It's one take, recorded in stereo in the rack. For this upload I've cut out some noises in certain frequencies in audacity.
It's an older track, but I've dig up some notes and though that they might be interesting.
It all started with a microtonal just intonation tuning based on the primes 5, 7 and 11. It's a weird math concept, way off any sort of beaten path both in theory and the sound. It's way too much nerdy stuff to explain now. Here you can noodle in this tuning: https://scaleworkshop.plainsound.org/scale/g8kYLBpu0
The patch has 4 voices. 3 of them are Karplus Strong resonators, the 4th is a drone made out of processed highest of the plucks. The plucks are all filtered pretty heavily, low and high both go through lp and hp, while mid goes through a static bandpass bank. There's some resonance dialed up on some of them, it's all done by ear to fit the track so I don't have any more details in my notes. Theres some unsynced modulation. The delays on the mid and high voices are generally clocked at divsions of 6 and 8 but are at times manually switched to other timings, chosen by ear.
The low voice (I'm not saying bass here, as the mid voice is arguably bass as well) steadily outlines two unusual tetrads and can be though of as 23 with the pitch pattern 1-1-1-1-2-3-1-1-1-1-2-3-6, but there are notes repeated in smaller subdivisions at places. Here the low bass sequence
Mid and high voices are controlled by 3, 5, 7 and 11 clock divisions that are routed, summed up and randomly dropped in different ways that are changed manually and while recording. These are mostly the same prime numbers that the tuning was based on, but it I felt it was too constraining musically to stick to them strictly. Ear is more important that math.
The pitches of mid and high voices are somewhat generative as two s&h fish out notes out of the low sequence, one every 11 clock tick, the other changes with the routings above. Mid voice just plays the notes at it's own current rhythm, high has the frequency pitched up by a factor of 5 (it's a natural consequence of the tuning used). High voice has also it's own short sequence which is added to the base notes at times, triggered manually, to increase tension.
Last voice is the drone, which is the high voice going through some spectral resynth effect and then into a bank of bandpasses. All that is modulated by unsynced and a bit chaotic lfos and envs.
It's an older track, but I've dig up some notes and though that they might be interesting.
It all started with a microtonal just intonation tuning based on the primes 5, 7 and 11. It's a weird math concept, way off any sort of beaten path both in theory and the sound. It's way too much nerdy stuff to explain now. Here you can noodle in this tuning: https://scaleworkshop.plainsound.org/scale/g8kYLBpu0
The patch has 4 voices. 3 of them are Karplus Strong resonators, the 4th is a drone made out of processed highest of the plucks. The plucks are all filtered pretty heavily, low and high both go through lp and hp, while mid goes through a static bandpass bank. There's some resonance dialed up on some of them, it's all done by ear to fit the track so I don't have any more details in my notes. Theres some unsynced modulation. The delays on the mid and high voices are generally clocked at divsions of 6 and 8 but are at times manually switched to other timings, chosen by ear.
The low voice (I'm not saying bass here, as the mid voice is arguably bass as well) steadily outlines two unusual tetrads and can be though of as 23 with the pitch pattern 1-1-1-1-2-3-1-1-1-1-2-3-6, but there are notes repeated in smaller subdivisions at places. Here the low bass sequence
Mid and high voices are controlled by 3, 5, 7 and 11 clock divisions that are routed, summed up and randomly dropped in different ways that are changed manually and while recording. These are mostly the same prime numbers that the tuning was based on, but it I felt it was too constraining musically to stick to them strictly. Ear is more important that math.
The pitches of mid and high voices are somewhat generative as two s&h fish out notes out of the low sequence, one every 11 clock tick, the other changes with the routings above. Mid voice just plays the notes at it's own current rhythm, high has the frequency pitched up by a factor of 5 (it's a natural consequence of the tuning used). High voice has also it's own short sequence which is added to the base notes at times, triggered manually, to increase tension.
Last voice is the drone, which is the high voice going through some spectral resynth effect and then into a bank of bandpasses. All that is modulated by unsynced and a bit chaotic lfos and envs.
Statistics: Posted by Domin — Fri Sep 13, 2024 6:19 am — Replies 0 — Views 29