Started 264 days ago (2017-01-02T00:00:00Z).
Ends 99 days from now (2018-01-01T00:00:00Z).
Let's keep the weekly music process going into 2017. The rules are simple: compose and produce a new piece of music each week. Your submission is due every Sunday at 11:59 UTC. 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 late submit your post will get a big Late submit tag, but it will still count for your streak. No reason to stress out about deadlines, do your best!
I've been battling with some depression over the last year or two and realized yesterday that even though I feel like I'm improving, I've stopped doing all the things I used to love doing even when times were tough. Decided maybe it was time to try putting something together and just finishing it in one sitting.
This is arbitrarily called orgeat since the word was fresh in my mind after making cocktails. The drums are Smackos Amiga 909. Percussion is just Ableton Core Kit Percussion. Bass is just the u-he Repro default patch (speed was of the essence). And the Rhodes was just a built in Ableton sound. Didn't really labour over the mix at all so I'm sorry if your ears bleed.
Highly recommend the hack track. Feels good to do a thing.
Saturday, Sept 16: I started this on Saturday, but I didn't keep a time log. I maybe spent 30 minutes on this doing a drum loop, some bass, and a few chords.
Sunday, Sept 17: 16:05 - 18:30.
This turned out to be a pretty normal rock song with some synthpop elements to it.
It was mostly a good opportunity to practice more guitar playing. I realized that my guitar goes out of tune a LOT, I tuned it three times because it was drifting out of tune while I was making the song. Maybe this is normal though and I didn't really realize it.
I spent a modicum more time on the drum design this week than normal - as the song developed I swapped out a lot of the 808/909 samples I had for more traditional rock samples, but I do have a few synth samples there.
Total time: Probably 3h?
Instruments: Software drums, 3 tracks of real guitar (lead/rhythm/backing chords), two Nord Lead tracks (pads and bass), one modular synth (background countermelody)
Very busy week involving work, a report for a class I'm taking, and a live set, so here's a quick improv using my pitch-shifting and randomizing Max/MSP patch, processing some simple sine waves. There's a touch of compression and convolution reverb on there, too.
Title comes from one of the uses for rubidium, atomic number 37.
Sunday, Sept 10.
- Improve rhythm guitar timing and tuning
- Use synth chords
- Use synth lead countermelody contrasting with guitar
13:00 - 13:20: Noodling and exploration. In 20 minutes, I laid down initial stab chords, a beat, and some bass.
16:50 - 18:55: I resumed this. It's…. really dancey-like. I think I spent a little longer than average on production, but still not that long. Older versions had bad timbre + level matching between the guitar and synth leads so I fixed that up a bit. The song itself is really really simple and predictable, so if I wanted to work on this it would actually need to be on the composition to draw interest. I didn't actually add a whole lot of rhytm guitar to this.
Total time: 2h 25m
- Nord Lead 2x
- Future Retro 777
- My modular synth
- MASCHINE 2 (for drums)
Various software effects
This started with a little drum pattern I was hearing in my head, and which I thought I'd (once again) have in a drum rack of Analog instruments. (I tweaked the kick from last week, and it's sounding a little closer to what I want.) I added another channel of Analog ("Canadian Boards" preset) for a warbly little melody fragment, and put down some Simpler with a Mellotron single-note sample to accompany it. This seemed to suggest a kind of 80s-technology aesthetic, so I also put in a Simpler instrument with a Fairlight sample (the "Swanee" airy pipe), and for extra percussion, a Drum Rack of PAiA drum machine single-hit samples.
Saturday night, I tracked bass (Epi P-J straight into the board, Cabinet plugin and reverb send to give it air, some EQ-8 to roll off sub-100Hz), some guitar (Epi Moderne through Reuss Repeater Fuzz and Vox Wah straight to the board). While I tracked some melodic lines, I ended up relying more on dissonant harmonics and fragments than full lines. For a final x-factor, I tracked some noisy Bastl Kastle.
With the bass, I'd thought to keep up the 80s theme and flange it, and then took that out...but brought it back as an automation that I bring in every so many bars. Sends were just a room-sized Convolution reverb (Auto-filter in front to roll off bass and reduce boominess) and a simple delay.
Title comes from https://en.wikipedia.org/wiki/The_Thirty-Six_Dramatic_Situations
SPLATFEST COVER TIME!
Sunday, Sept 3, 16:15
It's streak.club time, but I also noticed that PRC356 has a Splatoon 2 remix this week and since I'm a Splatoon fan, I thought I'd give this a shot.
Here's the link: http://compo.thasauce.net/rounds/view/PRC356
16:15: First, learn the song. Chords, key, scales. There's a bit of note-borrowing going on from other scales here (something that I am pretty bad at - I stick to the scale tones a LOT).
17:30: Okay it took me like 30 minutes to get a 4-bar riff. At this rate I'm not going to finish before streak.club's deadline.
19:30: "Done". Only because I'm out of time - the parts all need to be redone so it's more solid. It's kind of outside of my ability but now that I've laid down the song it means that I can practice… and with time…
All of the parts (4 guitar tracks, 1 bass track) are played live (over many takes) except for the drums, which is a computerized drummer.
I guess it's awesome that I managed to do a remix in a few hours that's recognizable as the original.
Total time: 3h 15m
Super-busy week and weekend. But here's a minimal track: just drum rack of Analog for synth drums, ring-modulated tabla, electric bass (Epi P-J into the board, cabinet plugin, reverb send, and rolling off -6 dB below 100Hz, mostly one track but an occasional other voice) and sparse Analog into a reverb send. Sends: two convo reverbs and one delay. Full-chain master on the 2.
Title from the frequency shift plugin on the ring modulated tabla.
Working on more 8bit influenced music this week because I was supposed to do some busking outside PAX today with some chiptune homies, but that sort of fell through, so I just used that time to finish this song. Feeling very self-reflective these past few weeks...
Sunday, August 27, 16:20 - 18:45. 2h 25m
Laying down some beats. Trying to make a few sounds on hardware…
Okay, this turned out okay. The modular patch that I started with is not front-and-center but does some strange and interesting things in the background that I'm happy with. The guitar playing is nothing to write home about but at least can carry the song. I think I wanted to make a progressive synth-pop style song with guitars for some time now and at least this succeeds.
A piece that went through a number of iterations before I found the vibe of a kind of house track. There's a lot of percussion: single-hits on 909, hand drum, tabla, hand claps, some Ableton Collision instruments (marimba and metal plate), Operator for bass, and the sampled Behr stringed instrument from Uganda. Not a lot of inline processing but lots of automation to different sends--two convolution reverbs, a simple delay, and a filter delay. It's long...but that was the vibe.
Title from the fact that quantum dots (https://en.wikipedia.org/wiki/Quantum_dot) are sometimes made with selenium, which has the atomic number 34.
I wanted to try a different approach to things this week, and built up a track with some layers of evolving/developing/heavily processed sounds. There's a simple kit of Analog-synth drum hits (this also goes through parallel vocoder processing), Ableton's Light and Shadow Operator synth preset, Collision with the gong preset (going through the filter taps effect), Collision with the Pitch Pad preset, bass (parallel processed with different Auto-Filters: one a low pass only, and one low and high to give a band from 100Hz to 1KHz), and Kastle synth. There are three send channels: two convolution reverbs, and one Max Spectral Delay; there's a lot of send automation as well as auto-pan on almost everything.
Title from the fact that the Triangulum galaxy is M33.
(Track art: By Alexander Meleg - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=31...)
Sunday, August 20, 15:00-17:21 Modular + Guitar Jam.
First 30m was setting up the studio and getting some initial tuning and patches in for the modular synthesizers, and fiddling around with some initial melodies that might be okay.
I kind of wanted this to be done, I didn't particularly like the end result too much. The mood changes too much and I wasn't sure I wanted to go back and fix it all.
I had a little more time this week to work something out. Toying with different experiments on my drum tracks. Also going through some personal shit that's kinda got me down and it appears to be reflected a little bit in this song.
For this song I used the following:
-DM - The Drum Machine
- Logic Pro (DAW/various effects)
- Alto Saxophone
Bit late to the party here. I had been craving weeklybeats and the good practice it encourages, so I was pleased to find this little group, albeit quite far into the year! Keen to finish it off though.
Here is my first offering. Trying to work more with percussion, which I tend to shy away from sometimes. Mix is a little rough, but glad to have got something done :)
Yeah yeah, my first late submission. Totally ran out of time this last week and I thought I'd be able to finish this piece yesterday, but that didn't happen. Anyway, I experimented with recording a couple long tones on the sax and then looped those on different tracks with a blend of different effects. I'm curious to hear what you think about this one. For something so minimalistic, I ended up putting quite a bit of time into this, getting the right blend of micro sonic rhythms and droning notes.