“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)
