Submissions by onezero tagged house

An all-in-the-box yoctonaut track this week. Two drum racks: one percussion (Plena kit), and one 808 (Kit-808 Classic), an impulse kit of hand claps, and three tracks of Operator--one with just one oscillator, and two with two. I had two return channels, but just used one of them, the Echo. There's some Drum Buss on the 808, and some Auto-Pan on some tracks. Full-Chain Master on the stereo master.

Title from the anecdote that Seaborg revealed the existence of this week's element (Curium) on the radio show Quiz Kids. ¯_(ツ)_/¯

44 Quiz.mp312.2mb

This week's track was an in-the-box kind of thing. I'd been thinking of doing something house-influenced, so put together 606 samples, percussion samples, hand-claps, Ableton Analog synths (bass, lead, pad), and then threw some Simpler grand piano through a low-pass and high-pass Auto-Filter with drive for a tiny-speaker feel. Sends: one convolution reverb and one Echo (tweaked to be less noisy and wobbly, and with a longer delay period.) Master channel got some pseudo-mastering assistance from Izotope Ozone 8 (free at the moment) on the more-depth preset.

Title from the crystalline shape of one isotope of this week's element, protactinium.

39 Bipyramid.mp311.8mb

This week's piece came together kind of organically, from wanting to hear something rhythmic. I put up four percussive voices: Ableton's Acoustified 11 drum rack, a 909 drum rack, an Impulse instrument of hand claps, and a drum rack of Ableton's Ethno Kit. Saturday night I tracked bass (Epi P-J with EQ-8 roll-off below 100Hz) and some old standby MkI2 Crunch Electric (with Around The Head preset Auto-Pan).

Sends: Convolution reverb set to a studio space impulse, and two instances of Echo. Lots of automation in the sends, and full-chain master on the 2-buss.

Title from the fact that my main headphones (AIAIAI-configured) use neodymium (element 60) magnets in the speaker elements.

08 Driver.mp310.2mb

This one's a simple in-the-box housey piece. Inspiration was reading about one insufferable wealthy blowhard or other who put out a promo video in which he pronounced "discotheque" with four syllables. This kind of gave me the idea of doing a sample-fest of it, but apparently he didn't pronounce it exactly the way I'd thought, so I instead went with a simple synth line that had the kind of cadence I'd envisioned, over a disco-y kind of house rhythm. It fell together rather quickly, which is good, because this has been a busy week.

909 drum rack, hand claps, four tracks of Ableton's Analog. Convo reverb and delay. Not a lot of fancy stuff. Title comes from PA's Route 51, which wasn't far from where I grew up.

Merry Christmas/happy holidays/happy solstice/happy Eggnog Riot anniversary, or whatever you're celebrating!

51 Route.mp38.9mb

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.

34 Quantum Dot.mp320.4mb

I wasn't sure where this one was going, but started with a trap set drum rack in which I replaced the kick with a 909. I thought I'd follow the general rhythm and not worry too much about tonality, and it started getting interesting when I added percussion with Ableton's Behr pack and some handclaps. Initially I had some Operator bass, then some Analog bass...and took them out when I tracked some Epiphone bass. A bit of Electric piano (Old School Roads preset) and sparse guitar (Res-O-Glas, straight into the board) pulled it into a thing. There's also some second bass guitar, and some Operator percussion. Notable: high-pass filter on bass that rolls off under 40; sidechaining against the kick with the Glue compressor instead of the regular compressor. And a high-pass and low-pass auto-filter on the guitar, instead of a band-pass as usual. Convolution reverb and Simple Delay-> Filter Delay for sends, and full-chain master. Auto-pan on most things, but no Humanizer this time.

Title from the 128bpm, which is a power of 2.

21 Power.mp311.1mb

(production notes coming soon)

13 Secret Agent Tardigrade.mp312.3mb

To shake things up a bit, I decided to see what I could do with TR-606 samples this week, as opposed to the usual 909 hits. I used an effects chain with two parallel chains on the kick sample, with two high-pass filters, each with a medium-high resonant peak. One was for general kick body resonance, and the other was for the beater, to punch through. I ended up filtering the snare and hats as well.

There's a drum rack of percussion and one of handclaps, a track or Rhodes-ish Electric (with some auto-filter to punch it up), and Tension through an LFO-controlled bandpass auto-filter for a wah effect. And there's some Analog through a pulsing mono auto-pan. There's also some x-factor noise from the new Kastle modular synth, a totally fun little thing. (The patches I've made so far are pretty broad-spectrum, so I hit them with high-pass and kept the level low. A work in progress.)

Everything got auto-pan, and all the percussion (plus some of the keys) got some send automation (delay and reverb). Full-chain master on the 2-bus.

Title comes from the eight vertices of a cube.

08 Vertex.mp311.1mb

Here's a track I worked on little by little during the week, and it was ok, but not terribly engaging...until I went all disco-house on the drums. That got it going again.

Production notes: one drum rack of single hits of dry trap kit (auto-filter to roll off lows and highs, add some distortion, and accentuate the resonant peak of the kick, and also parallel processing with band-pass + simple delay and band-pass + grain delay), one track of 909 (auto-filter high-pass with resonant peak to pop the kick, and a low-pass to tame the highs), Impulse instrument of hand claps, and drum rack of hand percussion (auto-filtered for tone shaping).

Keys: two Electric instruments (MKI2 crunchy preset into different auto-filters: one high-pass, and one LFO band-pass). Bass: 80s Epi P-J into the board, side chained to the 909. Guitar: self-built Res-O-Glas Belmont with Alumitones into a band-pass auto-filter with drive, for the small-amp sound.

Sends: one convolution reverb (a church), and one chain of simple delay into filter delay.

Unusually for me, I used the Warm & Wide Drums mastering preset on the master channel, instead of the Full-Chain Master I usually do; this time this one sounded a bit better. Everything except bass and the trap kit got auto-pan, and all MIDI instruments got 24ms of Humanizer.

Title from some free-association from the idea of 5 (for week 5), in that we conventionally have five material senses.


05 Perception.mp313.1mb