//// trios : lines community release, finished ////

A few weeks past the first equinox, but here’s the first LCRP for the year - not actually a “remix project”, but randomly-assigned trios of lines members. Thanks to all who contributed their time and effort. I’m stoked we got 11 pieces of music out of this!

Thanks very much to @vnsc for the fun cover art work - the free album download includes three images, a la front cover, inset and back cover.

Here’s the process topic that led up to this.

Contributors: please comment on the process and on your track. Anything you like. If I’ve got anything wrong in the credits etc. please PM me.

Listeners: of course, ask whatever you like of anyone too.


Here’s a couple of the process comments from the other topic:

howthenightcame / steveoath / ganders - Paradise Found

lumena / samarobyn / zaqwithaq - Bricolage
Not sure how much to quote, but… I’m sure they can chip in more as they like. :slight_smile:


this came out great!
thanks @Jet
and all the artists, lots of cool music on here

stoked to be a part of something
that I think is cool
that I wouldn’t make all on my own :slight_smile:

can you hear the piano sample
I made on my phone?
skillfully flipped by @modii
wow, @pfig 's good


This turned out really really nice. I’m especially loving the @howthenightcame / @steveoath /@ganders track. Very much up my alley and the mix is impeccable!

Well done everyone!


Updated art from @vnsc , extra vibrant :+1:


Quite reminiscent of the Scandalous Mandala by Daevid Allen from Gong!



I really like this! Best!

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Here is a collective post about our track, Stranded

We only agreed in advance that it would be good to contribute one field recording and one other layer.

@GoneCaving: I started with a field recording on a local pebble-covered beach, recording the sounds of wind & wave, and with a contact mic, my footsteps. I then added a simple improv played on a Haken Continuum fingerboard, inspired by what I was hearing in the recording. These two parts were then passed to the next part of the chain.

@Jet: I added a simple bass tone, with only a couple of note changes, to accompany GoneCaving’s melodies. For my field recording, I recorded a local songbird, a tūī, in the trees outside my house. I used granular synthesis with shifting grain sizes to make the tūī’s song fit the track.

@ermina: For my “instrumental” layer, i sampled from an earlier viola+tape piece of mine a few notes that happened to be harmonically coherent with the layers handed down to me. I used these samples in a version of my “granular gestures” patch on the modular.
For the field recording, i didn’t find anything satisfying in my sound archive. That was a few days after lockdown started, on the morning of the deadline, the air was unusually calm with a nice breeze and realizing that, i simply strapped two omnis and a recorder in the bamboo hedge next to the studio and went away for an hour that was then edited down.
Being the last in the chain, i then carved through the layers with fader automation, trying to enhance the relationships appearing between the 6 tracks.


Congratulations to all contributors for this release! I’m listening right now and it sounds great!!


Hi friends, and thanks @Jet for the shoutout (: - I didn’t contribute sounds but I’m happy to add some images! Looking forward to listening to this later and drawing some more.
@eblomquist I’ve not seen that before, but sure looks like my kind of thing :stuck_out_tongue:
Here are the other images included. It’s watercolor paper with black gesso, drawn on with neocolor 2 pastels.


Really extraordinary work everyone! Lovely and surprising amount of coherence within tracks and across the album, while of course containing a lot of divergent sounds and ideas. Very fun listen :slight_smile:


It’d be cool to hear from more contributors about how you went about your trio - what did you agree in advance? what did each person do? etc.


In late 2019, I’d been exploring ways of turning philosophy texts into music (converting recorded speech to midi, writing the shapes of words in Ableton’s piano roll, using distributions of grammatical marks - full stops, commas, question marks, etc. - to generate chords and melodies, and so on.) One thing that I really had fun with was taking phrases from a text, converting them to Morse code, then using that code to generate drums patterns.

I decided to use that method for our trio track. I took our LINES names - howthenightcame, george ganders, steve oath - converted them to Morse code, and then ran those Morse code patterns across a drum kit. I made sure that each of the Morse code patterns was of a different length, so that when they looped they never exactly matched up with each other again. I then added various humanizing plugins, random patches, etc. for further variety. If you have Ableton, it’s easier to see all this in practice:

And that was it. I then passed on the drums to @steveoath and @ganders so that they could work their magic!!


Hello everyone, I finally got a chance to sit down and listen to the album. I really enjoyed it, and it genuinely made for a very coherent listening experience. The element it most had me in mind of was water. Here are a few scattered impressions and thoughts (I didn’t comment on tracks 2 and 9 because I was involved in those).

  1. @abalone at al. really liked the use of ‘vinyl slow down’ effect. what’s the proper name for that, and how did you do it?
  2. x
  3. @mateo et al. the water sample was reassuring, calming - was that recorded by Jason? Just guessing!!
  4. @crim et al. really intriguing moment at 4m21s - usually, for me, a drum beat locks things down into place, but here the rhythm somehow opens everything up - very cool
  5. @jlmitch5 et al. lovely guitar sounds - what pedals are we hearing?
  6. @ganders et al. it felt like I was outside, under the stars (much needed feeling)
  7. @dansimco et al. beautiful, my standout track, listened to it three times back to back
  8. @kveye et al. love how the keyboard gently organises all the overlapping rhythms simmering underneath
  9. x
  10. @lumena et al. like a hyper-compressed film score, coherently covering a lot of ground in such a short time-frame
  11. @GoneCaving et al. I’d just watched the movie “Annihilation” and this took me back to the bright, saturated colours inside ‘the shimmer’

Thank you @Jet for organising this project, and also to all the individual contributors!!


@howthenightcame the drone is a real reverbed out thing(using meris mercury7) ran out to stereo amps I believe. In post i used argeïphontes lyre, a really cryptic and interesting collection of sound mangling tools. I used something that seemed like it basically allowed you to map 1 set of sounds on another.

The more note-y guitar is probably more or less raw, then ran through ableton’s echo, and @dailybells set up some sort of really cool processing system to do a lot of things to it


wow that is a rabbit hole, so glad you mentioned it. Taking my carrots and headphones there now.


yep it’s really a wonderful tool! seems like there are a few mentions of its use on lines if you search with and without the double-dotted i…also seems like something that could really make a cool thread, people sharing the tricks they find with it, etc. I may create one myself one day when I have a bit more time to dedicate to exploring it and drumming up content for it.

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thanks :slight_smile:
sounds like @pfig and his super-cool stylings with the tape

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Pitch control? I do it with the speed knob on tape machines.