Instead of leaving you all with a farewell to 2021, I'm thinking ahead to 2022 because I have a project to crank out.

I have a live show to prepare for on January 29, so I started sketching out the set with Track 1. What I need? A transition to track 2 :D

Composed on a Eurorack modular synth (7u 104hp; the rack hasn't changed in a few months) and a Minibrute 2s.

Here's some more liner notes:

Key: F major
BPM: 116.7

• Minibrute 2s with drone patch (A-01) transition to A-02
• Eurorack Metropolix Cyan-5 sequence 1 with skips on 2-8, opening up over time
• Drum channels A-B-D muted, opening up over time
• What I want to do is create sequence A-03 for a variation in the acid bass section
• Also want to create more sequences for the drums and to figure out what knob I can turn to turn this from an acid bass song in F major to something in D minor that is darker and a little more foreboding.

I am closing the year with a subpar track. I could not quite make it work. I like that it's kinda silly and goes into a lot of directions but it misses something to make it work. Anyway, a track is a track and what matters is to finish something and learn from it! :)

This year was fun! I did a compilation of some tracks I enjoyed making this year and put it as a small EP. You can check it out there.
https://linkco.re/H1TT6pSu?lang=en
https://kedbreak136.bandcamp.com/album/season-3108

It was great doing the streak and seeing everyone producing cool and original tracks. I'll continue with Weekly Beats 2022. For those who go there, see you there next week! :)

I was inspired this week to write some stuff in weird time signatures and decided to finish strong with two songs (plus I had the week off, so I had the spare time :)).

I ended up really liking both of these. The main riff of The Squeaker was supposed to be 7/4 but it ended up actually sounding more like 5/4 in the guitar part, so the drums just end up sounding weirdly syncopated (which I liked). After writing most of that one, I decided I really wanted something in 7/4, and had an idea for one that I turned into Clocked. I think I'll revisit it in the future.

Posting every week by the deadline was great motivation that helped me to push through even when the song was feeling rough. I learned so much through the year, and even though I've still got a ways to go, I'm much happier with my songwriting abilities now. (Mixing is still a bit rough, but eh, I'll probably take some lessons this year to remedy that.)

It was a lot of fun seeing the stuff other folks worked on every week and I definitely picked up several tricks here. Hope y'all have a good new year full of plenty of composing :)

Well, this is it! The final track of the year!

First of all congratulations everyone, it's been a great experience and I've certainly discovered some great tracks from you (even if I've been very bad at commenting).

I also had a very interesting journey, going from more heavy-generative tracks in the beginning of the year to improvisation and looping and finally to more structure and composition / evolvement towards the end.

This track is the result of a nice process. First I improvised a clean-guitar track over which I afterwards layered the pad sound and saxophone-like melodies. I then found out the initial guitar track (which was done without accompaniment) a bit too busy so I re-recorded it listening more to the pad and sound. Finally I sequenced the drums and other short melodies.

Happy new year and see you very soon as I'm definitely going to keep going with the weekly challenge!

I played around with my MPC1000 and Volca Sample, then finished this project in Live.

Happy last day of the year, everyone.

happy 52 y'all! catch you on the flip side.

I'm closing 2021 with a Lyra-8 jam I recorded in several takes and attempted to quickly glue together into a track.

High quality on Soundcloud: https://soundcloud.com/user-493253580/starless-night

52 weeks! Thanks to everyone who submitted, listened and commented and thanks to @onezero for hosting the streak. I'm headed for a different project in 2022 and wish you all an amazing year.

Remaster of a track I had made for a previous album. My own spectral saturation tool, my own phase adjustment tool, MEqualizer, ReaComp, and Baby Audio TAIP were used

I'm ending the year with yet another all-one-guitar piece: four tracks of Epiphone Moderne, some with Balls Effects KWB + Vox Wah, and some straight into the Focusrite. There's a little echo on one track, and some room-sized convolution reverb on everything. Nothing too fancy, and most tracking was an intuitive response to other little loops.

The title comes from the fact that the Temple of Olympian Zeus had 104 columns, only 15 of which remain standing.

And we've made it to 52 weeks! Thank you to everyone who uploaded and listened! (I think the first Weekly Beats uploads will be due this coming week. I'd say check there for timing. I might just upload one extra here,)

A quick Minibrute 2s Acid Jam that I did while I was streaming without a lot of preparation or planning. I need to learn how to save and restore sequences and then actually take advantage of them! Maybe I'll use the sequences in an upcoming live show...

I keep on unraveling this Lyra-8-based thematic streak. The process was different this week, though: I recorded and assembled parts in Ableton as I went. The result is more varied and polished but lacks the coherence and spontaneity I find the live takes I used as a base for the previous tracks had.

High quality on Soundcloud: https://soundcloud.com/user-493253580/meet-the-neighbours

Happy holidays!

High quality on Soundcloud: https://soundcloud.com/trent-hawkins/telecharger-sky-ratio

This track, as given away by the title, was started at this winter's solstice on the 21st. It follows a structure I used on a couple other tracks with this theme: a synth drone and several layers of percussion in increasing tempo. On top of this two tracks of acoustic guitar and a mandolin (from the Wavestate). I think it's a nice energy to push us through to the last week of the year and beyond!

The pain. The fury. The sweat. Man vs the Thing.

For this one, I brought together most of the techniques and plugins I've accumulated over the last couple of months to put it together. I'm really happy with how it turned out. I didn't have any trouble writing it either, it just kinda popped out :)

This is another experiment track, playing with half step slides chord progression. It kinda reminded me of Sleepy Hollow or other eery/mysterious vibe, and I built from there.

The title comes from the movie Krull, where the heroes have to visit an elder lady who is at the heart of the web woven by a giant crystal spider. They have to ask here where the fortress of the beast will be the next morning! Yeah, it does not make any sense if you have never seen Krull. I loved that movie in the 80s. Haven't watched it in more than 20 years, I suspect it has not aged well.

Generative ambient track composed with an L-System. Did the hyperosc thing again but this time with a lot of different oscillators controlling the crossfade, and some compression too.

Too long for the site so listen here:

https://djsaint-hubert.bandcamp.com/album/faded-ubiquitous-board

Another of the all-one-guitar + resonator network pieces. This one uses the Danelectro baritone, with one channel going through the resonator network. I tracked some compatible parts, and putting them together...didn't work. Rather than scrap the whole piece, I started over with arranging the parts, relying less on repeating one chord progression and keeping parts a bit shorter. Then I tracked a few new parts in each of three tracks to fill in gaps.

There's a convolution reverb on all three of these, and Wide & Warm compression on the output.

The title comes from what may have been the meaning of the Onojutta-Haga word that was the source of the name for the Juniata River.

Rudimentary 4 track sketch. Sort of Johnny Cash meets sludgepunk?

A relatively short song this week, I streamed and ended up doing more talking and less composing, but I was able together. It's probably more of an intro than a complete song, but it's still like a minute and a half long or so.

Sort of a boring chord progression, but I think the production turned out nice on this one.

So here's that period of the year where we kinda have some more free time...do we? :)) This piece is about time and is longer than the recent ones, even if it keeps the same ingredients: Korg Wavestate for most of the parts of the track (this time having several programmes and using a looper to add layers) and an electric guitar.

We're getting close, people!

Something more contemplative (?) for the end of year mood. I should probably go back and make this track even more shorter and minimalistic though!

High quality on Soundcloud: https://soundcloud.com/trent-hawkins/telecharger-ppsshhff

Kind of a followup to last week's piece. After several experimentation sessions on the Lyra-8 over the last two days, I recorded this one live take using what I had found. No guitar or drums samples this time, just the Lyra and Valhalla Supermassive reverb.

High quality on Soundcloud: https://soundcloud.com/user-493253580/down-the-hole

Speedtrash of the week! I had the bass riff, loosely inspired by a new track from one of my favorite punk bands. But i had only that on Sunday night, so just added random horror samples, a disco beat and some silly synth lines. Leave in the oven 20 minutes, serve hot. Disco Terror.

did some interesting stuff in this one, used a crossfade between two EQ profiles controlled by an oscillator controlling the pulsewidth of the synth for the bassline, the strings use a hyperosc, which I thought would be boring because it can't really be modulated, but I decided to have multiple instances of hyperosc with different settings and crossfade modulating the crossfade with another hyperosc lol. Proud of the mood I set in this one