Started 99 days ago (2021-01-04T00:00:00Z).
Ends 264 days from now (2022-01-03T00:00:00Z).
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!)
Another intuitively-structured one, this one began with a slow drum beat, and got interesting when I added long-persisting delay with filtering to it. I did a few different rhythms with Ableton's 64 Pad Kit Special drum rack, and added some handclaps, along with some Rhodes which I took out again.
Next up was Epiphone P-J bass, using the usual signal chain (EQ-8 for bass rolloff), though I'd also rolled down the tone control. I'd initially thought of rolling off highs...but changed my mind for this one, so the bass is close to typical.
Guitar was home-built Res-O-Glas through the Balls Effects KWB for a bit of overdrive, and Vox Wah for both tone shaping (rhythm track) and effect (lead track).
Sends: bandpass Auto-Filter with LFO frequency center into Ableton's Echo (analog triplet dub preset, tweaked to remove some noise), Valhalla supermassive on a large reverb preset, and high-pass Auto-Filter in front of a room-sized convolution reverb.
Inline: Bass got EQ-8, while drums got Max Humanizer. Guitars got some auto-pan to get them out of each other's way, though lead guitar also got some Glue Compressor. And I used that channel to do some reversed clips from time to time as well.
The editing/arrangement process involved a lot of cutting things out--I played more than I kept in. (This is even down to certain notes; it just sounded better with things left out.)
Title comes from *67 being the call-waiting-blocking code for a lot of telephone systems.
I created this song as a live stream on Deluge, Eurorack, and Meeblip. Here's the live stream channel: https://www.twitch.tv/emeraldarcana It's under "creating music in real time with hardware".
I got kind of tired so I didn't really sit to polish this one up, but after doing listening I probably would change a few things like adjusting levels a bit more. I was getting into gainstaging problems where the gear was overloading the VCA and the unity mixer was clipping hard. I might have to pay more attention to that later on. Other than that it's a long live jam done in real time.
Incredibly rushed job to make a "track" out of the intro part of our Tuesday jam as I have been busy moving apartments for the last 3 days.
Also I discovered some incredibly annoying Ableton Live behaviour that still sends recorded MIDI CC to hardware even if the clip that sends it is muted. Or at least I think I did.
Link to the full jam session here: https://soundcloud.com/trent-hawkins/lagoon-city-x-trent-hawkins-20210406-weekly-audiovisual-livestream-tuesday-830pm-cet
Continuing the post-rock impression I've played with integrating better switching from clean to distorted parts by changing the fading out time of the overdub on the loop.
As I said before I do my guitars in a single improvised take using looping, a sort of a challenge I took to overcome composing difficulties. In this case I set off an empty 8 bar loop and as it was going I dynamically adjusted the fade out time to better single out sections of the track.
There are still some glitches, especially towards the beginning, but still I like the result and how the technique develops.
I first came up with a bass guitar line for this week's song, then added drums (Spitfire Audio LABS) to get the groove for the song going. The first version of the busy/crazy arpeggio came from an Arturia Analog Lab preset (CZ-V, a Casio CZ series emulator) which I wanted to replicate on the Elektron Digitone. I like the result and got to dig a bit deeper in the amazing capabilities of the Digitone.
Then came lyrics / vocals together in a single session. The rest was fiddling with mixing, adding a lead (also Digitone) to fill some otherwise empty parts and general editing of effects and track volume.
Lossless on Soundcloud: https://soundcloud.com/user-493253580/peace-of-mind
I started a few tracks this week, including but not limited to a disco track with bagpipes and a rock track about stupidly inebriated evenings but in the end nothing really motivated me so I was playing around with samples on Saturday morning. I enjoyed the combination of drum n bass like staccato drums and guzheng and shamisen. I have used that in quite a few tracks last year during weekly beats, but hey I think it deserves more investigations and experiences!
So this is a track mainly built around guzheng/shamisen/traditional Japanese singing and then aphex twin like drum patterns. There is some neuro bass there. I wanted some more low ends but did not find the right sound and ran out of time. It's still raw, it's a draft but i kinda like it. This is one track i'd need to go back to and plunder for bits and ideas. The structure is a bit simple and would benefit from some variation as the end is really just a repeat of a previous section.
Done in FL Studio, featuring samples from Splice. I played with risers - from inverted toms to piano chords rendered as audio and inverted.
I went for a more structured song compared to last week. Started out with a few acoustic guitar riffs, then built around that with more or less the same sound set as my previous track. I added a couple of mellotron samples (the detuned piano and another one on which I applied the strong stereo tremolo). By accident I created this rhodes-sounding sample which actually is the tail of a guitar chord sample with some envelope and filter added, which I found really cool sounding. I used that for the moving chords above the simple bass line. Still not that satisfied by how the different parts fit with each other, but otherwise I'm ok with how it all turned out. As last time, all composed on the Polyend Tracker. I tried to export stems and remix them in Harrison Mixbus but I realised that in the process I had lost some automation and effects from the Tracker, so the track I'm uploading is actually the master export from the PT with just a bit of EQ instead.
This week's track came at me kind of sideways--while I started with syncopated drums as I often do...the melodic and harmonic components started with keyboards, lending a different flavor, I think. On Saturday I tracked a few bits of guitar, not sure how it'd all come together, and bass on Sunday before collaging the clips. Finally, I tracked a couple guitar phrases to fill in gaps. And...here we are.
Drums: Ableton 64 Pad Kit Jazz with Max Humanizer
Drum Rack of hand claps with Max Humanizer
Piano: PureMagnetik CP-70, acoustic only
Electric Piano: PureMagnetik Rhodes Mark One, through AudioThing Motor
Bass: Epiphone P-J, low-end rolloff with EQ-8
Guitar: PureSalem Mendiola through Ableton Auto-Filter (high-pass and low-pass with drive, Ableton Utility and Cabinet
Sends: Bandpass Auto-Filter with LFO into Echo, Valhalla Supermassive, convolution reverb with high-pass Auto-Filter
Title comes from this being the 66th track since I started doing numerically-based names, and stretches of the famous Route 66 have been removed from maps.
Worked on the instrumental for a song I started writing a while back.
I really hate how the guitars sound but I'm not sure if that's just my guitar or the amp sim I'm using so I didn't touch it for now.
I haven't sat down to like actually compose in a while - spent a bunch of time on a secret album project (which was primarily me playing guitar poorly 2 weeks ago) then doing the Eurorack modular live set.
Here's Shanna's Theme. Her character is a crystal pirate, so she wanted something piratey - like heroic pirate theme.
Quite happy with this one - once again it seems that the less time I have to make a track, the better it will be.
Better quality on soundcloud: https://soundcloud.com/trent-hawkins/20210330-feat-lagoon-city
This is a part from our live stream on Tuesday, with some tweaks in arrangement: https://www.youtube.com/watch?v=cahuMvsxNV8
This is quite a chill track with an electric post-rock vibe. Still some minor glitches in the setup but overall I am quite pleased with the result. The main melody is one improvised track (using the ever faithful looper) over which I added another clean layer, the distorted lead guitar, the bass, some subtle pad (Arturia MicroFreak) while the drums are still from the Rock Drum Machine app - still working on that aspect to find a midi workflow that doesn't make me draw each and every note but still feels more natural and has a better sound.
Hi all! Thanks to a dear and old friend I finally decided to take the plunge and joined the streak with this first entry.
A minimalist and unfinished ambient track based on a simple guitar arpeggio that I kept coming back to this week, that I sampled "just in case" inspiration would come for track.
All recorded and sequenced in the Polyend Tracker, the track name came from the random name generator in the Tracker too, and that seemed to fit. Added a bit of EQ and changed the delay and reverb when mixing in Harrison Mixbus after the stem export.
Due to more family obstacles to overcome, I entered the week thinking all I would post was an ambient bit I had come up with on monday. I somehow ended up polishing it, writing lyrics and recording them to post a full song. I'm still struggling with my voice but I'm not giving up.
Sound design, sequencing and arranging was all done on the Elektron Digitone. I recorded the two tracks in Ableton Live where I added the vocals with diffusion slapback, channel strip (Izoptope Neutron Elements) on all three tracks and a Valhalla Supermassive Reverb send.
I mixed then mastered with Izotope Ozone Elements.
Lossless on Soundcloud: https://soundcloud.com/user-493253580/the-colors-of-dreams
This is yet another uninspired track.
It started with a simple bass line (which I suspect I probably have used in tens of other tracks in the past) that I was playing around the other day. I was not very inspired so went for simple and efficient, if a bit sad - arps and rubber leads. This always kinda works, like doing pasta in water and instant tomato sauce.
Most of the synths and bass come from FLEX in FL Studio. I had fun with one aspect, which was syncing the bass with the drum kick and leaving pauses. That was inspired by watching a Nik West video where she was explaining her approach to bass. The drums are mostly drum samples from Splice.
Overall I am pretty unhappy with the track. It does not sound bad in itself but it's easy, unoriginal, not trying out something new - it's a bit of a cop out. I feel like a sell out, though I have never really sold anything. I'll need to get more inspiration for something more adventurous. A friend of mine said that weekly beats is like "a celebration of the act of creation". This is what I really want to do every time, hence my disappointment at doing something uninspired. But a lame track is better than no track, so here we go.
This past week brought unfortunate family news. To be as easy on myself as possible, this week's track is an improvisation with pedal steel guitar and my eight-delay Max/MSP patch. There's a Moyo volume pedal to take the attack off, Waves Factory Cassette for a bit of character, and a convolution reverb for space. The reference delay time is 19300ms, and the individual delays are based on divisions of 21 of that amount. Each delay is a different value.
This is essentially real-time, though I did tweak levels after the fact, and shortened the end fade.
The title is from Euler's idoneal numbers, also called suitable numbers, of which there are 65. (And I hope that this is a suitable tribute to those we've lost this week..)
Something very short, not finished. Didn't spend a lot of time composing this week.
My hard drive is almost full, so under the circumstances I needed to finish something older instead of creating yet another unfinished project.