in reaper as a backing, the birds had me thinking about rhythm and sound. I wanted to do something where I avoid typical musical meter and just sing along with the birds in whatever way felt right to me. My vision was something like a space where multiple activities (construction, bird song, rain, a child banging their toys together) came together into a musical moment…

So I took Leverkusen’s bells, undermulden’s percussive sounds, koam’s ringing sound, GoneCaving’s percussive sounds and jhindsight’s toy samples into koala and had a little jam on my ipad.

Finished it up in reaper with some reverb/eq/pitched delays & automation from Valhalla and moved a few of the samples around till it felt right.

13 Likes

Spent the morning listening and everyone’s contributions are sounding great!

To end up with my track I threw samples into Ableton simpler for an hour or so each day after work for a couple of weeks, creating a new project each day starting with something that sounded good and then finding other samples to go with it. Then I picked the one I liked most and developed it a bit. I haven’t done much with samples before so it was nice to learn a bit of that workflow.

Samples

  • The synth chord sound that starts it off and runs throughout is part of SMesquida’s Subharmonicon.
  • The droney loop is part of virgil’s brassy sample.
  • Drums/rhythm are blit02 for the first half and then edison’s break for the second half with Ableton’s beat repeat.
  • Leverkusen’s bells approaching is the main melody mostly untouched.
  • The vocal sample is davey’s introdialog. I was woried that everyone would use it but it turned out ok.
  • Other samples used are 888m - al, davey - hydrolic, ganders - guzheng mangled.

I threw some of the other attempts onto soundcloud:

lcrp6:
  • undermulden - on the water loop
  • dansimco - barnpiano
  • dansimco - resonator
  • leverkusen - commandante
  • leverkusen - bells approaching
  • DoS - windchime
  • LazyCircuits - Mellotron

lcrp8 - all parts are lumena - Granulatedbells
lcrp9 - all parts are mrshpot - Randomized Comb Feedback

10 Likes

Here’s mine:

Samples used:
@Leverkusen - Bells approaching: main melody on two tracks—main w/o delay, second with. Just cut and cut and cut and cut. :slightly_smiling_face:

@ganders - pinged filters: Loaded into 301 variable speed looper and sliced; recorded two takes with different slice lengths and trig rates; panned far l-r

@edison - rhodes no amp: Loaded into 301 variable speed looper and sliced

@papernoise - ciotola arco. This was my wabi sabi sample. I loved it and adding it brought some contrast to my track that I liked.

@Smapti - Black metal vocals as pad with simpler. I had to find a way to include the vocals. Ran them through convolution reverb and it made a lovely pad.

I signed up for this to get completely out of my comfort zone and to do something I’d never done before and I achieved that goal. I learned some 301 tricks as well as some fundamental sampling stuff in Ableton, though I have so much more to learn with each. My track could have been heavily edited and made more coherent, but I actually liked how it ended up.

Edited to say THANK YOU @Gregg for mastering!!! This is the first time I’ve had a track mastered and the difference between it and the mix I sent in is night and day. I appreciate you contributing your time and skills to this!

13 Likes

such a fun project, had a blast : ) pink toyota was just a bunch of samples smashed together in ppooll

and packed under layers of snow. ty gregg for mastering!!

10 Likes

Apply all siblings…how did I not know that?

My track is Deeds and was created entirely in Ableton Live 11.

I began by loading up a selection of 8 or 9 samples that I thought had nice microsound possibilities for beats in a drum rack. In the end the rhythms were built around samples from
@mei , @klingklangmatze and @_mark

The melodic content is almost entirely using @Jet Fake Harp samples but repitched and looped in Sampler before processing in M4L devices and resampling.

I added a sample from @Freema for ambience and then added a little extra sounds from @fjna and @koam using an Ableton Simpler.

I intended to add a live vocal but my attempts at being Ian Curtis were cringeworthy so I chopped up excerpts from John F Kennedy’s inauguration speech to add some vocals once I realised how many phrases he used that rhyme.

13 Likes

So first I would like to thanks everyone for organizing, creating samples, participating and listening :wink:
I am really amazed in a variety of different approaches which showed up when working with same sample pool and how everybody managed to make samples their own.
My track is here:

It was a last minute attempt. I had grand plans which were kind of crushed by life and heat wave making it very hard to even find time to work on music.
I first started with converting all samples to mono 11kHz 16 bit versions so they take less memory:

find * -type f \( -iname \*.wav -o -iname \*.aif -o -iname \*.aiff \) ! -path "out/*" -exec sh -c 'ffmpeg -i "{}" -ar 11025 -ac 1 out/"$(basename "{}" .wav)"' \;

I also used sox to make everything more or less same volume:

for file in *.wav; do sox "$file" "n_$file" norm -0.1; done

I then created a Max patch which loaded all the sounds from directory and allowed me to define various slicing parameters and sample selection using sequencer so I could quickly create slice chains.


I created 13 such sample chains and put them on dirtywave m8 tracker and tried to make song out of it. While I managed to create a single patterns that sounded nice I never managed to do a finished song.
So I decided to try another approach. I converted my Max patch into max 4 live instrument and tried to use multiple instances of this instrument in Ableton to create a song:

I failed again :smiley: (albeit I have made a few patters to which I would like to return in the future).
As the deadline (in my timezone) was just few hours away I decided what the hell and loaded all the samples + the sample chains that I have created into TidalCycles and started to create a really simple patterns:

setcps (130/60/4)
d7 $ brak $ sound "lcrps:2*5" # cut 7
d5 $ brak $ sound "~ [lcrp:121|~|lcrps:122]" # cut 5 # speed 4 # gain 0.8

d6 $ slow 2 $ striateBy 32 (1/16) $ sound "lcrp" # cut 6 # speed (irand 4)
d1 $ sound "lcrp*4" # cut 1
d2 $ sound "lcrp:2*5" # cut 2 # speed 1 # gain 0.9
d3 $ sound "lcrp:103*3" # cut 3 # speed 0.1 # gain 0.75
d4 $ sound "lcrp*7" # cut 4

d12 $ sound "lcrp:2*5" # cut 2 # speed 0.125

do
  d8 $ sound "lcrp*9" # cut 8 # speed 0.5
  d9 $ sound "lcrp*11" # cut 9 # speed 0.25

do
  d9 silence
  d8 silence
  d4 silence
  d2 silence
  d12 silence
  d3 silence
  d7 silence
  d1 silence

hush 

do
  d7 $ brak $ sound "lcrps:2*15" # cut 7
  d5 $ brak $ sound "~ [lcrp:121|~|lcrps:122]" # cut 5 # speed 0.25 # gain 0.8

hush

This finally yielded something which was at least little interesting and was longer than 30 seconds :smiley: I am not entirely content with my own input here as the samples were not that processed as I would like it but as always with improvisation you need to go where wave takes you :wink:

I will try to recreate a list of samples that I have used but as you can see due to the nature of the process it might not be so easy.

11 Likes

My piece is Untimely (under the name Circling Crows) and it was built in Ableton Live 10.

I listened through the samples list a few times and picked out a bunch of candidate sounds – 78, according to the folder I stuck them in. I then loaded those into Live and started listening more closely and deciding what I wanted to do with each, sometimes chopping them up into smaller bits (or just taking one bit out), modifying them pitch- or tempo-wise, or reversing them. About a dozen got dropped into either granulator II or Simpler.

From there, I just started assembling stuff, Tinkertoy-like. After several false starts, I found the 5/4 60bps template I started with for beatless/timed ambient work had morphed into a clock-like groove that I really liked. I kept only a few of the initial ambient trappings, such as the several-orders-of-magnitude stretched guitar samples of @tomw that you’ll hear droning in the background and the four-octave downtuned construction of @discreet-cowboy at then end. Of the 78 total samples I started with, I ended up using 15 or so; several, like the two I just mentioned, are modified beyond recognition and, as @Jet pointed out, I can’t tag everyone in this post, but @koam’s Wok, @Zeke_B’s tetrax into thyme and wingie 1, @edison’s kid’s xylo, and @infinitedigits’ altosax_aminor had frontman roles. I used relatively few effects, mostly native Live plugins plus Valhalla VintageVerb.

Thanks to @Jet, @Gregg, @papernoise, and @jasonw22 for all your work putting this together and for the great excuse to get myself back into the studio. I’ve just started listening to the album and am really enjoying it!

Edit: PS, I absolutely love the album title! Brilliant!

11 Likes

I just listened to the whole collection. I am pretty amazed of all the great tracks and how well they blend together and form a cohesive yet diverse community. Also I am happy that some found my sound suggestions useful for their work. I am sure most have noticed it already: bells apporaching is actually norns approaching

For my own contribution it took me several attempts with different devices. I started with the blackbox and external sequencing but somehow managed to delete the sequencing data by accident. Then I started new on the recently acquired Octatrack as a first project to learn it. I struggled quite a bit but tried to follow along. At some point it was not possible to save the slice data for the sax sample, which lead me to the long ending of the piece. In the end it took me a lot of time to learn all the features and get used to the workflow, menu structure and especially the arranger that there was no time left to use scenes more or bring some variety to the beat. After listening to it for hours I liked it in that raw and simple style and just kept it that way. It was put together with a murky kick, clicks and the snare2 sample. All in all I used these sounds:

@edison: kids xylo

@forrest: sharp-strike-percussive

@infinitedigits: altosax_aminor

@Jet: murky kicks

@klingklangmatze: clicks

@papernoise: ciotola-campana single

@Leonard_Bowman _reads_the_lines_FAQ-441_24

@steveoath - snare2

and my own Hasta Siempre music box recording.

I started with the sax sample and planned to slice it and rebuild a melody out of it. It did not work out very well but I liked the lofi attitude it somehow got on the way. Than I put the preliminary beat above it and kept it in the end. The vocal sample was what got me when I briefly went through the samples to build a preselection (I am amazed to hear now how many great sounds I missed then). Then I added sound after sound until I reached solstice. Everything was recorded directly from the Octatrack then, no external mixing or further processing was applied and I was happy that I somehow finished something in time.

The whole experience was as much fun as it was a long and arduous journey. I am thankful for the opportunity and feel a bit proud to be a part of this lovely compilation now.

Thank you @Jet and @Gregg for making this possible!

10 Likes

I submitted some samples, but ended up not being able to submit a track (mainly due to moving house which ended up being far more disruptive than expected).

I listened to the release this afternoon - absolutely brilliant stuff from everyone involved!

3 Likes

First of all, I’ve been listening to this LCRP a bunch of times now, and I’m really amazed by how much great music in here and by how consistent this sounds. I have a hard time believing this just organically created itself :slight_smile:
Really great work everyone!
And let me also join the choir and thank @Jet for starting and organizing this and @Gregg for doing the mastering!

@Zeke_B and @Leverkusen thanks for letting me know! Cool tracks! Glad my sounds were of some use!

Some of the samples I recorded with my 5-year old son, which in itself has been a fun project.

The track itself came about through a windy process and like others here, I went through several more or less failed attempts.
My first idea was to transfer the samples I liked to the Octatrack and then mess with them until something would sound interesting enough.
I mostly went with a combination of glitchy sounds and guitars. I did skip anything that sounded like it was processed in some way and preferred sounds that sounded like they were unedited and unprocessed recordings.
I made a first quick sketch, but wasn’t too happy about it.

So I tried a few more things in Live, but none of them would take off, so I went back to my initial sketch and for some reason, it now sounded interesting. I think I like the Octatrack as a creative tool, but making a finished track on it, just blows the fun out of the process for me. So I somehow arranged what I had and used the Octabridge trick to multi-track everything into Live.
This actually worked quite well, and I can see myself doing this more often in the future.
In Live I mostly worked on the structure, added some percussive sounds, copy-pasted bits around, added more effects and did the final mix.

This is the result:

Through all the back and forth I have a hard time reconstructing all the samples I’ve used (so please forgive me if I’m forgetting some here), but these are some of those I’ve used:

@_mark - Crackle Glitch
This was my starting point. I don’t know how much it can still be heard, but this glitchy bass pulse was what sparked the inspiration and on which everything else was built upon.

@Zeke_B - wingie
I turned the sound into something more gated and plucky

@adrien75 - acoustic guitar samples
I used this for the bassline and some of the melodic elements here and there.

@mrshpot - Drumloop
I sliced and cut this one up, using individual bits and pieces in the beat

@GoneCaving - clang
I think I used this for the main snare sound

@Jet - glass drum sounds and murky kicks
I used several of these in different places in the beat. I think one of the murky kicks is the main kick drum

@steveoath - base and snare
I’ve mixed these in in several places

@klingklangmatze clicks
They make the main clicky backdrop of the track

@Glitcher - glitch_n_tone
and
@lumena - Granulatedbells
I’ve used these as additional noisy-harmonic elements to create transitions and variations

14 Likes

Glad you found my sample useful! Also thank you @dnealelo for letting me know that you used some of my samples. It’s really cool to listen and try to recognize them.

I have been listening to the album today when work isn’t too crazy and I am blown away by what everyone made. Awesome work, everyone!

3 Likes

Thanks to everyone for submitting such amazing samples, to @Jet for organizing, to @papernoise and @jasonw22 for the artwork, and @Gregg for the mastering! This is the first track I’ve made entirely based on samples and it was a lot of fun!

I decided to get out of my comfort zone & make something almost entirely rhythmic using Ableton. The two backbone samples of the track are @edison - Break and @_mark - Trash Drums. The hats are @papernoise - bontempi glitchbeat. There are two melodic elements: a lengthy excerpt of @jhindsight - gtr delay in the middle and pieces of @dansimco - digi sprinkled throughout.

I’m on vacation and won’t be able to listen to the album until the weekend – I’m really looking forward to it!

10 Likes

Nice results and a very coherent album. I only listened once, but it is amazing. Some samples keep on coming back, love it. One song, I thought Negativland joined this lcrp. Thanks once more, everybody for organizing, mastering, artwork, samples, …

#changed all the original names/titles of the samples(1#1, 1#2, 1#3,… 1#99) I didn´t want to get influenced by anything.
#by chance(cards 1-10), I put the samples in 10 different maps
#by chance(cards 1-10), I chose the map with the samples… I used for this LCRP
#exported the samples to blackbox
#customized most samples with blackbox and some pedals

7 Likes

Oh yeah I feel like I should add my track is made in Bitwig, since I didn’t mention that. No surprising technical tricks to share, just some slicing, stretching, and a little bit of pitch shifting from time to time. Classic delay effects, EQs, filters.

PS - thanks so much for sharing thoughts, inspirations and notes on your process, people! I love this aspect of the LCRP!

8 Likes