This is a track I made for Naviar Haiku 84.  It was partly inspired by listening the Wired radio show hosted by Keith Whitham. 
I arranged and produced it in Caustic 3.1 on android, primarily using the 8 bit synth and also the sub synth and modular, then  mastered in MuLab 6.

I've gone for a deliberately harsh sound on this one, those Ghosts of the Night are unwelcome visitors after all.   

The Ghosts Of The Night [Naviarhaiku084 - Day is the portal]

This track is a one take live recording in Sensomusic Usine Hollyhock II using field recordings.  I've used sounds from a park recorded on my phone in various samplers within Hollyhock II processed with various effects.   

I've used U-Drone processed with ValhallaFreqEcho, Svep (Klevgrand), Sanford Reverb and Fusion Delay; Grain sampler XY pad with Convex (Glitchmachines); Ribbon Grain sampler with Deelay (Hornet) and Teufelsberg Reverb (Balance Mastering).

I've also used Dust by Sound Morph processed with Deelay (Hornet) and Teufelsberg Reverb (Balance Mastering).

Ninhursag (naviarhaiku162)

This is a track from my latest release, Aporia.  It features sounds from the Disintegrate sample pack by Mode Audio processed with various samplers in Usine Hollyhock II with various glitch and delay effects.

Omega Point

This is my submission for NaviarHaiku181.

The song was arranged and recorded in Sensomusic Usine Hollyhock II and mastered in MuLab7.

A field recording processed with Fog Convolver and Outer Space (AudioThing) with sends to Incipit (Inear Display) and Overtone (Soundspot) and Hornet Spaces;

A second field recording using Hollyhock II xfade sampler processed with Cryogen (Glitchmachines) and Hornet Deelay.

Synth chords using Nave (Waldorf) and bass using Enkl (Klevgrand).

All processed using Litote (Inear Display).

Blackout (Naviarhaiku181)

This is my submission for Disquiet Junto 0287 - Digital Pause Tape.

The track could only be made using cut and paste using existing recordings and only pasting them together - no external effects allowed.

I've taken two mixes that I've previously created using a William S Burroughs Q&A and randomly cut up sections into smaller pieces and then randomly pasted them together.

The full mixes can be heard at:
https://www.mixcloud.com/Andrulian/dreamscape-010416/
 https://www.mixcloud.com/Andrulian/dreamscape-ii/

DreamRecollection - disquiet0287

This is my entry for the Disquiet Junto Project 0288 - Interspecies Duet

I've used a pig sample from freesound.org and a bird recording I've previously taken.

The song was arranged in Sensomusic Usine Hollyhock III.

Pig sound: Groove Matrix; Homing Pad with Subvert and Cryogen (Glitchmachines); uDrone with Hornet Spaces and Outer Space (AudioThing)

Bird sound: padKontrol with Incipit (Inear Display) and Teufelsberg Reverb (Balance Mastering)

Mastered in MuLab 7 using Overtone, Propane, MSW (Soundspot) & Neutron (iZotope)

Pig And Birds [disquiet0288]

This was arranged and recorded as a one take recording in Sensomusic Usine Hollyhock using Carbon Electra, various samplers and effects including SpecOps, Ultratap, MangledVerb and Blackhole.

The song was mastered in MuLab using Elevate and Stage.

To Be A Giant (Naviarhaiku208)

This is a track created for the NaviarHaiku222 challenge.

The Haiku has inspired a piece that tries to capture those moments when you remember dreams during the day.

Fragment Of A Dream [naviarhaiku222]

The haiku inspired this submission that's an ambient soundscape.

I've used a number of instances of Synthmaster 2 (KV331 Audio), a couple of instances of Bernard Hermann Toolkit (Spitfire Audio) and an urban and suburban sample (Boom Library) processed with Fog Convolver, Outer Space (AudioThing); Blackhole, H949 Dual Harmoniser and Ultrachannel (Eventide); SpecOps (Unfiltered Audio).

Arranged and recorded in MuLab 7, also mastered in MuLab 7 using Magnetite (Black Rooster Audio), Stage (Fiedler Audio) and Elevate (Newfangled Audio).

Two Lights (naviarhaiku 238)

Submission for Disquiet Junto Project 0371

Concrete ambience.  Considering the nature of concrete. it starts as a slurry and sets to form a hard, dense material.  However, it is also prone to corrosion, granulating and crumbling and this entry considers all of these properties of concrete and what concrete wallpaper music sounds like.

I've created a live recording using the Joggle samplers in Usine Sensomusic Hollyhock 3 to slow down a kick drum sample and two samples from my Kalipheno sample pack.  I've processed them with Subvert, Fracture XT (Glitchmachines); SpecOps (Unfiltered Audio); Frostbite, Type A (AudioThing) and altered sampler and effect settings during the recording.

I've then added some mid/side processing in MuLab 7 using FabFilter Pro Q 3 and mastered using Magnetite (Black Rooster Audio), Stage (Fiedler Audio), Elevate (Newfangled Audio) and Youlean Loudness Meter.

Concrete Ambience (disquiet0371)

I've scoped out the composition using Scaler, sounds provided from eDNA Earth (Spitfire Audio) processed with a range of Eventide effects.

Neon Boulevard (naviarhaiku266)

The Assignment: Make a piece of music that sounds as unlike you as you can accomplish

That's quite tricky, especially as I make a wide variety of experimental, ambient, glitch, downtempo and dark ambient sounds.

So I've taken a style that I've got utmost respect for and applied a vaporwave aesthetic.  I've taken a whole song that's in the public domain, slowing it down and applying lo-fi, reverb and delay effects.

Aesthetica (disquiet0375)

Exploring the realms of electronic music.

I started out using Caustic, the Android music creation tool and I still use it occasionally from time to time.  I moved onto Ableton Live Lite 8,  the 'I, Improvised 3' project inspired an album created with one take recording which can be found on my Bandcamp page.

It has limitations I thought were too crippling to create full songs but you just need to be a bit creative.  True it's a compromise but it goes to show you can still make music even with these software limitations. 

I've since moved onto using Mulab 6 and more recently Usine Hollyhock II which isn't like a traditional DAW, it's more aimed at live performance.  It is incredibly powerful with a wealth of samplers, granulators, glitch tools, groove machines and physics engines.  It's also a totally modular environment. 

As well as synthesizing sounds, field recordings or found sounds hold a particular fascination in the way they can capture a unique moment  resulting in sounds that cannot be synthesized. 

The tools in Hollyhock allow me to dissect these sounds, making them non-linear which kind of takes them outside of time to give a different perspective. 

Andrulian

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