Started 159 days ago (2021-01-04T00:00:00Z).
Ends 204 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 (231 total)

recorded on my phone again sry

it's about time that you know how selfish i am being
it's about the only way that i have held together

And what are you doing now?
When will you weigh it out?
Just the way you are
It's just the way that you move on

hope you know now that i won't meet all your expectations
it's about me i'm so boring, broken, tired, end of story

Been having a bit of a mess with some interesting sequencers in Live 10 with Max4Live and made this very 2002-ish light FM melodic ramble. It's not a deep dive of generative melodies, quite obvious stuff, but it kept me amused and got me wanting to try something a bit more ambitious.

This one took a few turns after I'd started working on it. I'd started with a few syncopated drum parts (Ableton's 64 Pad Kit Jazz), and thought there'd be a moody atmospheric thing happening. Then I picked up the Danelectro baritone, and a bassline came out that had some attitude to it. I put a few chords to it, and then the next basslines came out with a lot of swagger. So...out with the plan. I did several more passes with the baritone, mostly straight into the board, but then cut a few leads through the Balls Effects KWB and Vox Wah, finally adding a few more through the Reuss RF-01 (and Vox Wah), which come at the end.

Inline effects: Max Humanizer and Drum Buss on the drums. Some Glue Compressor on the baritone, with some Auto-Filter with drive on the cleaner chordal baritone parts.

Sends: Delay on drums, with two different convolution reverbs (one with high-pass auto-filter to prevent boominess) on the baritone.

Title comes from their being 75 uniform polyhedra, if you omit the infinite ones.

We got our weekly music theme today from Two Hour Track Sunday. We played a (really complicated) game where you had spies and non-spies and the non-spies composed a song according to a "location" and you had to guess first who the spies were and then the spies guessed what the location was.

I ended up spending maybe an hour and a bit on it in total.

The theme was "Cemetery", though part of the game was that you were supposed to make it a little ambiguous so that the "spies" couldn't guess the location!

This was live-streamed also - on June 6, but look out about an hour and a half into the stream for the beginning of this particular track, since I started doing some stuff and then started over.

This again wasn't really mean to turn out like this, was originally me just trying to test out some ways of getting out of some bad production habits I've accumulated down the years. Not even going to bother with the tags on this one.

A short instrumental track for this week, which stemed from a bass / drums groove I jammed around. I added some guitars and synths, all mixing into a somewhat dreamy / groovy piece.

Lineup is bass guitar, guitar, Spitfire Audio LABS for the drums, UVI for the SY-77 (pad) and Ensoniq VFX (bells).

Soundcloud for higher audio quality:

This week I finally went full-on industrial metal. Everything but the bass and guitars were done on the Polyend Tracker. Bass is recorded direct and amped with Duality Bass Studio from Audio Assault. Guitars are recorded direct and amped with Reamp Studio from Audio Assault. Not my usual gear but that's all I had today. Mixed in Harrison Mixbus. It's been a real challenge to play bass and guitar at 200bpm with quite a few months with no practice. Amidst the noise and chaos the mistakes may be ok. Making this track was both exhilarating and drained me of all this week's remaining energy.

Spiritual successor to last week's track, again taken from our jam session this week. It's long but it's 2-3 tracks seamlessly blending to each other so I feel it makes this OK, right? :)

High quality on SoundCloud:

Also check out the full jam session on Youtube or Soundcloud.

Now that I have a bit more time I did a more complete track this week reminiscent of my spring experiments. Over a drone and 12-string looper based guitar melody I added a drum & percussion subtly morphing pattern and a section with electric guitar plus some short wood flute pieces. Again I am happy that I managed to bring more development to melodies, even if I feel like some small changes could still be added when the loop is repeating as and testing a midi controller for better fading in and out of it.

Have you ever been stuck at an airport in the middle of the night? Either you have a night flight at 2am or you just arrived at 4am and waiting for a correspondence that goes 5 years later. This is the dead zone of airports, you meet other zombie voyagers stuck there, people mopping up the floor. If you're lucky, you can find somewhere in the concrete maze a small open café. There is the smell of smoke lingering in the air, the ceilings have a yellow tinge and there are a few insects dead in the corner. You get a coffee that has a slight taste of bleach and feel like you're in the purgatory, drifting between worlds.

That's a bit of the atmosphere I wanted to capture in this track. Drifting between worlds. I had this melancholic and simple guitar chord progression. Recorded a one take solo - not super clean, a bit off here and there, but I felt that if I tried to capture the soap bubble it might pop.

The guitar is an Epiphone explorer. Done in FL Studio with Sakura synth for the stand-up bass, FLEX for the piano and some cool jazz drums samples and other atmospheric and jukebox samples acquired on Splice.

A submission for Weekly Music 2021 22

Actually wrote something atmospheric this week :)

I feel like some of the elements (particularly the percussion loop) might have been a bit too repetitive, but I tried to add some variation throughout the song to keep things interesting.

A submission for Weekly Music 2021 22


Here's one I recorded in a few quick, improvisatory sessions, but it needed a bit of attention to edit together. My initial thought was to emphasize toms and kick, avoiding the snare if I could, and then respond to that. (There's a snare rimshot sound every so often, but no overt snare hits.)

Recording the guitar went quickly, though once I'd settled on which key I preferred, I did need to go back and record a bit more. With bass, I'd recorded a bunch of parts, and ended up throwing most of them out, going instead with lines I tracked last in arrangement view.

Guitar: PureSalem Mendiola straight into the Focusrite. (Each channel got inline Auto-Filter for drive/coloration). Bass: 80s Epiphone Embassy II (neck pickup only). EQ-8 for some low-end rolloff. Drums: Ableton 64 Pad Kit Special, with Max Humanizer.

Sends: Valhalla Supermassive, Ableton Delay, convolution reverb with Auto-Filter to roll off lows.

Title comes from the lenticular galaxy NGC 74.

So literal late submission as in fact I did finish the song on Saturday...but literally rushed on the door to work on the previously mentioned theatre festival and then the thought of it simply vanished out of my head. I had just two hours to work on this - so it's another solo guitar piece, but I like that it sounds more evolving and stable. Considering I had 4 wasted takes and the fifth one full of mistakes after 5 minutes...I am very pleased that this last one (as I was really getting late) ended up as it did.

An initial sketch, it took me about 1.5 hours during OHC, and then I worked on it for an additional 3h 30m during stream, and it still needs more work. I didn't really listen to the master either since it's in such a draft state.

Riding high
In the sky
with my happy heart shaped
Chocolate drop

See the world
Sweet and clear
Covered in a rain of
Chocolate gold

Happy heart shape chocolate drop
Dancing with the stars aloft
Happy heart shape chocolate drop
Around the world, we’ll never stop

I planned to have a song with vocals but life happened and I ran out of time. I was also lacking inspiration for lyrics, which didn't help. What i did was replace the vocals with guitar solos (loosely based on the melody I had in mind for the vocals). I'm not satisfied with the result but I like the rest of the mood to this track, so not all's lost. I'm happy with the bass guitar.
Lineup is Spitfire Audio LABS (Autoharp, Tape Orchestra, Hand bells, Drums), bass guitar and guitar.

Soundcloud for better audio:

Remiced and slightly condensed the intro from last Tuesday's stream. It's long but I guess the excuse is that it goes through 3-4 different moods so it's not just one loop going forever.

For a difference, I feel good about this track.

High quality on soundcloud:

Found this bit of piano noodling knocking about so built this slow, languid beat around it. That's it really.

A submission for Weekly Music 2021 21

sorry, am trying.

This one is a weird one. I started this Sunday morning with a riff in my head. Ok, I kinda knew the riff is not entirely original as it is very similar to a riff found in Big Trouble in Little China! But I went with it as it just felt really good to play.

For some reason this track takes me back to the 80s when I was little boy watching WWF (the wrestling, not the panda preserving organization), enjoying weird movies like Big Trouble in Little China and having my brothers play synthwave on their speakers.

The guitar is an Epiphone Explorer, plugged into Bias FX2. Some cool drums samples by KJ Sawka and a lot of FLEX synths.

I enjoyed making this one. Short. To the point, with little repeats. FL Studio tells me I spent 2 hours 30 minutes on this one. I really need to start working on tracks earlier in the week.

A submission for Weekly Music 2021 21

I was really trying to just stick with something atmospheric this time, but I ended up adding a whole rock section once I added the bass. I just can't help myself :P

I'm quite happy with how this one turned out. It follows the song structure I normally use (atmospheric, reverb-y A section, build up, a rock sounding B section, and a clean/reverb-y concluding section). So next week, I do want to try something a bit different.

First time using Valhalla Supermassive and I'm loving the reverb I can get with it. It makes the built in GarageBand piano synth sound so full.

Don't really know where this week's track came from. The original idea evolved to this, I couldn't even really tell what style it's supposed to sound like ? :) Sound design, recording and mixing on the Polyend Tracker. I used the various LFOs of the Tracker a lot, as well as the render-pattern-to-instrument to build more complex sounds from basic ones. It's all been really fun designing the sounds and the track, though the end result is a bit unexpected.

Kind of a lot going on this weekend, but I thought to make a trilogy of all-baritone pieces. So here's another.

Drums: Drum Rack of Ableton's Towel Kit, with Max Humanizer. Maybe the challenge here was simplifying the drums enough to work with the guitar.

Guitars: 2008 Danelectro Baritone, no effects. Some inline Auto-Filter and Glue Compressor on the left and right channels (with cabinet on one), and a bit of EQ-8 to roll off the bass.

Sends: one Echo, one Valhalla Supermassive, and one convolution reverb.

Title comes from the number of bits in the Arecibo message.

A submission for Weekly Music 2021 20

Messing around with orchestral programming this week. Not great, but I learned a bit about adjusting expression/modulation to make things sound more organic. I need to examine how songs in soundtracks do transitions. I missed the deadline because I thought it went to 11:59 EST, but it looks like it's earlier? I shouldn't be running this close to the deadline anyway, so I'll submit earlier next week.

A last minute thing, more than ever. Having a festival at the theatre I work in means 12 hours shifts day after day so not exactly time left for music. It's a great pressure, but it's not a totally negative one. To me it feels better to stress for art than for a product I would never even give a damn for. Anyway, needed to vent some pressure so just recorded some metal guitar with the looper. With drums, bass and whatnot it would be more of a track, but in this form it's still a core and able to make a statement. I'll let you imagine what that is :)

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