Sketch began as an attempt to reproduce John Luther Adam's Become Ocean and soon deviated. Telharmonic with FM from Wogglebug's Smooth CV out and blurring from Echophon creates a choral voice. Irregular rising and falling melodic line from the STO. Field recording captured at Lake Chelan, WA.

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Tried to figure out John Luther Adams’ Become River and soon deviated. STO and tELHARMONIC (interval set to unison) are playing stuttered melodic lines. STO runs through Echophon for some rhythmic density. Wogglebug’s Smooth and Woggle CV both attenuate the two voices. Sequence runs through a looper pedal for a while and is replayed at half speed beneath the higher line.

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Warbly harmonica tones from tELHARMONIC, lead voice from STO. STO goes into Echophon with STO’s linear FM and Echophon’s echo rate both modulated by Wogglebug’s Smooth CV out. Smooth CV attenuated with ModDemix before going into Echophon. Attenuation modulated throughout recording. Piece recorded, reversed, and played at half speed with looper pedal beneath itself. Field recording from St. Pauls Cathedral, London in September, 2019.

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Field recording of birds outside my window in Mexico City from the summer of 2019. Tried to slowly evolve/devolve the synthesized melodic line into bird warbles until it seamlessly overlapped with the field recording. Melodic line from STO, drone from tELHARMONIC.

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First experiment with the Morphagene and 2hp Bell. Begins with wavering melodic line from STO and bass from tELHARMONIC in shift register mode with suspended chords. Bell comes in with dampening modulated by Wogglebug’s smooth random CV. Rene sequences STO and Bell, which are playing respectively in the Dorian and Mixolydian (accidentally but it sounds nice) modes. Throughout the duration, they both increase their octave ranges. I recorded a short line of four chords with a bansuri flute and processed it with the Morphagene. The sample was divided into 4 splices. Tempi triggers when a new splice is played, and a slow Maths LFO modulates the Morph parameter, which multiplies, shuffles, and increases the pitch of some of the layered splices. The flute becomes a huge, shimmering, orchestral cloud. I recorded the processed flute at three different speeds and brought them forward and overlapped them while mixing.

Tristan B. Walker

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