Started 16 days ago (2021-01-04T00:00:00Z).
Ends 347 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!)

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Recent submissions (31 total)

This came together quickly but fell apart in the final mix, but by that point I'd decided this was not 100% but as with anything creative it's all good experience. Better to do something than nothing.

A submission for Weekly Music 2021 3

Here's two things I made.

What does a jazz club sound like in the 24th century? A double bass and synthwave?

This track is a bit more inspired than the tracks from the previous couple of weeks but we are not there yet. It's one of these tracks that started very differently, with a main melody that generated a few other lines. In the end I binned the main melody and ended up with that. It still kinda feels like it's two different tracks, which is not totally bad in itself but some polishing could help. Also the synthwave version would benefit from some lead on top. I was experimenting with saxophone solos but my libraries just sound too bad. I'll need to invest!

This week started with some rhythms in Ableton's 64 Pad Kit Jazz (ultimately with Max Humanizer)...and then I didn't touch them for several days. Friday evening, I had a chord progression in mind that was a lot slower than the rhythms, so...ended up rejecting that, restoring it to just-faster than what I'd originally written.

I did several passes with the PureSalem Mendiola through the Balls Effects KWB, some with the bridge pickup (left channel, with Glue compressor), and some with the neck (right channel, which also gets some auto-filter bass rolloff). Next a pass with the Epi P-J bass, getting some EQ-8 bass rolloff.

Sends: Ableton Echo, room-sized convolution reverb, and Valhalla Supermassive. Full-chain multiband compression on the stereo mix.

The title comes from NGC 55, a galaxy in the constellation Sculptor.

A critical junction could be a road where you have to make a decision, a point of no return, or, quite literally, the place on the circuit board where you need to keep intact for the device to keep functioning so everyone makes it out alive.

Liner notes are:

  • I wanted to learn a little bit about how to make that epic film score feeling. I realized a big part of it was doing "epic drums" and that involved me having to look for a bunch of samples and instruments that I wasn't really using. I acquired a bunch of trailer hits, got together some samples with reverb and long tails, and so forth and came up with this. It's not particularly mixed awesomely or anything but the intent was to get the basics of the sound. Next time I might make up a template or something.
  • The composition leaves a little to be desired, it could be a little more interesting and could use a bit more movement (though that implies that it needs a bit more length and development as well). But I kind of got tired, I was doing other music for most of the day (working on the previous Kittens in a Rocket) and figured that I could upload this because I did it a little earlier in the week.

Feelin' the experimentation vibes of the beginning of the year. This began as a jam with a mate playing guitar, started kind of stoner rocky then started sounding like disco, then he had to head off before we recorded .. and it ended up as a beatsy synthwave sort of tune with a phasing (cross) sine wave lead. Recorded straight off hardware .. might try multitrack something out with a daw soon if I get time. Trying to up effects game, ran the lead and arp parts coming from the korg ms2k through Electronharmonix Cathedral pedal just to spice it up a bit.

I started with the Digitone and came up with this grainy and lingering metallic sound which I used to build the ostinato. The lyrics somehow came easily after that and defined the overall mood of this song. I kept on designing and adding elements from the Digitone (hats and heartbeat kick, brassy sound on the chorus) to complete the spooky atmosphere. I added drama with a Spitfire Audio LABS instrument aptly named "Scary Strings" and painfully added the vocals, which give away my poor singing skills. Maybe some of the notes are too low for me.

Hate the mix but just can't get motivated to learn by those hour-long "mixing for beginners" video tutorials. If any of you knows of a good ressource for actual beginners, I'm all ears.

not great but whatever it's a song this week

I am continuing with experimenting with the generative device I built in Ableton Live (see my previous submission for more info). This time it is the drums (Yamaha DTX Multi 12 with the new custom kits from Yamaha) doing random things as the other instruments are played more or less manually.

I did not spend a lot of time on this track, because I did not want to ruin it by overworking, but now I am quite happy with how it turned out. Also my main laptop is in repairs so I took out my 10y old backup which somehow managed to run Ableton Live 10 with all the bells and (not so many) whistles I like to have.

Find it in full lossless glory on my Soundcloud:

On this week inspiration for this song was a Volca Modular patch with its Stochastic Sequencer making constant variations on a pentatonic pattern. I added generous chorus and reverb (FAC Alteza) and Eventide Crystals delay with gentle pitch shifting. This created a less gritty sound than the Modular usually does. Over this I added a rhythmic E pedal tone on my acoustic guitar, with some occasional other notes.

The main melody was played on the GeoShred app on the iPad, using the GeoViolin sounds. After this I added a simple drum accompaniment and two short acoustic and wooden flute part.

While the violin does tend to give it a very cinematic feel, I made the rest of the sonic texture (especially by reverb modulation) intentionally oversized so it feels like there's tension between the two.

A submission for Weekly Music 2021 2

Woot, another chiptuner just for fun. (revised)

I have had low inspiration for the past weeks so I'm going for a fast food version of music. As it features koto samples, I guess Instant Ramen is the right choice for this.

I put together a bass structure, got some cool koto samples and drums samples from Splice, collaged them together and here you go. That will do for this week. I hope inspiration strikes back soon!

Turn of the Wheel

The first idea I had this week was to concentrate on bass and drums, emphasizing toms and avoiding the snare. Initially I wasn't sure if I'd include guitar at all. I'd come up with some syncopated rhythms in Ableton's 64 Pad Kit Jazz drum rack, and put a long-decaying Echo send on it. (At the end, I gave the drums a bit of Max Humanizer.)

I put down some bass lines with my usual Epiphone P-J bass (with EQ-8 roll-off below 120 Hz), and then realized I wanted another track of bass, higher on the neck, to respond to the first track. (That second track of bass got EQ-8 bass rolloff with a higher shelf.)

Then I'd thought I should have something else in there for sonic variety, but wanted to change things up a bit from recent tracks. So I grabbed the Heit Deluxe I keep in Turkish baglama tuning (Gg DD Aa), and put down two tracks of improvisations against the bass lines. (It's going through an EHX LPB2ube with the left and right channels cascaded into one output.) One channel got some high-pass Auto-Filter with drive, and the other didn't have any additional in-Ableton processing. Both got sent to a room-sized convolution reverb (along with the drums and bass).

In arranging, I thought to do some reversing of some of the Heit chords, and sent that track to a return channel with Valhalla Supermassive. And the stereo mix got multiband compression with Ableton's Full Chain effect rack.

Title comes from the number of years in three Saros cycles of solar and lunar eclipses; this is apparently called a Triple Saros or exeligmos--the turn of the wheel.

Featuring "Empress Cicada" from George Vlad's field recording @ 0:27:

My first time doing the weeklybeats thing, I have been coerced by people in the local music scene finally after it was suggested for years...then I found that weeklybeats are only even years....then I found streak.

I am setting the intention to be on time.

I didn't get as far as I wanted to on this one but I am excited to hear my process develop.

Made from scratch in Ableton Live 10 suite.

This is a redoing of The Cats Got Into the Rocket Ship ( from WeeklyBeats Week 51.

There are still a lot of the same elements, but much of the arrangement is different and I'd like to think that the harmonic changes are better in the second version than in the first one and that the musical ideas are a little more developed. I am still not quite happy with the arrangement. I think I need to give myself a rest and look at it tomorrow.

As with most songs where the arrangement isn't great, I haven't concentrated too much on mixing and polish, so expect some mud/bad timbres/etc. I am trying to improve in this area too but I'm focusing so much on arrangement, composition, and harmony/melody these days that production/mixing/sound design is taking a back seat.

I'll tag anything that's an ongoing work as "WIP" (work in progress).

Back to weekly music after a year off, haven't done any recording and not a lot of music in the last year. Back to trying to find my sound somewhere between acid and detroit techno, where things are a bit weird dark and not 100% in scales, but melodic and funky enough to be able to dance to. Kinda the territory i find interesting. Didn't exactly hit it but happy with the synth patches that came together in the process. Got like 8 variations of them now, heh, this is a couple of them ... akwardly put together in a jam, recorded on my zoom recorder straight off the hardware: MPC1000, Korg MS2k, and Mog Slimphatty. Composition sucks but did about 20 takes and had to call it ;D Going to try and work on composition this year!

This is my first song ever, mostly made on the Digitone and finished with vocals in Ableton Live.

This was a really really quick track that I made to test out a generative plugin/rack I built for Ableton Live.

I put this thing on the rhodes, guitar and bass tracks, let it play for a while then recorded some drums.

Basically what I want to say is randomness is a great thing for kickstarting your insipiration if you are stuck. I hope you find this tool useful. :)

After an abortive attempt to familiarize myself with Terry Cavanagh's tracker, Bosca Ceoil, I instead retreated to the more familiarish surrounds of FL Studio Mobile - A program I bought like 8 years ago and barely ever used. I immediately fell into a lot of the bad habits I learned through years of "teaching" myself Fruity Loops, but did at least get a feel for the touchscreen interface.

Anyway, I got a bit carried away futzing with filters and resonance in an attempt to make it sound more dynamic and now I hate the drums. But, oh well, there's always next week.

This is a track that continues the sonic explorations I've made last month on Weekly Beats, so a theme of "Forward" is very adequate.

The song started with playing acoustic guitar with an iOS looper called Gauss which has loop decay and a really long delay time so you are basically able to improvise with your own self, or with the music you've done 30 to 40 seconds ago. Over this I layered a bass guitar part then a keyboard pad made with Magellan 2 (also iOS). Finally I designed some flute and violin like tones in the same synth and added a very simple drum pattern.

A submission for Weekly Music 2021 1

Listening to a lot of chiptune lately and wanted to try again. My last attempts were very very bad, this one is.. okay.

First track of the year is some click-n-cut action.

This is the version of the tune I meant to put on WB week 52. It’s very fusion-ist. I loved playing fusion in the 1970s back when I could still play fast. I still love playing it. There aren’t many folks around me that will play fusion though.

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