I made good on my New Year’s resolution to finish and release a collection of material. It is the “Telemetry EP” located here:
The first three tracks were created using material from only a Teletype and Elements. They were processed heavily using time-stretching, pitch shifting, analog saturation, and convolution reverb. The last track adds in a Rainmaker for processing and Just Friends for modulation. It was recorded live off of the modular with only those four modules (no special processing added other than EQ, normalization, etc.).
The material for the first three tracks was recorded over the course of one very productive night. I’ve been editing that material over the past few evenings. I used @laborcamp’s 3 a-c scene (https://www.youtube.com/watch?v=iq26-M1NyNM) as a starting point and then went wild (ultimately losing the final script during a firmware update). The fourth track used the factory HIDDEN PATH NO PATH scene as the starting point.
This is partly the product of my mission to shrink my modular and make more with less. I started last year with a stressful 33U. It’s down to a busy (but way more fun) 12U.
Track 4 was the only oddball, since it was done live without processing.
For the other three, I recorded live material from the modular and processed them with my computer.
The general software chain was:
Bitwig 2.3 for timestretching, pitch-shifting, and arrangement. This update was huge for me, as it added in all of the various timestretching algorithms. It is quickly becoming my primary.
iZotope Neutron 2 and Ozone 8 for mixing on all tracks.
Just the live recording pitched an octave down. I used bx_delay 2500 for the wide delay effects. The mix was modulated using two LFOs in Bitwig. That then runs through NI Molekular, which applied additional light delay, reverb, and vocoding.
Two copies of the live recording, one pitched an octave up and stretched, the other pitched an octave down and stretched by the same amount. They’re processed in parallel by two instances of iZotope Trash 2, after which they then run through Analog Heat, Valhalla Vintage Verb, and bx_2098 EQ.
Two copies of the live recording, one without pitchshifting and the other an octave up. Both run through the same instances of bx_2098 EQ, Trash 2, and Black Box HG-2. A third bass voice comes in, which is a timestretched copy of the recording shifted an octave down (otherwise untouched).
I ended up not using any of our Unfiltered plugins as we’re running through a major code overhaul at the moment, so things are too much in flux there.
Absolutely! Thank you for sharing the excellent script. I think that sort of sharing spirit is what makes these open-source projects so exciting.