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]

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]

How can I walk away from you? 
-- when I'd have to walk away from me, too?
How can I walk away from you?
-- When I'd have to walk away from God, too?

I'd have to pretend the sun doesn't shine
every time I think we'll be fine.
I'd have to pretend the demons aren't trying to tear us apart 
to finally force me to depart from this world.
I'd have to pretend the breeze isn't blowin'
every time I think you won't be going.
I'd have to pretend the demons aren't trying to tear us apart 
to finally force me to depart from this world.

I'd have to be crazy not to believe
what the trinity is always tellin' me:
that they brought us together for forever
and we're meant to be.
I'd have to pretend that what they're tellin' me
is not true:
that we'll be together for forever, 
me and you.

I'd have to pretend the sun doesn't shine
every time I think we'll be fine.
I'd have to pretend the demons aren't trying to tear us apart 
to finally force me to depart from this world.
I'd have to pretend the breeze isn't blowin'
every time I think you won't be going.
I'd have to pretend the demons aren't trying to tear us apart 
to finally force me to depart from this world.

How Can I Walk Away From You

Generally, I do not allow myself to start up a new project while in the middle of another one, but this time it seems I couldn't quite help myself. At any rate, I kept at it pretty well once I started it, stopping for a couple of naps along the way. I'm glad I broke my rule this time, let's just say.

It's all "in the box." One thing I did, which was a bit of an indulgence, was to pretend I was using FL1 like back in the day. The only way in which I did so, really, was to create each part of the song in a single pattern, which then evolved as it went. Then the same was done for the second part of the song.

Another cool feature of this tune is that the pitched aspects of it follow a melodic variation of the rhythmic structures using a very straightforward process to translate one into the other. This created an addition modulo 16 over modulo 12 pitch structure.

The bassline follows the hi hat rhythm, while the second pitched voice follows the claps and the third the snare. Each one of these rhythms are a slower version of the hi hat rhythm, one to the next.

The hi hat rhythm sequence, clock ticking from 0 to 15, plays on:

2, 6, 9, 11, 14. 

Why do I always forget to mention this? -- the bpm is 111.

Transition

Woke up with this bassline motif in me head.  Went ahead and sketched it out soon thereafter.  The bass sound is that of the Sawer, based on its Bottom Feeder preset.  Later I felt that doubling the line an octave down filled it out more completely.  In case you're as curious as I was when I awoke, the note sequence is F-Ab-Bb, with rhythms as heard, clearly falling into some triplets in the second bit.  I played variations in this bassline using the Akai Fire controller -- amazing device!

A basic 808 drum kit provides the beat.  Essentially it primarily expresses a mixture of quarter notes and triplets.  Of course, I varied this central rhythm using the same Fire device.  

The strings, voices, and vocoding are provided by the Behringer VC340 -- such beautiful analog strings!  Wow.  I improvised harmonies and lyrics throughout this song.

Reverb was provided by the TAL Reverb 4 which I set myself to appropriate parameters.  This reverb was used for all percussion except for the bass drum, the upper frequencies of the bassline, and the vocoder+synth part. 

Fruity Delay 3 provided the echoing effect.  For the bass, this was based on the Resonator preset.  For the vocoder+synth, it was based on the Ping pong preset.  Of course, I tweaked both to fit the piece.

The lyrics are rather unintelligible and improvised, so I cannot list them here.  It's only been a few days since the passing of my wife's father, so the words and, indeed, the performance were all influenced by the emotions of this time.

I tapped out the tempo which turned out to be at 102 bpm, which I used for the first few takes.  Then I tapped it again, adjusted it, and it turned out to be 88 bpm for the next few takes.

Some subtle adjustments to the overall song were made, of course, in the mastering process, but it is heard almost completely as it was performed.

Morning Beat [Take 1]

Support this musical odyssey on Patreon:
https://www.patreon.com/swircle987

Also find me on YouTube:
I have begun what I plan to be a long term method of sharing my music, i.e. live streaming improvised electronic music productions on YouTube.  So tune into my channels to watch AND listen.

https://www.youtube.com/user/TheSwircle987/videos

Also find me on iTunes, Spotify, etc.:
I also distribute some of my music to most of the popular music streaming and purchasing sites.

============
General: 
============
All of my music is completely original!  Check out my reposts, too ... for they are also mine.
    
============
Bio: 
============
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.

============
Quote:
============
"Reality: my least favorite hobby."

~~ Swircle 987

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

Morning Beat [Take 1]

Swircle 987

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