Track 3 of the Album https://soundcloud.com/user-461764443/sets/the-firm-dark-orchestral-suite
The Firm has a very prolific pharmaceutical branch. It started many years ago when a colorful and buzzing crystal was invented by their chemist Brian Black aka Weissenberg. At that time cash was raining on the company but the firm had to stop that branding once the pharmaceutical business unit went on the stock market. With this well acquired expertise they now produce the most wanted opioid called the Pentanyl. Recently they started to produce vaccine, which generates revenue that greatly exceeds any possible expectations. They sarcastically called their new vaccine the Crysta Pentana. The suspicious thing about it is that everyone that had the new vaccine was so happy about it and wanted new shots over and over.  I guess it is due to the crystal manufacturing legacy of the firm.

“This is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental.”

Music & Production: Syrel
Photography: Syrel (1985)

The Firm

The Crystal & Pentanyl Cook

TPC#228#K9N SoN OF a Bi#@CH

I was recently pleasantly surprised, as I rediscovered some pretty cool fusion style music I had produced over a quarter century ago. This old music marks the time I first got introduced to midi sequencing.
For those that want to know more, here's a few interesting details as to how this music came to be.
Just for context... at the time (1995), I knew absolutely nothing about computers, and the world of personal computers, including pc based DAW, was still waiting for me to discover a couple years later on.
So... besides my electric guitar, the only other musical "tool" I had at my disposal to produce most of my home-studio "desktop" music at the time was my one and only keyboard, a Korg T-3 "workstation". 
This exciting, and recently introduced keyboard offered plenty of great synth sounds, but also had built-in midi sequencing abilities. This feature interested me very much realizing the great potential it offered coming from a composer's viewpoint.
Working on and constructing full length multi-instrumented compositions and productions using the Korg T-3's built-in sequencer was not easy. A tiny screen and just a few push buttons to access all the editing functions made for a highly tedious experience compared to using the standard everyday DAW systems most musicians are accustomed to these days. What was even more crazy was I had just gotten rid of my old multi-track Tascam cassette recorder, as I was pretty fed up with all the technical problems associated with the old tape machine technology. So I was determined to do any future music productions using digital recording. In my case, after completion of my work of sequencing for multiple instrumentation for this particular tune, I was  also faced with the challenge of playing and recording my guitar parts straight through the entire piece without any overdubbing or editing, as I was recording directly onto a 2-track (stereo) DAT. Everything had to be pre-mixed as perfectly possible as it all would go directly onto a stereo recording. That means all T-3 derived sounds, such as drums, percussion, bass, keyboards, etc., had to first be mixed within the Korg T-3's own built-in mixer. Then my guitar had to be mixed and recorded in one pass, together with the T-3's mixed stereo output, going through a small audio mixer feeding the final mix to the stereo DAT machine.
Challenging and time consuming for sure... but some will understand... creative energy and inspiration has a way of overcoming these kind of obstacles, which is exactly what happened to me. Within two years I managed to finish off about a half dozen decent tracks in this manner, in which afterwards I finally realized I really needed a update to a full sized computer based audio work station in order to continue and advance in my creative endeavors.
That said... it was the lessons I learned from these first days of sequencing on my old Korg T-3, that helped me a whole bunch as I advanced into today's standard DAW technology.
I hope everyone gets a chance to enjoy some of this music that belongs to this special group of tracks, an "album" so to speak, which I titled "FusionRama".

GUMBO GIG (Audric Jankauskas-1995)

For the Sunday Roulette challenge from The Loopdiggers FB group

1Ain't Got No  Style Roulette

246 Million Wayz

ความเพียร

Drenalyn - Boondock Saint (TPC265)

Lying is a way of life in our world. But God hates it and shows us how to keep our word in three distinct areas of our lives.

Liar, Liar

Disquiet Junto Project 0590: Concrète Roots 
The Assignment: Make music combining field recordings and feedback

I was in Paris and brought my recorder along. Our hotel was right outside of Gare de l’Est. The little four note tune that’s at the start of the French Railroad service announcements was in the room about every two minutes, and so became somewhat emblematic of the trip. Also, there was this fluorescent tube light in the hotel bathroom that had a… je ne said quoi. Perhaps it’s the sound of arriving in a work place — a garage, storage space or studio — in the very early morning, still dark, at an hour when no one who has any choice in the matter is not in bed, everything quiet, all alone, and then this tingling, almost glitchy tone as the lights come on. You don’t see/hear them as much as you used to. 
So those recordings, together with a recording of a departing train, became the basis of this track.

The field recordings are accompanied by a feedback part, which was inspired by things I read in the llllllll cybernetic music thread: https://llllllll.co/t/cybernetic-music-roland-kayn-feedback-systems-ai/40635. 
I suppose it is a take on work by Jaap Vink. The audio signal goes into a delay, is then sent through some effects (in Vink’s setup, a ring modulator and a filter, if I recall correctly), then a reverb, and then sent back to the input, with some form of attenuation that is controlled by an envelope follower. The result is an audio signal loop that keeps its feedback in check automatically.
In my case everything was made on an iPad, which is surprisingly good and versatile for creative audio routing. Instead of a ring modulator, I used an app that has a bunch of resonators that you can actually ‘play’ using a keyboard: playing a note on the keyboard will activate the resonator tuned to that note. Playing the resonators subtly shifts/nudges the feedbacking audio into different parts of the frequency spectrum (in a way that is roughly analogous to what the ring modulator and filter do in Vink’s setup).

More on this 590th weekly Disquiet Junto project, Concrète Roots (The Assignment: Make music combining field recordings and feedback), at: https://disquiet.com/0590/

Disquiet Junto

Concrète Roots- disquiet0590

TPC293

SOUR WORMS



Beats from 45,80$!  Independed femaleproducer from Bergen in Norway. Started with studio, beatmaking and soundengineering in 2018. Makes mostley Hip Hop, RnB and Popmusic. Label: K9N MuS!C

TPC#228#K9N SoN OF a Bi#@CH

ConnieN - K9N MuS!C

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