Didgeridoo, guitar, and toy piano jam. More remixes of this to come. 

Daybreak Didge

Rolly Polly

” My goal/concept of this work was to use the materials at hand to create, to the best of my ability, an auditory demonstration of my incredibly distractible and discombobulated brain and personality. Steve Colacurcio and I recorded all of the sound sources in the recording studio, with the idea that each of us would use the same set of sound sources to create entirely different works. All of the percussive sounds were random vocal noises that I made into a Rhode NT1 condenser microphone. The guitar and saxophone sounds were recorded one note at a time (based on a concert D major scale). These tracks were all then mapped out to my MIDI controller. The other vocals include random sentences generated using this website: http://watchout4snakes.com/CreativityTools/RandomSentence/RandomSentence.aspx and a phone conversation I had with my girlfriend at the end of our recording session (she didn’t know we were recording it until the end). Her voice was recorded on speakerphone into the NT1. The random vocals were recorded using various techniques, including standing at different locations around a cardioid microphone and speaking into and recording the talkback system using a cardioid microphone. They were also mapped to my MIDI controller to be played as phonemes. I wanted the vocals to perceived as having different distances from the center of the sound. They are nonsensical distractions and voices in my head. What is said does not matter. The same goes for the phone conversation. I purposely spliced out crucial moments in the conversation so that it makes very little sense. 

The guitar tracks have limited effects since I tried to keep the sounds as organic as possible. The quick guitar notes at the beginning and end are altered by a stereo spreader plugin, which creates a really cool effect of the sound very subtly moving back and forth between the ears. The saxophone tracks were spliced without the beginning of the envelope to make the notes sound more synthetic. I used a low-pass filter and mid-level EQ boosts on the phone conversation to make my voice sound more phone-like and the sounds from the speakerphone less sharp. I also pitch-corrected and added reverb to our voices and used a bit of polyphonic flex to make them less natural sounding and more confusing. The track was then panned to make the listener feel in the middle of the conversation. The spliced-up random sentences spoken by Steve and myself are relatively untouched, except for a little bit of EQ altering towards the end. The percussive vocal sounds were compressed, low-pass filtered, and reverbed to even them out and create a broader sound. In general, I tried to keep the instrumentals and percussive sounds as clean and organic as possible and let the act of splicing them up and playing them via keyboard create the synthetic sound that I wanted.


Attention Sampling Disorder in D Major

Used some vocal samples from a friend of mine and a bit of Johnny Hodges to make this one. Tried to maximize the potential of each of the samples and synths I used. 

In A Mellow Dream

sampled from Maureen McGovern's "The Morning After" (1973)

Morning After Party

Lenny Kravitz, Willow Smith, and a touch of Thursday..

sample of a larger mix coming soon...


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Frograham Lincoln Is:

Dan Rome - Sick Beatz
Jam! Robo-Fist (Steve Colacurcio) - Cool Tunez

Yea Barry

More On The Floor

Samples of things that a monster might dance two.

Monster Sauce

My creative process. Sound sources include Bach's Invention #4 in D Minor, and anything in my room that makes noise. Recorded past midnight on a school night.

One late night, an inventor sits down to create something. This happens.