great to see it all approach the finish line… excited here…
Heh, over 50 tracks would be a couple of hours of listening even if the tracks were pop song lengths. This is going to be massive.
changed my name from “howthenightcame” to “how the night came”
mark, i can only begin to imagine how much time and effort you’ve spent on this project. thank you so much … I’m getting excited about digging in and hearing everyone’s contributions!!
Yeah, it’s been a bit of effort, but not too much. The deadline ended up being around the time I changed job roles, so I did get a bit swamped from both angles - probably why I missed so many tracks!
But it’s also pretty amazing that you can suggest something on a forum, then a bunch of people who you’ve never met spend a load of their time working on it just for the love of doing it. So worth a bit of admin…
Hi Mark, my track is also not listed. I sent you a PM with a Google Drive link. 21 days ago if that helps. Track title is Flying Slowly in Tight Circles, Artist - Alan Gleeson
It is with great pleasure I can now announce that this is complete:
It is a wonderful thing.
Thanks to all of you who took part, whether you got a track together in the end or not.
I’ve not exactly mastered this, but did make some effort to keep volume continuity between tracks. It is a dynamic thing, and many of the tracks have quite sections within them. My approach followed that of @jasonw22 - doing as little as was necessary, so normalising, fixing DC offset, occasional limiting if a track had a few very loud peaks that restricted amplifying it to match the rest of the comp, and occasional volume reduction if the track was heavily compressed and much louder than anything else. Everything within 3db of adjustment though, so hopefully nothing you will notice.
I’ve not added the tracks up, but think it is somewhere in the region of 34 hours! There was talk earlier up the thread of this being something that is continually added to. I’m up for this, but will need to hand this over to someone else if we want to continue.
As is the Lines tradition, it would be great to have track notes from anyone willing to contribute. Please reply below.
I hope you all enjoy the ambience.
Thank you for all your hard work in bringing this all together - and thanks to all the Lines people who contributed.
I’m super excited for this! Can’t wait to listen. Huge kudos for putting this together Mark. I’m looking forward to getting involved with the next one for sure.
My track, rectangular iceberg, is constructed primarily from Extremely Slow LFO and a couple instances of XFX Wave in VCV Rack.
30 minute drone.vcv (24.1 KB)
Thank you Mark, Jason and all the contributors for creating this monolith!! I’ve written briefly about our postcards from slow places here:
My contribution – “For Wallace Stevens (submersion mix)” – is a gentle reworking of two pieces from my GREEN E.P., which was based on water imagery found in the lines of Wallace Stevens’ poetry. The first and final quarters of the track originated as an acoustic guitar loop which was paulstretched before being processed with VST filters and reverbs. The resulting drone was played backwards for the intro and forwards for the outro. The central thirty minute passage of the composition was my first experiment in having various low pass filters and high pass filters change gradually over the course of thirty minutes. The overall tone of the composition was meant to represent oceanic immersion and emersion.
Best wishes, how the night came
My track: to live is an act of courage was my first attempt at a generative piece of music.
I used the iPad app wotja and set up my parameters there. Each voice is playing to a different time signature, and they all have various probability rules applied. I haven’t really dig very deep into the app but it was an interesting experience.
I exported the midi file created and set up “rings like” sounds in Ableton using collision and reverb.
I used paulstretch to timestretch the sounds of a 5 year olds birthday party and put that into the mix for some ambience.
I enjoyed this immensely, but will have to study the wotja manual more thoroughly next time.
My 30 minute track 30 Minutos Con La Realidad (pun intended to a famous Astor Piazzolla piece “3 Minutos con la Realidad”) includes and expands a couple of drones I was already developing and the full disquiet junto track: A Five Minute Dice Rolled Drone (disquiet0364).
Instruments used overall are Indian Harmonium, bowed upright basses, ebow guitar, bandoneon, cello, acoustic piano and several synthesizers.
This is epic! Thanks @_mark for organising this one.
My track started with a loop played using Omnisphere and captured in my modular (Phonogene or W/, I can’t recall!). This was then played back through an ErbeVerb with the settings slowly tweaked. Back in Live, I’ve added some Cloud Chamber Bowls from Sonic Couture’s Glassworks, and a preset from the Ice & Water library from their Geosonics library. A little Valhalla reverb and some delay and that’s about it.
I used logic’s timestretch on a guitar recording I’d had kicking around my hard drive for a while. Fed that through a pair of rings and a delay in vcv rack, and added a drone using Aalto. The Aalto drone was a result of opening up the lpg and tuning the oscillators (well really just octave shifting, conveniently Aaltos default A440 played nicely with the guitar recording in E).
The track name is a Culture series reference, in part because lines introduced me to them.
My track “Visus” consists of two main sound sources, Just Friends and Tides, slowly fading in and out and eventually droning in the last third. It was extremely cathartic to make.
Amazing work everyone - and massive thanks to @_mark and @jasonw22 - I have just dipped my toe in a few places for the moment, but this is going to be the soundtrack to my work trip this week (I have a 4 hour train journey tomorrow- and another on Thursday - perfect timing!)
My piece is a combination of stretched and processed source materials from the modular synth, field recordings from a trip to a remote cottage in North Wales last year, with live modular synth work recorded over the top in a single take to add more interest and variety. The piece was inspired by the old miner’s cottage I stayed at, which was quite remote, up a mountain with no radio/tv/phone/internet, and a 10 minute walk up the hill from the car. The only sounds were the stream, sheep eating grass, and the wind up the valley. I took a walk along the roman road nearby, at least 1600 years old, but likely much older. It wasn’t so much a case of feeling the weight of time in the place, but rather the lightness of our own fleeting existence within it.
My contribution, titled “Quaver_C,” came out of a simple process: I granularized a sample of very poorly played acoustic guitar through the Max For Live device Iota. I made several passes, playing grains with my computer keyboard to build up layers. I reversed and pitch-shifted some of those layers. That’s all. No other editing.
My process was rather simple. I recorded few arpeggiated chords through Zoom MS70CDR to tape on maximum tape speed and then slowed it down as slow as possible on Tascam 464. Then I sent this track on separate auxs to yamaha spx900 for reverb and through my small rack where it was processed mainly by Clouds. The ending of the song is field recording of frogs and various insects in the countryside, processed through bitcrusher and also reverb from spx900.
Thanks @_mark and @jasonw22 so much for making this happen and getting it out into the world! First off, I forgot to send the correct track name and artist listing—it should be ‘Scott Burton’ for the artist and ‘December 11, 2018’ for the track name.
Notes: My son was 9 months old and it was my day for childcare. For some reason, I knew that today I was going to create my drone track for this wonderful project. I put Isaac down for his morning nap, and started patching. After getting some sounds I liked, I started recording as fast as possible, and that is more or less what my track ended up being. I set up two sequences on the Korg SQ-1, one for the melody, being played by Rings, and one for the bass on Mangrove. The middle note drone is an 0-Coast with an LFO used for slow white noise, and Clouds is being Clouds. This was 27 minutes of time on December 11, 2018. Isaac woke up about halfway through.