so, as i was saying…

It’s been over a year. Not yet over, a year.  (Won’t get into that… here). Just never really felt like writing. Moulting time, I suppose. But at least I’ve been making a lot of music.

Maybe I needed that more.

IMO, the particular “decade-ness” of any decade doesn’t really become apparent until the 3rd or 4th year of that decade. The music shifts then. The politics shifts then. The fashion starts to shift then. The look and feel of it starts then. And so, here we are…

…and (quite abruptly, as it usually does) it’s finally begun to feel like ‘the future’.

Tomorrow came. Now what?

new release: the chaldean social club

In Mid-November, five titles occurred to me. Just the titles. From then on until mid-January, I made tracks to match the names. The result:

About 20 core sounds involved. More than a few of them remixed/repurposed from pre-existing material.

Released under Creative Commons license (non-commercial/attribution/share-alike).

Tomorrow Came (2013 : The Year in Review)

Well, not really. But Disquiet Junto Project #0104 had us go through our past year’s work, and splice five seconds per month into a one minute year-in-review piece:

Details (and links to the source tracks) are at the SoundCloud Link.

In other news, last week’s Disquiet had us make a secular holiday track, using material from the previous week’s project:

I’ve also uploaded the third in the ‘The Chaldean Social Club” series (which I will explain at some point, I promise):

a shining tree [disquiet0102-sonictinsel]

For Disquiet Junto Project #0102, we were asked to make a one-minute loop that was “glistening, reflective and gentle” to make a secular holiday track:


Done in Ableton Live. Used a Collision patch to make the tolling sound, and ran a Korg WAVESTATION soft synth through the effects part of the emulated Korg MS-20 to make the ‘snow sprinkles’ sounds that make their entrance about a third of the way into it.

This was exported as an actual Live loop.

the beth-el construction company

Uploaded the second drone of the series of tracks I’ve been working on:

Like the previous track, this one was done in Ableton Live (still trying to wrap my brain around Suite 9).

Some of the core sounds were made in AudioMulch (the ‘collision’ sounds in the background are actually a guitar run through AM, with the original guitar signal completely removed).

Two more drones (and one pulse-y/beat piece) to go…

Released under a Creative Commons license [BY-NC-SA].

“abraxas, incorporated” (new drone)

I’ve still been playing with Ableton 9, as time has allowed.  Gone back to drone for a bit:

The main drone tones are two of Live’s “Resonator” presets, modified somewhat.  Also used four Audiomulch-treated guitar tracks I had created for another project and not yet used.

I’d like to do three more of these…

constraint groups, all the rage…

Newmusicbox has a brief interview with Marc Weidenbaum about the Disquiet Junto. (The newmusicbox site looks pretty good in general, I’m largely linking to the article so I’ll remember to check it out later).

Also found another ‘constraints-based exercise’ SoundCloud group, this one with a monthly deadline, where the stimulus is a particular photo.

Could be interesting…

Oh, and BTW I did end up taking the plunge and updating to Live 9 Suite (Max for Live and all!). Almost $200 in savings was too much to pass up. I haven’t had much time to play with it since downloading it. I’ve already noticed that it has much better CPU performance than Live 5 did… which seems somehow counter-intuitive.

you must march back towards the things you had forgotten… (disquiet0088-3d)

I’ve been skipping the Disquiet Junto projects (and music in general) these past few weeks. Real life has been a bit… event-filled. But this week’s project appealed to me:

We were told to generate three elements: A beat, a drone, and a ‘melodic fragment’. We were then to use these to create a 90 second piece, with each element ‘showcased’ for 30 seconds by applying some kind of 3D/spatial effect to it. (Melody from 0-29, the Beat from 30-59, and the Drone for those last 30 seconds).

Process details are here. Link to the entire Disquiet project is here. I basically panned the hell out of the ‘melody’ for 30 seconds, applied an interesting pong delay pattern to the beat for 30 seconds, and then ran the drone through an even more interesting pong delay pattern for the final 30.

I’m still trying to find an easy workflow as I make these pieces. I find myself using AudioMulch as the ‘laboratory” for creating the actual sounds, but it’s then easier to load the created sounds into Ableton Live and work on them there. I realize that most folks will tell you to just pick one DAW and learn the hell out of it, but AudioMulch is so much closer to the old-school ‘pedals and cables’ way of doing things, I find it easier to be creative there. Meanwhile, Ableton Live is just so much better at the actual construction of a piece of music, once you’ve created the raw materials.

Speaking of Ableton… 25% off the upgrade to Live 9 if I do it today. Hadn’t intended to upgrade until Spring, but I’m tempted. Live 9 Suite has the Max for Live extension that I’ve been dying to play with for almost a year.