Started 84 days ago (2018-12-31T05:00:00Z).
Ends 280 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!)
i did some meh stuff earlier in the week i was going to submit with a 'neutral' rating at best, then regrouped and did something i liked more (and am able to use for my weird cyberpunk space pirate concept album ( https://soundcloud.com/red-rising ) )
My friend challenged me to write acid house and here is my attempt. Not sure if it is acid house because I don't listen regularly but hey it's a fun song.
If anyone is going to PAX East hit me up, I'll be enforcing in the Expo Hall! Ask for WadeStone by the PAX Rising booth.
Back to the funk. This week brought a new pedal (the Balls Effects KWB pedal, a variant of the MXR Distortion +/Ross pedal with switchable diodes and sweepable clipping), so I used that on guitars and bass. This one started as drum tracks (Drum Rack 64-pad Jazz kit), to which I added a bit of a low end with additional Typhoon kick and some percussion). Then I added two Puremagnetik Rhodes pianos, and laid down guitar (modulated wah and stationary wah) and bass (EQ-8 for bass rolloff). Sends: room-sized convolution reverb and an Echo channel.
Title from...a dad joke about the use of gadolinium (element 64) as part of the emergency shut-down procedure of some reactors, including the CANDU. (Sorry.)
I normally don't straight-on upload my One Hour Compo track, but this weekend I'm traveling and the chance that I'll get to submit is pretty low.
This is a live track done on the Octatrack and Analog Four. I didn't do resampling unfortunately - not comfortable enough with it - but it is my first non-noise song with both the Analog Four and the Octatrack together so I guess that's something.
So lots of backstory:
I do sound design for a few small theatre companies in my area. This week I worked on finalizing the design for a play called Not Medea. Skipping actual plot points, it references a classic Greek tragedy about betrayal, loss, and anger and directly mirrors and plays with elements of that tragedy. There is even a Greek Chorus character.
This song is a medley of the music I wrote for this production. The play isn't a happy one in the end, as it deals with the loss of a mother's children. Also, it takes place during a thunderstorm. It also leaves off on an uncertain, but possibly hopeful note. I hope I did my music and design justice here. Enjoy!
tl:dr: I do music for theatre and this is some stuff I did.
Since I'm still listening a lot to later Talk Talk, this week's piece bears some influence--I wanted something that resisted settling down, collaged together from a lot of loose improvisation. I used a drum rack of Ableton's 64-pad jazz drums, some handclaps, and improvised with some Fahey-tuned Univox hollow body. Keys and bass came later, and for extra texture stretched some of the guitar lines and put them through reverb only.
Sends: two convolution reverbs and one channel of echo. Little touches of auto-pan and auto-pan tremolo throughout. And some M4L Humanizer on the drums. Full-chain master on the 2.
Title from two applications of europium: in the bright reds of CRTs and in memory chips.
Believe it or not, I was aiming to create a dance music track, but then this came out and I thought it was better.
Gosh, what do I say about this week...
Started a new job so mental capacity was at a low. This track has a lot of potential but it is not at all there yet. Set out for electro and chiptune feel.
First time trying to write a break like this as well. Any comments or suggestions on what to focus on would be appreciated. Also sorry for the long name, it felt fitting at 11:00 PM Sunday.
You really shouldn't listen to this, it's not quite ready, it's too long, and it makes no sense.
Oh, you're still reading? What, you're even LISTENING to this?
This piece is in that weird middle state where things are just kind of weird and dull. When you're new, you create all kinds of crazy stuff and it's funny and stupid and interesting. When you've got experience, you create things that have progression and interest and emotion. I've not yet kept the age of innocence nor advanced to the state of wisdom yet.
Oh yeah, the Octatrack is a pretty cool machine. But it's super powerful, and it's pretty difficult to learn as a consequence.
Another piece that accumulated organically: I'd started by putting up a few drum racks against each other (64-pad rock kit, bongos, Hilda kit), and then put a few chords and figures of different keyboards (Live's MkI3 Mellow Piano and Puremagnetik's CP-70 pack, on the electronic-only setting). I put down Epiphone P-J bass, and then Res-O-Glas guitar through EHX LPB2ube, one pass through a mild overdrive, and another through more extreme boost.
Inline effects: M4L Humanizer on drums and MkI3, Drum Buss on percussion. EQ-8 for bass rolloff on bass, various combinations of Auto-Filter (for drive and to roll off weird direct-sounding harmonics from the Alumitones) and Cabinet on guitar. Sends: Convolution reverb (studio room impulse) and Auto-Filter with LFO into Echo on Tweezy Tape preset. Various auto-pan, and full-chain master on the stereo mix.
Title from one method of growing symmetric crystals of samarium, this week's element.
Music time has been almost non-existent again this week, so the best I can do is a tiny bit of boom bap I knocked up on my PO-33 on a lunch break. It's just a rough loop, but I love the sound of the wee machine. As a musical sketchpad it's amazing.