Started 342 days ago (2018-12-31T05:00:00Z).
Ends 22 days from now (2019-12-31T05:00:00Z).
Compose and produce a new piece of music each week. Your submission is due every Monday at 04:59 UTC (Sunday 11:59EST). You should aim for at least one minute of music, and should be created that week.
Late submissions: Late submissions are open. If you miss a deadline you can still submit by clicking the week on the calendar to the right. If you submit late, your post will get a big Late tag, but it will still count for your streak.
(Description lifted from Leafo's 2017 description--thanks, Leafo!)
This one came together kind of unexpectedly--I'd wanted to use my new(-ish) acoustic guitar, a size 2 parlor guitar from Vintage Parlor Guitars. The unexpected bit was that the first rhythm I had in mind worked best with a simple kit built up from Ableton's Operator FM synth--so the track first seemed to have a kind of Autechre direction. I threw in some Operator bass, and some Simpler with grand piano and prepared piano samples, and put in a return channel of convolution reverb with the Fort Worden cistern impulse response.
While I tracked several electric bass lines, I didn't end up using them--they weren't quite working with the rest of the track.
At the end, I impulsively put acoustic guitar in the second half (recorded with a Karma Mics condenser-in-XLR-body), and it pretty much worked, especially with some normal-room convolution reverb on a send. There's also some Waves Factory Cassette plugin on the grand piano. I'd initially had it on the guitar, but it just mainly made it sound bad.
There's some Full-Chain Master on the output, a bit of automation to the sends, and an additional send with Ableton Echo. And that's about it.
Title from the half-life of the longest-living isotope of Fermium (element 100).
I didn't manage to finish this by yesterday, so while I am on time for my streak, it kinda messes up my "November Noise" theme.
I still had a lot of fun with this one. I wanted to play with tonality and implied rhythm while remaining adjacent to pure noise.
Unplugged signal cable via Hysteresis set the flavor and flow, then freeform electric toothbrush bass and synth on top of it
Sadly had to break my streak last week due to an ear infection that, sadly, I'm still not quite over. In fact my hearing is borked, everything sounds out of tune, almost chipmunk-y. Hopefully that'll sort itself out soon. Anyway, made a simple 90s thumpin' beat to get through the murk in my middle ear.
I was working on my National Solo Album Month entry when I realized that I needed a song that was toward the end of the album that doesn't have as much energy as the song before it.
I released the album. It's a bit of a hack because it's super improvisational.
An attempt to write a track with only one bitwig's stock synth - polysynth, and without using presets, making all sounds from scratch. Except for drum track, which I originally was going to compose out of stock bitwig drum instruments, but failed and used samples for kick and snare. Hats and cowbells are E-Hat and E-Cowbell bitwig devices.
Also decided to write in dorian mode, never tried it before.
Lead and cowbell are kinda stolen/insiped by this awesome track - https://soundcloud.com/little-scale/dreamer
A couple of evenings spent trying to achieve decent mix, another realization how awful I am at mixing, just don't know what should I do when it sounds bad, blindly tweaking eq.
Picture is just for fun and to remind myself not to spent bunch of time on silly automation instead of actual composing :)
A reactive piece built up from a general sense of drum groove. One realistic-ish drum rack (64-pad rock kit), one 808 (mostly kick, with occasional obvious drum machine snare), hand claps, two channels of Epiphone P-J bass, and three channels of Epiphone Moderne guitar (through Vox Wah). I'd had a line of keyboards I took out. Auto-Filter with drive on one guitar channel, Auto-Pan on 808 and high bass, Drum Buss on the rock kit.
Sends: two convolution reverbs, and a channel of Echo.
Title from the property of this week's element, Einsteinium, which is radioactive enough to damage its crystal structure just by existing.
Really late submit. Was trying to make something similar to vim's breaks and boards of canada inspired stuff. But I'm no vim :) It turned out it was a pretty bad idea to take different breakbeat samples with different sound and tempo, repitch them and try to chop and mix together. Should have taken one and work with it. And the track structure is primitive, at this point this track is just a sketch.
On a positive side, I really like how harmony, melody and bass are working together. The part at 1:44 reminds me of my bloody valentine sound and harmony, it would be great to remake this track as a shoegaze song with real instruments, Kevin Shields style guitar instead of pads, female vocals instead of melody.
Noise for November #2
Title from a random facebook yardsale ad I saw right after I woke up from the dream that inspired me to do this subproject (I think it's an automotive thing, fuel injection controller maybe- but it ties into my immediate plan to use the furnace noise)
Noise sources: furnace kicking on, jenky old deep freezer, unplugged instrument cable, electric toothbrush bass
I grabbed a couple photos of said furnace for the song graphic, and accidentally got "MORE POWER" (the logo says Kenmore Power Miser) but that seemed too on the nose. Still amused myself for a few minutes :)
This week was an exercise in cutting to make something kind of ordinary potentially interesting. I had a chord progression in mind that was fun and satisfying to play, but which sounded...pedestrian. Rather than throw it out, I went for cuts. While I tracked it in a straightforward way, in this rendering, the first half of this piece disrupts the progression by emphasizing off-beats, and the second half restores the cut sections, but removes the parts that are audible in the first part. Two other guitar lines get a similar cutting treatment, without the restoration, and parts of the bassline are cut as well.
Drums: one track of 64-pad rock kit (every seventh beat dropped), and one track of 808 samples. Guitar: three tracks of Res-O-Glas recorded through the Vox Wah, with different sets of low-cut and high-cut Auto-Filter to simulate amp drive. Bass is the usual Epi P-J with EQ-8 low-cut, and a bit of air with a convolution reverb send. Guitars get that send, too...as do drums. There's also a delay send that the drums go to. There's flat full-chain master on the 2-bus.
Title from the use of this week's element (californium) to start nuclear reactors.
Started off as a dub test again....with aim of doing something for winter. But for winter i always think of Detroit techno, as that was the season i first heard it walking home through some old council estate. So it went that way. So follows a fairly well known techno pitch bended chord sequence (m, +2, -2). But the last chord is not so well known and has a Detroit vibe to it...to my ears.
Scheduled late submit. A local artist Raumskaya organized a remix contest to his track(https://www.youtube.com/watch?v=fhrlM-C2Dbw ) on his youtube channel(https://www.youtube.com/watch?v=SGmrVK_Yn5s it's in russian), and I took all the time till deadline which is today.
Spent so much time on it and so tired of it, so can't even write anything about it.