#91

Honoured to support this. I’m going to happily share this with everyone!
Wishing you all a lovely weekend!

Robin
Monsieur Scanner :blush:

3 Likes
#92

thank you all so much!

hopefully you like the track order i settled on :smiley:

5 Likes
#93

I’m curious about other people’s tracks if anyone wants to share their process. I guess I’ll kick that off with a few words about mine.

I started off the track with 2 sequences I had recorded from working on the (original crow) version of my m18s sequencer for crow. I added some more delays and then thought I was finished…but after some time, I came back and realize it wasn’t.

For the next pass, I had just recently discovered n kramer’s record endless https://nkramer.bandcamp.com/album/endless and talked with him to find out how he made the really cool metallic cloud in the background of the first track. He mentioned he thought it was an fm patch with softube modular, so I thought I’d have a go at trying to create an fm cloud using just friends in synth mode controlled by crow. here’s the script that I came up with for that:

The next set of layers came from playing the modular by setting up different variable changes for simple crow scripts with midi notes (played with my laptop’s computer keyboard) from ableton into the ^^macros m4l device. I got the notes and timing I wanted for these, and then kept playing those and performing the knob-twiddling with that midi until they felt right (it took quite a few tries…lots of delicate manual filter movement for one of those layers).

I mixed everything in ableton and bounced everything to my cassette deck for vibes.

5 Likes
#94

Wish I could say my process was as interesting to read as yours (these are great notes, thanks for sharing).

I guess my track was a mix of accidents and heavy editing. It was built from two separate phrases I recorded, liked, but never fully developed. The first part, with the piano, was run through Arbhar and contains the aforementioned ‘accidents’ in that I inadvertently triggered the onboard mic several times, adding quite a bit of background noise. I got kinda a ‘playing in traffic’ vibe from this error and liked it.

In the second part of the track, the initial layer was something previously recorded, also run through Arbhar with 1 v/o from Orca’s Heart (Ansible) - if I recall, I was “playing” the modulation matrix. Sometime around the end of the fourth minute, I reduced the length parameter to put Arbhar into wavetable mode.

5 Likes
#95

Pretty simple process for me: Field recording (Usi, Sony M10) down the lane behind my house next to a tree we named Jerry. Piano is the 9000ft piano from Pianobook that I ported over to a multisampled instrument in Sampler (Ableton Live) played on Push.

4 Likes
#96

For my song, I got inspired by birdsong and wanted to find a bird that was native to DC. I settled on a Chimney Swift and so the idea was to write a piece following a Chimney Swift from the nest inside a chimney, to outside as it gathered food for the family and returned home. I used a drone from Just Friends thru Sisters as an anchor, and iPhone field recordings for the ‘journey’ and the guitar is the bird. I recorded in Ableton but didn’t do much inside Abelton—just a bit of reverb at the beginning and end of the piece to simulate the chimney.

5 Likes
#97

First off–have been enjoying all your tracks–holds together better than I would have expected for a comp.

Second, I’m an artist and the technical director for a (now streaming) sound art event called Sound Scene (@soundscenefest) sponsored by the DC Listening Lounge and the Hirshhorn Museum next weekend and would love to include the comp as interstitial music between programming blocks. I’ll only use your music if you explicitly grant permission in this thread or by DM. I was originally planning on only using my own tracks, but I the comp is in very much the same spirit and theme as the event. I don’t know if I can promote the comp on any of the graphics for the show–but I’ll ask. It’s a little tricky because there are sponsors and the museum involved, so it may need to fly under the radar.

For my track (resonant space - monocacy), I created melodic and bass sequences in the Five12 Vector sequencer–which went out to a Frap Tools Falistri function generator as my oscs, The melodic line went to a Jove filter, and then both went into a Magneto delay. I also had some field recordings that also went into the Magneto–a rainstorm outside my window, and a recording of me walking along the C&O canal. A recording of some Tingsha bells went into the Tapographic delay, and then into Valhalla room in the Z-DSP. The recordings were all looping in the ER-301. Mixdown on the WMD Performance mixer, and recorded on the MixPre 6. The track was then put through a tape wash using a Marantz PMD-430 deck. The PMD-430 hadn’t been used in awhile, so it added a fair bit of warble–haha.

5 Likes
#98

excellent news!
you have my permission

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#99

same here, feel free to use mine if you’d like

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#100

Same here as well - feel free to use mine if it fits!

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#101

Permission granted! That sounds cool.

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#102

You have my permission.

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#103

wow, pianobook is amazing!

#104

ooh permission granted ! thank you

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#105

permission granted. Thanks!

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#106

There is so much on there already! Especially if you use kontakt. There are a bunch of outdoor pianos around the city I live in and thought I might make a contribution.

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#107

Would be delighted to have my piece with Stephen Vitiello included of course! :blush:

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#108

you have my permission, Thank you! (btw: could you edit my last name to Rodenberg :blush:)

https://joshrodenberg.bandcamp.com/

thank you for all your hard work! sounds lovely!

2 Likes
#109

thanks!

sorry i misspelled it earlier

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#110

i’m not upset, sometimes i think about changing my name with the U to make life easier LOL. Thanks, this comp sound beautiful!

1 Like