~= 366 Hz ~= F#4
~= 546 Hz ~= C#5
~= 1112 Hz ~= C#6
~= 1819 Hz ~= A#6
~= 2540 Hz ~= D#7
~= 4715 Hz ~= D8

These are the approximate frequencies which just so happened to be emphasized in the harmonics of the Neutron patching I put together for this tune.  Well, the harmonics actually slide up to these frequencies using the otherwise same patching of my previous tunes, all of which can be found under the umbrella term "First Glance."

The first distinction in this piece from the previous is that I doubled the number of Neutrons to two, replicating the cable patching of the first.  Of course, I also tweaked the knobs on each in search of a goal that I interrupted to record this rather radical sounding tune.  Always listening for cool new sounds as I implement a preconceived idea.

Then I put together a relatively absurdly complicated patching of the Crave, in combination with the Trigger Riot.  The end result is the deceptively simple boing sound which occurs throughout this tune.  The sound was also pushed through the tube amplification of the Erica Synths Mixer module.

Speaking of tubes, the low to sub bass end of each of the Neutron lines were fed through a tube effect within me DAW, using the underrated Hardcore plugin.  The mid range frequencies of the Neutron lines were directed through other mixer channels such that they essentially activated some piano harmonics with their own harmonics.  These harmonics were then led through further reverberation to produce the beautiful chord sounds which are panned the furthest to the right and left than any of the other sounds.  The high ends of the frequencies of each Neutron were only treated with some echo.  The frequency ranges of each Neutron were spread through the stereo field in such a way as to cross each other in the process.

The words are "Yellow!  How's it go?" -- although they can sound different upon listening.  Sometimes it sounds like "Yellow! How ya go?" to me.  Either way, I programmed the voice line via the native speech synthesizer, fed it through a tube amplification as well as amplifier simulation.  The stuttering variation of these words was derived from a highly integrated use of the native Granulizer VST.  Various other voices affected the parameters of the Granulizer, producing similarly hard-to-predict results with the stuttering of these words.

Much more could be said in regards to the composition of this piece, for it is quite the interconnected, interrelated mesh of parameters and sounds, but I think I will leave it at that for this description.  Might piece together a video description on the making of this tune for a deeper explication ... time will tell.

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And for reading (or scrolling) to the end, you get to know why the robot is saying "Yellow!"  It's meant to be a portmanteau of "Yeah!" and "Hello!" -- the sort of word splicing that often happens when suddenly confronted with overwhelming beauty.

Double Take [Yellow]

Two Doepfer A-137-2 Wave Multiplier II modules run in series (one on the other) on some waveforms transmitted by a Neutron. Recorded 5 variations of the parameters involved for each of 3 total voices heard in this piece. Various LFOs were used to control the parameters of the two Wave Multiplier II modules.

From there, the new Pitch Shifter and Frequency Shifter VSTs in FLS were used on the otherwise monotone audio recordings to create melodies and bass lines, as well as variations in their respective tones. Four out of the five recordings were spread through the stereo spectrum to widen and enliven their overall sounds, accentuating the variations therein. Polymetric LFOs were also used within each of the voices, fading their respective sub-voices in and out, thereby effecting their overall timbral qualities as well as further contributing to their stereo motion.

The percussion was all selected to fit within the general vibe of the piece, and a sub bass was added to fully round out the sound. Of course, many other things went into the full composition of this piece as well, but the above are the primary, unique techniques yielding the distinctive attributes of it.

Phase Shifter

Up In The Air

Up In The Air [Polygonal]

Been sittin' on this one for quite some time. Seems like so many things have come up in life that, well, it's been difficult to work in some music time. At any rate, all I really needed to do was master this one, or so I thought. Turns out I didn't even really need to do that. So here it is.

This tune is based around using midi commands to control my Moog Subsequent 37. As I recall, the motifs for the bassline just came to me as I improvised on the Sub37. I then composed them into my FLS to be used to play the Sub37 via midi. Other parameters of the Sub37 were also controlled in this manner.

Polymeter is heard throughout the percussive elements, as per my particular idiomatic predilections.

As for the title, well, life was under a rather more uncertain state than even is normal for me -- future unknown, yadda yadda. One way or the other, due to some circumstance or another, life seems to continue to be "up in the air" ... and difficult to determine where what have you will eventually(?) land.

Befaco Lich module can perform a polygonal-based sound creation program, so I used it to record both synth layers heard in this piece. Other modules making their entrance in this piece are the Befaco Morphader, the Allen Synthesis EuroPi module, and the Neuzeit Quasar module -- all completely awesome modules in their own right.

No time to delineate the exact patching of these modules, etc. Suffice it to say that you are hearing dynamically evolving polygonal sounds moving through three dimensional space. The percussion was produced in the post production, using a happenstance approach to synchronicities.

Soundscape 120 [Subber Mix]

Befaco Lich module can perform a polygonal-based sound creation program, so I used it to record both synth layers heard in this piece. Other modules making their entrance in this piece are the Befaco Morphader, the Allen Synthesis EuroPi module, and the Neuzeit Quasar module -- all completely awesome modules in their own right.

No time to delineate the exact patching of these modules, etc. Suffice it to say that you are hearing dynamically evolving polygonal sounds moving through three dimensional space. The percussion was produced in the post production, using a happenstance approach to synchronicities.

In this variation, the NiftyKeyz was used to channel some polyphonic Eurorack harmonies. The primary oscillators used were those of the Doepfer A-111-4 Quad VCO, made polyphonic by a few other Doepfer modules, the most unique of which were the two Doepfer A-130-8 Octal Linear VCAs which were used to morph between the three waveforms of each of the four oscillators. The morphing was controlled by an audio rate controlled Befaco Morphader, along with a tempo-synced Allen Synthesis module, itself set to the program which creates LFOs in a harmonic series. The Batumi 1974 Quadruple LFO module, whose phase frequency was governed by midi automation, controlled several parameters of the SSF Stereo Dipole module. Within this latter module, a couple feedback loops were created, producing complex and unpredictable waveforms.

Soundscape 120 [Nifty Variation]

Tune based on demo track for electronic music course I done taught. This one is full of the classic 303 synth.

Losers Say Loser

[Chorus]
The love in your eyes
is back inside.
When you look at me,
I can clearly see
how much you love me
how much you love me
ee ee ee ee ee ee ee ee ee ee ee ee

[Verse 1, twice]
Together
we fight
the demons
with the Ho-
ly Spirit
together
forever

His Holy
Spirit
It heals us
It heals us
It heals us
together
forever

Together
we pray
to Jesus and
His Holy
Spirit
together
forever

His Holy
Spirit
It fills us
It fills us
It fills us
together
forever

[Chorus]
The love in your eyes
is back inside.
When you look at me,
I can clearly see
how much you love me
how much you love me
ee ee ee ee ee ee ee ee ee ee ee ee

[Verse 2, twice]
Now closer
to God
through Jesus
and His Ho-
ly Spirit --
together
forever.

His Holy
Spirit
It heals us
It heals us
It heals us
together
forever

Together
we walk
He leads us
with His Ho-
ly Spirit
together
forever

His Holy
Spirit
It fills us
It fills us
It fills us
together
forever

[Chorus]
The love in your eyes
is back inside.
When you look at me,
I can clearly see
how much you love me
how much you love me
ee ee ee ee ee ee ee ee ee ee ee ee

Love In Your Eyes

Love In Your Eyes [Inside Variation]

Expedition 019 Notes:

Hardware:
Moog Subsequent 37

Software:
FL Studio, Valhalla Shimmer, Eventide Blackhole, TAL Reverb 4, Eventide UltraTap, Fruity Parametric EQ 2, ImageLine Maximus, Fruity Limiter

Process:
I was concerned about whether or not my synth was damaged by prolonged high heat exposure while I was away on vacation, so I needed to check it out and make sure it is still completely operational.  Turns out it is!  Thank Goddess ... .  This improvisation consists of me starting a sound from scratch and testing every knob on this synth.  Of course I did so in a very musical way.  As such, this process is also an exploration of a lovely soundscape that we can enjoy for years to come.

In fact, by the end, near the 23 minute marker or so in this piece, I found a sound that sounds so nice that I spent a few hours after this improvisation was finished to fine tune it and save it as a preset.

I must say, I also became much more acquainted with the ins and outs of what makes this synth tick.

All together, this venture turned out to be quite a rewarding experience.  Of course, I expected it to be as much, given the synth and all -- a truly beautiful instrument, indeed.

Other notes:
I should say that, despite the audible dynamic changes, I never once touched the volume knob on the synth during this improvisation.  All such changes in volume come directly from changes in the sound itself through other parameters.

Also, I decided to explore sonic terrain wherein the Valhalla Shimmer VST was not set to a shimmer effect, per se.  Instead of the usual 12 semitone shift it was set to a more subtle 0.08 pitch shift.

Also also, the UltraTap was configured to act as yet another reverb.

Soundscape 019

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General: 
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All of my music is completely original!  Check out my reposts, too ... for they are also mine.
    
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Bio: 
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Once upon a time, a long arse time ago ... I began creating music with just my computer, a piano, and a guitar.  During those times, I learned about making music by actually making it.  With the computer, I composed.  With the guitar and piano I improvised.

To this day, these are still my primary music making media, although I have since incorporated hardware synthesizers, DIY instruments, and Eurorack.  I now use digital, analog, and acoustic instruments and sounds to compose and improvise music.

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Quote:
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"Reality: my least favorite hobby."

~~ Swircle 987

(And, yes, feel free to quote me on this one.  ^_^)

Double Take [Yellow]

Swircle 987

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