Weeklybeats is a 52 week long music project in which artists compose and publicly release 1 song a week for the entire year.
Starting January 1st 2024 GMT each participant will have one week to upload one finished composition. Any style of music or selection of instruments are welcomed and encouraged. Sign up or Login to get started or check our FAQ for any help or questions you may have.

WeeklyBeats.com / Music / BTS's music / “All lines are currently busy”

“All lines are currently busy”

By BTS on April 10, 2016 5:59 pm

I have been getting a lot of un-solicited calls on my cell phone the last couple of weeks, so it gave me an idea of what to do for this week’s track.  I used a dice (a D12, in this case) to determine how many Phone numbers I would use for this piece. I came up with 11 numbers deemed spam calls from phone.  I then went into Audacity to generate the dial tones with the DTMF generator. I then used my dice to determine which numbers ended up on which sets of phone dial audio (I broke the numbers into three sets). I panned and varied the position of each generation as well as the duty cycle on the numbers.

I then took sets of audio into Paulstretch, where I determined a length of the piece and generated two different stretches of each set; one dry, the other with harmonics and octaves added.

With 6 tracks total, I started working with the audio in Reason.  I used the 3 dry passes to create percussion elements, then mixed into a single bus. I automated the volume fader of the bus, recording the movements live with a Novation LaunchControl.

I set up the first percussion track with an Alligator Filter then running it into a LeSpace.  I used CV control on different elements of the Alligator and LeSpace, using the Alligator’s LFO and a BZR-1.

On the second percussion track, I just used an Alligator Filter and focused on CV control of the elements of the sound with a BZR-1, a Pulsar and the Alligator’s LFO.

On the final percussion track, I used an Alligator Filter with gate control of the bands generated by three different Euclids.

With the harmonic stretches, I used two to create a bed of sound mixed into a single bus. One of the harmonic passes was sent into The Echo, followed by 3 different LeSpaces.  The second was sent into another Echo followed by two different LeSpaces.

The third harmonic pass was a bit fuller, so I used a “H4RMONY” Combinator followed by a RV7000 mk2 into The Echo.  I then recorded automation of the volume fader as I had done with the percussion bus.

For the Master FX, I again used “Peff’s Hexpressor Master Suite” with an Ozone Maximiser into a RV7000 mk2 and finally into an Audiomatic.

I made all final EQ and fader adjustments and rendered the Reason mixdown. I finally normalized the audio in Audacity.

Audio works licensed by author under:
CC Attribution Noncommercial Share Alike (BY-NC-SA)

Fantastic sounds and a writeup to match. Sweet.

That's a lot of work; result is excellent.

Beautiful, and a very enlightening discussion of your process!

love this

this is fantastic

You need to login to leave a comment.
Login Sign-up