I took an 11-second snippet of the original track as my core sample.  I wanted to bring out the tonal aspect, so I did some pitch-shifting in Ableton Live to make four versions of the sample - original pitch, pitch- and time-stretched down a fourth, a fifth, and an octave.  I used follow actions to make the clips semi-randomly move downward then back up.  When the clip decided to repeat itself for the last time, the track ended.

However, the chords were hard to hear, so I duplicated the track and then added a Resonator in Ableton Live tuned to match the pitch-shifted chords and a couple of delays to make the chords stick around longer.

Then I took the core sample again and sliced it up into at least 22 micro-samples, each of which repeated or went on to the next sample at their own discretion.  This created "areas" of repeating samples that serve as a kind of form.

This is maybe the most IDM I've ever gotten.

* * * * * 

More on this 188th Disquiet Junto project (“Take a provided track and make it more complex”) at:

http://disquiet.com/2015/08/06/disquiet0188-complexcomplex/

More on the Disquiet Junto at:

http://disquiet.com/junto/

Join the Disquiet Junto at:

http://soundcloud.com/groups/disquiet-junto/

Disquiet Junto general discussion takes place at:

http://disquiet.com/forums/

Image associated with this project from the notes that accompany the album Complexification (Entr’acte), by Guy Birkin and Sun Hammer, and on which project is based.

More on Complexification:

http://entracte.co.uk/projects/guy-birkin–sun-hammer-e187/

Parallel Asynchronous Phase Rates (disquiet0188-complexcomplex)

Composer and producer who puts together noise and pretty sounds. Hear my releases on Bandcamp: https://natetrier.bandcamp.com/

Parallel Asynchronous Phase Rates (disquiet0188-complexcomplex)

Nate Trier