Love Without Violins - *Keep coming back to this song. * I like the vibe up until the key change, then I find myself kinda intrigued by Brian Eno's lyrics.
I recorded couple of different takes using my gated effects chain. In the version above I added only a little reverb, while in the version below I layer four copies and set them to start about a bar apart.
Step 1: This week’s project is inspired by the manner in which C. Reider recorded his recent album, Chew Cinders (Midnight Circles). We aren’t remixing his album. We’re remixing/repurposing his approach to the album.
Step 2: This instruction is adapted, with Reider’s input, from the manner in which he recorded the album:
Process a sequence of standalone “chunks” of pre-recorded sound — voice, field recordings, noise — with an emphasis on the manipulation of time and pitch. Speed things up, slow them down, and explore the opportunity to use cutup techniques. Pay particular attention to segues between the chunks.
Step 3: Make a piece of music inspired by the approach delineated in Step 2.
I only had to look back a few months before finding promising field recordings. There were made on Australia Day at Pioneer Park Museum's 30th breakfast.
Whip-cracking isn't an Australia Day tradition as such, however it is part of the annual breakfast at Pioneer Park Museum. 2017 was my second time at the breakfast, which was the 30th for the Museum.
In addition to cracking displays by young Master Terrazas and Mr Bishop, there is a selection from the musical performance by Jeff Gardner, including Australian classics "Give me a home among the gum trees' and the national anthem.
Ableton Live makes it easy to adjust pitch and timing but the instructions this week led me to try and confine myself to the re-pitch option, which links pitch and timing. From here I did adjust a couple of the loops but it was a good direction to get a quick direction.
I added electric bass and it kinda brings everything together a bit.
P.S. Just noticed the sync is out near the beginning :(
Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.
The haiku shared by Naviar this week brought to mind my time in the high country, specifically the speed at which the weather changes.
This weekend I've been rearranging my studio and reconnected an effects chain that hasn't been used in a while.
I started jamming on the ukulele as it came to hand and this track in G/Em was an experiment in applying the different gated effects.
This is largely a single take on two channels with the camera's audio added in Live.
The Disquiet Junto this week asked for something inspired by 808 and Blockchain.
Frankly, I didn't spend too much time wrapping my head around the idea.
I have a vague understanding of how Bitcoin works but decided to revisit the ice cubes I recorded for the perennial new year Junto, as they offered a visual that related to blocks of ice and that seemed like a cool idea.
The BPM is 88, which is a recent favourite I used for the 64-bar Challenge tracks. After getting a groove with these 808-samples, I added the ice-cube-in-a-glass samples and then worked on VST synth parts.
Last I added the bass and you can hear I didn't spend a lot of time planning what to put down. I'll no doubt loop this recording in the near future.
Both the way I paint and the way I produce music is done in layers. I create layers upon layers of either sounds or colours and see how they interact together. I guess the main difference is that with the music, I go into making a track with a lot more foresight than I do, a painting. There’s no point in just throwing a couple of sounds together and hoping for the best… I Like to think through each soft instrument and sound and work from sketches or sometimes start with a musical sketch and build that sketch into a finished piece of music.