Found a converse sample library vocal sample and chopped it up. The words I made indicate a falling out of a relationship, and it's pretty heavy in the main sections to illustrate this. It's a downtempo, 808-fueled migraine that's both lighthearted and agonizingly frustrating. I hope you like it!
I'm posting this one a couple of hours past the deadline, and very sleepy!
I'm proud of this one because I've "cleaned" another forgotten project from the unfinished folder. This time, I browsed back to my Reason days, circa 2006. The project was already converted to Ableton but, other than dumping everything to audio, all was basically the same.
I added those latin rhythms as a late element, maybe trying to give the whole beat a different edge. After all, it's a very slow hipnotic beat with few variations so something has to break the dullness. The 303 bassline came courtesy of my faitful D16 Phoscyon plugin.
I think it sounds a little bit messy and I should add more space to the mix, but I'm happy with the overall result. It is nice to finally find some final form to an old idea.
In Open Fields
"I'd like to create something with a moderate amount of forward energy. A side-scrolling platform game or similar that encourages tension until the end, with a relaxing reprive in the middle. Typical video game cheese would be great."
Note: unlike many of my other submissions, this song is not a live song, I recorded it with MIDI and audio in a DAW.
Sun, Jan 15, 13:30-15:35: A few notes. First, trying to debug my MIDI setup. Since I got a Carbon sequencer and my TR-8, I changed my MIDI setup to be good for live audio recording but in the process did not ensure that it integrated the computer for MIDI recording.
I've kind of fixed it at this time but it's temporary and it doesn't involve the TR-8, because I think the TR-8 does some kind of weird echoing across MIDI and it messes stuff up.
Today, I'm going to go back to basics a bit more and continue with varying the bass notes and to add a bit more bass interest in the song. I also want to continue using suspended chords. Basically - this is a repeat of last week's exercise, but in MIDI (rather than live) so I can really look at the song in progress.
I'd like to create something with a moderate amount of forward energy. A side-scrolling platform game or similar that encourages tension until the end, with a relaxing reprive in the middle. Typical video game cheese would be great.
The 8-bar verse chord progression is:
G D C some chord that I don't really know, with a raised C, I think it's a G with some variation, like a
G D->D7 C csus
See, theory is hard if you don't know what stuff is.
You can hear the changes though. Hmm.
Okay, in the end, this song was pretty pop-style cheese structure as well, but accomplished a:
- G major to D major modulation
- Some variation in bass notes that aren't the root note of the chord
- A bunch of suspended chords
- Some randomness in inversions and stuff that I don't know what the formal name of is, but sounded fine
15:35-15:50 for extra mixing and leveling work on the wave file.
Total time: 2h 20m
I wanted to go in a different direction this week, and picked up the bağlama-tuned Heit Deluxe (like this one, but not as clean and in a red-burst), and came up with the main riff. I recorded that to the shaker, and ended up with about three minutes. During the week, I added percussion (tambourines, hand drums), hand-claps (MIDI), and a trap-set kick drum in an effects rack with two parallel high-pass filters--one to accentuate the beater, and one to accentuate the resonance of the shell. I also recorded a number of other guitar lines to respond to the initial one, and to extend its length a bit, editing them into a structure.
Tuning: GgDDAa, played with fingers. Each guitar channel got different degrees of Auto-Filter, one of them bandpass, two high-pass, with different degrees of drive. I also used a bit of filtering/drive on the hand claps and hand drums. Rather than auto-panning most things, I left most things statically panned, and just auto-panned hand claps and some percussion in time with the track, to set up a call-and-response effect. I did add a bit of delay on the claps, but most atmosphere is from two convolution reverbs (one small space, one larger)--my idea was to keep it as much like a field recording as I could.
The master channel got Full-Chain Master for compression/limiting.
Title comes from the history of the bağlama--since it comes from the saz used by the Azerbaijani Ashiqs, whose name is related to the Avestan root iš-, which means "to seek" or "to search."
My father used to listen to these really cheesy 1960s pop/rock records from Hong Kong. Looking back on it, I guess they had this kind of cool vibe to them. This is my homage to that period/place.
Used a PRS Santana SE, Presonus Studio One Artist, Megpoid English Vocaloid, Drums on Demand Loops
Mansions in the sky and fancy limousines / but I live in a cage packed like a can of sardines / Hong Kong is hell on Earth for poor people like me / 12 hours a day I am working like a slave / for dinner I'll have a bowl of sadness and pain / Hong Kong is hell on Earth for poor people like me
Late at night I go up on the roof / wishing for an answer to my prayers / but all I get is deafening silence / I'm resigned to my hopeless fate
They're tearing down my home so now I have to move / I never get to call a place my home for very long / Hong Kong is hell on Earth for poor people like me
here's what I've worked on this week. i've been assembling this track at a faster than normal rate for myself, so it looks like weekly beats motivation is working! 💪
the most notable part of this track is the key change from Am to Dm. i think it works? because they're closely related keys, and the D minor pentatonic arps help tie them together, but i'm not sure yet if it makes the track stand out in a good or bad way.
on my to do list for this weekend is to write down my progress since late 2016 in my producer's journal, and see what i can make of my output so far & what i still have to work on. please dont hesitate to give me suggestions for this track, if you have any.
by the way, this track is not mixed at all. i slapped a limiter on a couple bus channels and the master to keep things at a good volume. it definitely is overloaded in the 1khz range, making the piano stab wash out during the more crowded sections. i have to filter some of the other elements out of the way to make space for that.
Composed on a Teenage Engineering OP-1. The beat sample comes from a car crash scene in the movie Deadpool. Mix is muddy, but I was going for a dark and cold vibe.
So I really did try to follow the winter/cold theme this time around, but as I was working on this song, found it pulling me in another direction. And once I found the perfect sample to find into the beat, it was over. Guess I'll try for it again next week.
Eventually I may re-record the sax parts, but all in all I'm pretty happy with this one.
The recording of this this track was pretty much the same as the last, just went for less noisy and aggressive this time around.
Here's what I used to make this song:
DM1 (Drum Machine)
Logic VSTs (various)
Can anybody guess which film the spoken word sample is from?
We spent more than 30 minutes on this one. Imagine yourself in space sitting in a lawnchair on the moon with a pina colada and dope beats and you're on acid and there are bongs everywhere and mike frasier is there playing the keyboard while driving a moon buggy and suddenly space dinosaurs appear, but it's cool, they just want to chill - so you're in the middle of a vape rip competition with all these dinosaurs and you realize that until now you had never truly lived. Moonbeach.