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Post Post #146  (isolation #0)  » Sat Nov 29, 2014 1:07 pm

i'm this pretentious
my meta is invalid

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Post Post #167  (isolation #1)  » Fri Apr 10, 2015 12:32 am



Spoiler: tidbit
The name for this track is taken from a VST I wrote that forces all audio passing through it to the same amplitude, i.e. it completely erases dynamic range. This has some interesting results: reverbs can’t decay, allowing you to hear parts of the tail that aren’t normally heard; filtered delays dissolve into harmonics normally too quiet to hear; field recordings are flattened so that quiet rustles and loud bangs are equally pronounced.

The track spawned from experiments with this effect and is divided into 4 rough sections.

The track starts with a drilling engine-like sound that came from playing with a delay that was kept alive by the cuntpressor. The single sub-bass hit that punctures through the other sounds I added as a premonition of the later parts of the track. The rumble between the first and second section is the raw sound of the cuntpressor working its charms on a reverb; notice the crackles toward the end when the reverb desperately wants to die but the cuntpressor is keeping it unnaturally alive.

The second section builds on the first by tightening the rhythm into a more shuffley mode, punctuated with bass stabs and little snippets of voice. I often add fragments of unintelligible voice to music, it makes me think of how language might sound to someone with speech agnosia (word-deafness). Here the sub-bass hits that define the following section are introduced as high pitched blips in a syncopated rhythm that morph into their later form by lowering in pitch and slowing the tempo, so that the gap between them lengthens into full bars. This gives an effect of slowing-without-slowing, similar in concept to Shepard tones or strange loops.
The third section takes this bass hit and gives it a context with an awkward minimal beat that slowly expands into a more driving 4-to-the-floor rhythm. This builds until a pause when the piano is introduced. I recorded this at home using the shitty mic in my laptop, because I didn’t have any equipment with me. I approximated a stereo recording by recording the same riff with the laptop in several different positions around the room and blending them with different pans. I couldn’t completely get rid of the tinny timbre to them but I quite liked it anyway, so emphasized it with erratic filter changes.
The outro boils the rhythm of the 3rd section down to its basic no-frills constituent – a repetitive technoish loop. This morphs into two other styles before the track glitches itself to pieces.
my meta is invalid

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Post Post #210  (isolation #2)  » Sat Apr 29, 2017 7:39 pm

THE NEW JACASZEK RULES

dude has fantastic sound design and compositional skills, and now he's making chamber pop? FUCK YES

my meta is invalid


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