My Filter 8 arrived yesterday. I’m pretty sure I made the right choice (instead of keeping QPAS or trading for Three Sisters). It’s as good for basic filter and VCO duties as I thought, is wicked cool as an LFO, and it turns out to be pretty great at waveshaping too. This morning I had 20 minutes to play with it before heading to work, and I had it turning a simple sine wave into an 80’s “brass” synth sound.
And then I happened to spot someone selling their DPO for a fair bit less than I’d seen elsewhere. Reader, I did not close the tab, sit on my hands and wait for Knobcon as previously planned. I bought the DPO and put a couple things up for sale that were previously “trade only.” The risk here is minimal; I know I love the sound of the DPO from other peoples’ recordings, and I know from previous module experience that the essentials of its design are exactly what I wanted. So Synth Farm 2.2 is now settled.
The current album project, now likely to be titled Internal Reflections, has 51 minutes of completed work. I could certainly stop now and move on to mastering, but I think one more song will do. I’ll get that in before the DPO arrives as a sort of chapter close.
The new headphones and mini Bluetooth receiver for the office are working out great. I don’t know why semi-open back headphones aren’t more popular — the sound and comfort are fantastic, there’s still enough isolation for anything that doesn’t require close mic recording or jet engine level noise cancellation, and they clearly don’t have to be expensive either. I’m currently using them to listen to the 4th Ambient Online Themed Compilation, Death and Rebirth, on which I have a couple of tracks. It’ll make for a chill day of listening.
I’m declaring Passing Through “feature-complete,” as is sometimes said in the software development business. I’ve got everything recorded and have the order worked out, I just need to do some minor editing, and then mastering and artwork and that’s that.
I thought I had a pretty neat idea for a title for the next album, but it turns out to be the same title as a Christian Rock song. I’ve already had the displeasure of seeing one of my album titles as the title of a novel on a convenience store shelf.
…You know what, I’m not even going to check if “Passing Through” is already the title of something because it’s really a common enough phrase.
The third Ambient Online Themed Compilation is now available. There are 74 tracks on it (!) and two of them are by somebody named Starthief. I’ve only listened to a few of the others so far, but I like what I’m hearing.
“Georgium Sidus” may be as close to conventional ambient music as I’ve come lately. “In Cyan” had to go weirder. Both of them are studies in tension, in their own ways.
A couple of the pieces on the upcoming album are a little more chill, providing relief from the oppressiveness of a couple of the others. But maybe sometime I should just make an album of relaxing yoga music or something.
It’s been 4 months since I set out my 2019 goals. How am I doing?
“Keep making music”
Pretty well! I released The Rule of Beasts, submitted to the compilation above, and have recorded 42 minutes of music toward Passing Through. The latter was slowed a little by gear and layout changes but I think this is an acceptable pace.
I haven’t done anything related to playing live. I looked into some ambient labels and haven’t decided to submit anything to them yet. I changed all my albums on BandCamp to pay-what-you-want.
I booked a hotel for Knobcon (registration for the event itself has changed from “tickets on sale March 1” to “tickets on sale in March” with no indication of progress).
“The gear plans”
Swimmingly! I’m basically at version 2.0 now (just waiting on one module to arrive from Portugal, and may make one more substitution), and it’s as good as I had hoped.
I’ve been diligent about tracking money spent on gear and received in sales, and in fact have stuck to the stricter idea that I’m going to spend less than I sell. There’s still some leeway in that for a couple more toys if I want — though I will wait at least until KnobCon for that — but right now nothing’s really on the menu.
“The health plans”
Physically: I don’t see my endocrinologist in May, and have been measuring nothing. I’ve been generally eating healthier, I think.
Mentally: really haven’t had the “maybe a panic attack” symptoms for a while. CBD oil is not a miracle cure but has helped with general mood stuff and seems to relieve tension a little bit. I have been pretty good about avoiding, or quickly disentangling from, pointless online bickering.
“The house plans”
I finally finished the vinyl plank floor. Haven’t done much else really.
The theme for Ambient Online’s third themed compilation is Uranus. Absolutely nobody went for the obvious pun I’m lying, they totally did. I recorded my two songs for it between deciding on the final track list for The Rule of Beasts and mastering it, and I’m pretty pleased with them. That compilation will be out in a month-ish.
One of those used two software synths through Dark World, plus a contribution from the Thingamagoop 3000 that I don’t often bring out — no modular. The software part gave me more technical trouble than anything I’ve done in quite some time. Since I was mixing software with hardware it was necessary to record in real-time, but there were lots of clicks and pops and stutters in what was supposed to be a really smooth voice. One of these days I may have to replace my …7?… year-old computer so it can run some of the heavier VST plugins I’ve got. Thankfully I fixed it by killing every other process I could, bouncing one of the voices to an audio recording as an offline process and then running that through the effect and doing the rest of the mix. There was still one glitchy bit which cleaned up okay with some effort in Sound Forge.
Speaking of struggle — after the fight I had mastering Materials, the next album only took about 4 hours to get sorted. Hours which were half-spent playing “AdVenture Communist” on my phone while YouLean did its metering thing.
Chalk it up to knowing my LUFS goal ranges throughout the whole process, and perhaps doing a bit more with EQ, dynamics and cleanup in earlier stages. The actual dynamic range varies quite a bit between individual tracks — with “Steadfast Stonehead” as solid and dense as its name and some others involving a lot of percussive bits and clicks in a quieter space — but nothing was particularly hard to tame.
So now all that remains is to slap some text on the artwork that I’ve already finished, upload it and fame and fortune shall be mine in a parallel universe where I have a million fans since President Sanders mentioned Vox Inhumana was his favorite album.
A few days ago my spouse mentioned a dream with Michelle Obama in it. Apparently dreams featuring the Obamas dispensing wisdom are not an uncommon thing:
had a dream obama and the guy who plays air guitar at the mall were about to fight and obama said “ violence for violence is the rule of beasts “ and i woke up because that was the rawest shit i ever heard
There are t-shirts and podcast episode titles and a database of Obama dreams. So, why not an album of electronic music? Yep, I’m tentatively calling the next album and the last track on it The Rule of Beasts.
The last track stands out from the others in style (but is probably not “the rawest shit you eve heard”). I was trying out the Sputnik Five-Step Voltage Source I’d just received, driven rhythmically by Teletype and modulating Plaits’ various parameters. I recorded it but figured it was destined to be dumped on SoundCloud as too different from my ambient drone style. But a couple of ideas struck me right before publishing it, and it went back into SoundForge for a few more rounds of editing. The result works, I think, but I’ll wait to confirm that in a different listening environment first.
I’ve got 70 minutes of material now, but a couple of songs need final decisions about inclusion. For comparison, January 2018’s Nereus was a couple of minutes shorter and I’d rejected about 20 minutes of other recorded material.
I’d previously thought about calling this one Super Blood Wolf Moon, but that already feels like a dated and irrelevant reference already. It’s the title of one of the other songs though, if I don’t change it. The album art also was originally one of my dad’s photos of that event, but because the resolution was too low for DistroKid’s requirements, I started processing it… and now it’s a metallic tunnel/vortex thing. My approach to photo editing software sometimes resembles my approach to music making.
That Sputnik module is a bit quirky. The pulses coming from the top row when a step changes are ridiculously short and don’t reliably trigger every module. It works fine with Tides and Teletype though, and if the ER-301 is fine with it I won’t sweat it. Otherwise I’ve been able to massage the signal a little bit with tanh to keep it over common trigger thresholds long enough to work.
I made a couple of wrong assumptions about controls in the Stage Select section, so it’s slightly less like the Buchla Music Easel sequencer than I thought — but cool in a different way. The Address input is exactly as expected and is easy to control via Teletype. Overall it’s a fun, hands-on multi-channel sequencer. Between it and the faderbank for the Teletype and the SQ-1, and good old MIDI, I believe that should settle the sequencing question.
I’ve got a tentative layout worked out for the new case. I took those guiding principles I came up with in the previous post, used the bubbl.us mind mapping tool to associate modules into groups, considered the impossible ideal of having all my modulation sources equidistant from any given destination, thought about geometry and pre-modern naval tactics and put together a compromise.
There’s a logic to each module’s placement, even if the logic was something a bit weak like “it was the right size to fit in an awkward gap” or “this keeps all the black-panel modules together.” Actual usage will tell me whether I want to shift things around, but I think this is a setup I can live with; I know the modulators are generally on the right edge, VCAs/LPGs clustered together, sequencing all at the bottom and so on.
Ambient Online Themed Compilation #2, Fire, is now available. I have two tracks on it (one also appears on Materials).
Based on what I’m hearing so far of the album, I might be pushing the boundaries of what’s commonly considered “ambient” — but I’m not the only one, which makes me happy.
Brian Eno’s concept of ambient music was “as ignorable as it is interesting,” meant to work on many different levels of attention. I never actually try to achieve that, and I think most other musicians in the genre don’t either. The genre has evolved. It’s not quite a meaningless word, but it’s not quite right.
It would be great to find a more like-minded… er, like-sounding (?) community of musicians to run with. Start our own label, build up a reputation, come up with a genre name that really fits, etc. Nathan Moody uses the word “angrient,” which is kind of clever but little of his music (or mine) actually comes off as angry. I have similar mixed feelings about my own “uneasy listening” tag.
A lot of genre names are terrible, though. I guess the real problem is that words aren’t music, and to know what the music sounds like you have to actually listen to it.
Anyway. I was waiting for this compilation’s release — and to give Materials a little while as a Bandcamp exclusive — before submitting it to streaming services. Those will be ready soon though; meanwhile here is a link to pre-save it on Spotify.