//// triskele : lcrp.2018.equinox.1 ////


Here are my track notes. This has been my favourite set of samples to work with and I think I could have a few more tracks featuring these heavily.

I have been putting on a lot of chilled out hip hop recently in my class and wanted to make something in that vein. @hightowersdeepwells’s guitar part instantly spoke out to me. I warped it in Ableton and added nothing to it… it was just about perfect as it was.

The drums are courtesy of @jasonw22. I played with the pitch and doubled some sounds for fuller sounds.

The aaahs were repitched, reversed, reverbed, and reversed back with more reverb. I also added delay. @NonSangfroid provided these.

The plucky sound is a note from the guitar line pitched down and heavily filtered. I tried to use the sample without plopping it into sampler but couldn’t get the timing right so ended up playing it in sampler anyway. Bit of reverb and delay added.

The organ sound was the guitar again, heavily modulated and filtered with a longish attack on the envelope settings

The grungy background noise was filtered and volume cut massively. This came from @ermina. I loved this sample as there were plenty of peaks and troughs in the dynamics of it that helped it sit nicely in the track

Vinyl distortion applied to master track.

I got halfway through the track and was thinking where to take it. I decided I could reverse it to represent the the day/night light balance of the equinox.

Great set of samples here, and I will be revisiting them as there were a number I still want to use (perhaps in the next solstice project).

EDIT: added more accurate info and credit (fixed the laptop, yay).


Listened to this on my commute this morning. London, so bus, tube and headphones. Everyone’s are really, really good - a bit humbled to be a participant really…

Jason - great work here and see you are pushing on to the next one already.

My methods here:

  • Took a few of the dronier samples, played around with them in Morphagene, loosely matched the pitch as best I could.
  • Took suitable percussive samples, chopped into Kontakt and played back in via a midi keyboard
  • Took some other samples, timestretched and pitch shifted to suit within Logic.
  • With the zither piece, I roughly quantised, chopped up, and reversed some sections.

(I noticed a bit more reversed zither action going on elsewhere in other tracks - not sure why this sounds good or how we stumbled upon it collectively).

In terms of topicality, I guess I was thinking slow progression into something a bit more organic and lively. And the slow movement of big things.


I recognized your use of @Plym’s zither. Really loved what you did with it!

I used the zither as the backbone of my track, too, reversed, ridiculously stretched, and chopped into sections. I thought, with those manipulations, it sounded variously like a double-reed section, a church organ, and an electric guitar.


(After my above reply, I see several folks are explicating their method a bit more; I’d like to do that, too, so I’ll just pick up where I left off in my reply to @hightowersdeepwells. )

As I said above, @Plym’s zither was the through-thread for the piece. I, too, was attracted by @hightowersdeepwells’ melodic loop, as I heard many other people make lovely use of; I reversed it and pitched it to fit with the key defined by the zither, then added a relatively high frequency ping-pong delay, but the rest was happy accident.

I granular-sampled @NonSangfroid’s vocal sample, then granular-sampled that and played the result for the first melodic bit you hear after the zither enters at the beginning.

I took a chunk of @GoneCaving’s melodic sample and used that following @hightowersdeepwells’ guitar loop. Lastly, I stretched, pitched, then chopped up @widdly’s thumbpiano sample and played that over the final sequence.

The whole thing was processed, variously per track and at the master track, through Valhalla Vintage Verb.