version 1 - experimenting w massive -

I wasn't really into this track this week. It actually came together considering that I was really not happy with it about two hours in, but still… meh.

What kind of genre would you call this?

Sunday, May 21, 15:45 - 18:00. Today is a painting day.

More arpeggiation. More ambience. Lots of modulation in hardware. Some beats.

So far, I have an EDM dance beat going on but I'm not really feeling it today. I may have to do more random noodling.

Total time: 2h 15m

Eeking this one in at the last possible hour... I'm not sure, but I don't really feel like I'm 100% done with this song. The sax squeals I'm happy with, but the other sax is just a rip off of a riff from a remix I did, so I'll need to change that up. Also thinking about some faster "free jazz" sax parts. I also didn't have anything in mind when I started this week's track, I just started programming and went from there.

For this song I used the following:
-DM - The Drum Machine
- Logic Pro (DAW/various effects)
- Alto Saxophone

*No movie sample this week, but the final version of this track may have one in the mix.

Very Unfinished. Must find more time and work daily.

An all-in-the-box piece this week, it started sounding to me like my old on-iphone-sequencer yoctonaut project, so I'm considering it a kind of reboot. Having listened to a lot of minimal techno at the end of the other week, I wanted to go for clipped/gated percussion sounds. In some cases I used Ableton's gate plugin, but in others I just shortened the length of the played sample in Simpler. There's a drum rack of a dry trap kit that's gotten a lot of Gate on the short cut preset, as well as high-pass and low-pass auto-filter (and it's side chained to the kick of the next percussion channel). A drum rack of 909 kick and hat got shortened at the point of sampling, and got a lot of high-pass filter on the kick. Two channels of Impulse (hand claps and percussion) got short-cut gate treatment, one with that preset, and one with a tweaked attack to shorten it.

The bassline is in Operator, for which I used three sine voices and some low-pass filter. It's side chained to the 909 kick pretty heavily.

The rest of the voices (a pad and two leads) are in Analog, mostly variants of heavily low-pass filtered sawtooth voices, one with an initial pitch modulation for percussive presence.

Sends: three convolution reverbs (two ambience or dry room, one a much larger hall space), one Simple delay, and one Filter delay. Everything got some auto-pan except the 909 and bass, with the 909 getting randomized volume modulation with auto-pan. No humanizer on this one! And the master got Full-Chain Master, as always.

The title comes from the fact that in (sub)atomic physics, 20 represents an island of stability for numbers of protons and neutrons in heavier isotopes