The eighth of 30 days of recording music for Novembeat; the prompt was "floral", of flowers. This is a succulent common to the coastal areas of the Pacific in California, where I took many leaps and strides in my music composition.

floral [novembeat 2021.08]

The eighteenth of 30 days of recording music for Novembeat; the prompt was "warped", abnormal or strange; distorted. Well, I can do that. Also experimented with synths that I'm not familiar with, like Arturia's version of the Fairlight CMI (Computer Musical Instrument). Didn't give myself enough time to play with time signatures, but there's still some fun awkwardness and musical jokes. Definitely channeled some Cyriak Harris on this.

warped [novembeat 2021.18]

Experiments with AAS Chromaphone 3 and odd time signatures led to this other-worldly exploration evocative of windswept hilltops with nothing between you and the horizon but a set of wings. The penultimate track in the 2021 7DFPS game jam entry TRAVERSAL.

Traversal OST: INSPIRATION v1

The main titles to TRAVERSAL, a 2021 7DFPS game jam. Big, epic, industrial inspired, but with moments of introspection.

Traversal OST: TITLE v2

ENGULFED v1

THE SLUMP v2

NETHER v1

Soundtrack to the seven day rouge-like game feederRL by ldd - https://ldd.itch.io/feederrl

A fun, small project, and ldd has gone on to work on other projects like Necromancer's Gift.

If you play the game, the title music is "確かな希望" by Makoto Hiramatsu - it's a really good title track and an excellent choice!

introductio (loop)

game over

depths (loop)

Part of the soundtrack of an upcoming game; the defeat of the boss KOPFWEH, a [REDACTED].

never forgive//
never forget//

schmerzmittel

i've been building a noise box with a piezoelectric contact microphone glued to a wooden box covered with springs, rubber bands, a head scratcher, a kalimba, and a fidget spinner. always be experimenting.

noise box

The credits music, complete with timpani and shredding, for the original version of GUN FLESH.

GUNFLESH Credits (FINAL)

One of the greatest human achievements was the voyage beyond our atmosphere to a celestial body most have seen but will never touch. In 1969, the Apollo 11 spaceflight landed the first humans on the Moon.

The NASA Johnson Space Center digitized, cataloged and archived audio from the Houston Audio Control Room and uploaded it to the Internet Archive. The tape has degraded; through the hum, warble and hiss of decades and acetate, the voices of ghosts of technicians and controllers discussing the mission can still be heard.

Cockos REAPER v6.03/x64 - recording
Magix SOUND FORGE Audio Studio Pro 12.6 - mastering

Arturia KeyStep - input

Spitfire Audio - LABS - Opia: Tape Loop Wobble
Arturia - Pigments - Reverse Box; Native Instruments Driver - Dark LFO
Arturia - Solina V2 - Deep Breathing
Spitfire Audio - LABS - Frozen Strings: Super Sul Tasto Cello
A11_T648_HR1U_CH9_02-47-56_11-17-56_-_2015-10-01_Recording.wav; Cockos ReaEQ; Native Instruments Supercharger - Vocal; Native Instruments RAUM - Guitar Reverse

Source of the Control Room recording: https://archive.org/details/Apollo11Audio (Public Domain Mark 1.0)

Photo - Apollo Director Phillips Monitors Apollo 11 Pre-Launch Activities, July 16, 1969 (No known copyright restrictions) - https://www.flickr.com/photos/nasacommons/4858567220/in/photostream/

Photo - https://www.pexels.com/photo/sky-space-moon-astronomy-47367/

Ghosts of the Control Room (disquiet0420)

I've flown into San Francisco International Airport more than a few times. After a few thousand miles, it's welcoming to see the edge of the Bay and the incredible salt ponds. At that point, I'm usually more than ready to get home, but my mind wanders and I'm still drawn to the window. The clunks and whirrs of the sounds of the airplane preparing to land, the anticipation of fellow travelers itching to exit the tin can and the paradoxical combination of slowing yet feeling like you're going faster as we near the ground, and before you know it we're taxiing.

*Gear*

* Cockos REAPER v6.04/x64 (recording)
* Magix SOUND FORGE Audio Studio Pro 12.6 (mastering)
* Native Instruments KOMPLETE KONTROL S61 (input)

*Instruments*

* Native Instruments Kontakt 6 - Output SUBSTANCE - 285. Sub Tsunami
  * Native Instruments VC 76 - Sidechain
  * Cockos ReaEQ - Custom
  * Native Instruments Raum - Damped Vocal Plate
* Native Instruments Kontakt 6 - Kinetic Metal - Ship Breaking
  * Native Instruments Replika - Soft Clouds
  * Cockos ReaEQ - Custom
* Native Instruments Kontakt 6 - Una Corda Felt - Harmonics' Landscape
  * Cockos ReaEQ - Custom
* Arturia Pigments 2 - Cassette Lead
  * Outpot Portal - Chordal Clouds
  * Cockos ReaEQ - Custom

*Attribution*

* Photo - https://www.flickr.com/photos/ian_e_abbott/10701041925/ 
"Salt Ponds, San Francisco Bay (1)" by Ian Abbot, processed through https://photomosh.com/ and Paint.NET

Final Approach (disquiet0427)

A misty, foggy, rainy day. High enough above to hear it, far enough away to be above it, close enough to smell it, vague enough to float away into wherever your thoughts take you, then you center yourself, back, back, again, don't lose yourself, don't lose focus, it returns.

Submission for Disquiet Junto Project 0476: IAH Forecast - https://llllllll.co/t/disquiet-junto-project-0476-iah-forecast/41553

*Gear*

* Tascam DR-40X (field recording)
* Ableton Live 10 Standard
* Magix SOUND FORGE Audio Studio Pro 13 (mastering)
* Native Instruments KOMPLETE KONTROL S61 (input)
* Novation Launchpad MK2

*Instruments*

* Kilohearts Phase Plant - Arpeggiating Effectous
** Native Instruments Raum - Yellow Memories
* Native Instruments Lo-Fi Glow - Detuned
** Output Portal - Ambient Lake
* Field recording of rain, drain and traffic (myself)
** Output Portal - Heaven Reveal
** Kilohearts Reverb - Ambience Dark
* Native Instruments Lo-Fi Glow - Lullaby Blips
* Native Instruments Lo-Fi Glow - Simp Le Church

*Attribution*

* Original cover photo by Robert Boyd in Houston, Texas, used with permission.

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