Revisiting “Spawn Of The Giant Centipede” and trying to rationalize the cut-up loops of various analog synth voices (Doepfer A-111-5, Dreadbox Hysteria, mumble mumble) sequenced on Aturia Keystep Pro (which I have since sold)
A quick look at decaying loop patch for Decaying Plastics Of A Senile Civilization, posted for #Jamuary2024.
Some final play time on the In A Dream patch.
While doing the patch notes for Doctor Jackpot, Or, How I Learned To Stop Worrying And Love The Singularity, I noticed the mix knob on the Panharmonium was all the way dry. Luckily, I had resisted the urge to start pulling patch cables, so now we have …
In A Dream- Music (music/melody/motif) heard in a dream. Here only the logic of the subconscious holds. Time passes without regard to the regulation of metronomes. Scenes shift in and out of focus, unrelated and passing to the next in a blur. It is an encounter of another world, in the not-entirely-quiet quiet of the bedroom.
Mostly made with Eurorack modular synthesizers. Some re-mixing and EQ done in Presonus Studio One 6.
Modules used: Nerdseq, Mojave, Klavis TwinWaves, Sealegs, Magneto, RYK Vector Wave, zlob Diode Chaos, Make Noise WoggleBug, Pamela’s Pro Workout, Disting EX, etc.
Cover art courtesy of Bing.
#electronic #ambient #experimental #drone
An upbeat melody to take you upwards and to the right while holding on for dear life. Image courtesy Bing/Dall-E.
Featuring the soothing sounds of our own small stream, Music For Washing Dishes incorporates real kitchen sounds and melodic interludes. Generative sequences book end the piece with watery arpeggios. Just long enough to get through a good stack of dishes.
Space music for the aftermath of stellar destruction. Think of expanding clouds of cooling gas going from blue-hot to red.
Image: inner crab nebula https://en.wikipedia.org/wiki/Pulsar_wind_nebula#/media/File:Chandra-crab.jpg https://en.wikipedia.org/wiki/Supernova_remnant
Wrote this a while ago and set it to music.
The work is a mix of live audio from the December 11, 2022 splashdown, Csound synth patches along with some virtual instruments recorded in Studio One.
First off, I split up the audio from the YouTube livestream into chunks using the Rust noise_gate project. The audio was filtered to give it a 60’s Moon-mission feel. I felt some sort of fanfare was needed at the start, so I added some Copeland-esque percussion.
The first long section is Stratospheric Winds, what it might sound like encountering the Earth’s atmosphere from space. Yes, the stratosphere is not the top layer of the atmosphere, but it is the point where the re-entry is picked up.
Section Atmospherics represents the long fall after supersonic flight. It is made up of drones with a rhythmic accompaniment ticking off the time. The drone sounds were based off of Ian McCurdy’s Csound Haiku I with modified tones and additional evolution.
After the chutes deploy is Hang Time, where I use a Virt Vereor VST synth playing long chords to give the feeling of suspension. I skipped most of the dialog around the chute deployment after I found it detracted from the narrative flow.
As the capsule gets close to the sea, there is a surf sound based on a simulation in Csound. I had also developed a glissando sequencer bit coded in Csound based off of a phrase from Bach’s Tocatta and Fugue in D minor. It was intended for section Hang Time, but when I put in the clip about the recovery beacon, it clearly belonged with the section Waiting for Recovery.
There was a definite end to the mission, so I wanted to wind the piece slowly down to its conclusion. With the final note, the piece ends in Mission Accomplished (notably without any sense of irony in this case.)
In the end I think its moderately OK. I’m not too happy about the mix, and I have since learned a lot about Studio One that would help out in that regard. Finding my way through the creative process was very instructive. I find that I like to plan out my pieces, and gather the bits around the plan, even if things don’t work out the way I expected.