After being completely overloaded by theatre work in the weekend here's another late submission. I think I finished this acoustic improv sometime during the week but I was thinking of perhaps adding a synth layer. That didn't happen but it has some nice development and added finger percussion and some voice bits.
I was practicing making some trance (though it kind of sounds like House) in Bitwig, so I didn't really get that much done this week. Still learning the UI and learning how things work together in the new environment. Hope for more results next time.
Trying to get back on my bullshit and have some more faster motorik krautrock going.
High quality on Soundcloud: https://soundcloud.com/trent-hawkins/20210608-feat-lagoon-city
For this one I wanted to use some of the new features in the latest beta firmware of the Polyend Tracker, mostly the arpeggiator and the slide up/down effects (we only had glide before), and then a bit of randomization too, meaning the export has some small details that would not be generated the same way if I exported again. I also wanted to use only single cycle waveforms for the instruments so that's pretty much what I used except for the drum part. I had a lot of fun doing sound design on this one. I tried to add some interesting chord progression even if the groove is basically the same for the whole song. Still no lyrics on this one but ideas keep coming along the way, it becomes more and more tempting, I will probably do it some day. As for the title, I keep seeing strange repeating clock patterns lately, and especially 11:11 in the morning, accidentally this is my 11th submission for the streak. Mixed in Harrison Mixbus.
I spent some time this week at polishing and finalizing a compilation of tracks I made for Weekly Beats last year and releasing them as an album on Bandcamp. You can check it there (it's free! :) )
So I did not get much time for a new track and went for a speed trash. This started with cool break beat samples and I added a few bass lines, arpeggios, and some Japanese percussions on top of it. Named after a PC game I used to play in the 80s., one of the first real 3d game. It was really impressive!
The sound design, composition and sequencing for this week's piece were all made on the Elektron Digitone, recorded in Ableton where I edited some bits, added effects, mixed and mastered.
I tried to keep things moving and evolving using the Digitone 4 tracks only. I'm only scratching the surface of what this box can do and, after several days of hopelessness, finally enjoyed putting this track together.
Soundcloud for better quality : https://soundcloud.com/user-493253580/wandering
Still tossing things together over on this side, maybe it's interesting?
Second: here's a piece of something I started a few weeks ago but made some progress on.
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.