Your "speed trash" always sounds amazing lol. The mix on this is so wide and open its really beautiful. And I feel you on the crashes - I know I'm getting old cuz my patience for crashes is basically non existent. Glad you're feeling better and still composing beautiful things

Your "speed trash" always sounds amazing lol. The mix on this is so wide and open its really beautiful. And I feel you on the crashes - I know I'm getting old cuz my patience for crashes is basically non existent. Glad you're feeling better and still composing beautiful things <3

you 100% rose to the challenge! and i've very glad to hear you're feeling better.

one of the big things i've noticed from doing this weekly practice is the ability to work QUICKLY. this is a prime example. that you can turn around something so delicate and textured and intricate in under 2 hours....
splendid work, my friend

you 100% rose to the challenge! and i've very glad to hear you're feeling better. one of the big things i've noticed from doing this weekly practice is the ability to work QUICKLY. this is a prime example. that you can turn around something so delicate and textured and intricate in under 2 hours.... splendid work, my friend

Holy shit, how is this speed trash!?!?!? I'm quitting music, hahahahahaa.... This sounds so cool!!! I'm a huge fan of the xylophone-style melody here, it sits SOOOOO well in the ethereal monstrous and scary space that is the rest of the tune. Monsters lurk - beware!!!

Holy shit, how is this speed trash!?!?!? I'm quitting music, hahahahahaa.... This sounds so cool!!! I'm a huge fan of the xylophone-style melody here, it sits SOOOOO well in the ethereal monstrous and scary space that is the rest of the tune. Monsters lurk - beware!!!

Thanks, and yeah I'm with you on the ever decreasing amount of patients for like "Professional Grade Software" crashing and glitching out during very normal use.  In this case it was Native Instruments to blame rather than Apple (presumably), but either way enshitification sucks (⸅⸟⸄)

Thanks for the kind words, and yeah for sure.  I think the single biggest value of having done WB for the whole year has been learning my own limitations and capabilities... like I'm now super confident in what I can (and can't) do in an hour/4 hours/2 days/etc.  Also I'm MUCH more comfortable with my tool chains, so when I'm in a rush, I know exactly what to reach for to get specific things down.  WB has very much been like a musical version of CrossFit or some such. 

ʱªʱªʱª(ᕑᗢूᓫ∗) It's really kind of a magic trick... the libraries are doing all the heavy lifting in this track.  This is made from mostly NI "Media Composition" libraries.  So most of the orchestration, modulations, and arp sequencing was done for me.  I basically just had to figure out a harmony and play chords to get like 90% of the track.  Arhkis, Ashlight, and Mallet Flux got me most of the way there.  Like I mentioned above, I've gotten so much practice with each of those this year, that I didn't really even have to do much thinking about what sounds I wanted or how to dial them in.  It was just like "Ok, let me get a texture laid down with Ashlight real quick... <6 minutes later> now, lets get some rhythmic elements with Mallet Flux... <5 more minutes> and do some melodic things with Arhkis so I can evolve the sound a little..." and boom next thing I know, I'm throwing in some pads and ear candy to flesh out the unused parts of the spectrum, and Bob's your uncle.  In January, it probably would have taken me like 6-8 hours... but now... easy two hours with time for a leisurely coffee break.  Doing WB with a full time job, and while working through a grad-school program has for sure been a crucible for my music making... but the processes I've forged though out the year have made every second of lost sleep worth it. 

[quote=neon liminal]Your "speed trash" always sounds amazing lol. The mix on this is so wide and open its really beautiful. And I feel you on the crashes - I know I'm getting old cuz my patience for crashes is basically non existent. Glad you're feeling better and still composing beautiful things <3[/quote] Thanks, and yeah I'm with you on the ever decreasing amount of patients for like "Professional Grade Software" crashing and glitching out during very normal use. In this case it was Native Instruments to blame rather than Apple (presumably), but either way enshitification sucks (⸅⸟⸄) [quote=jwh]you 100% rose to the challenge! and i've very glad to hear you're feeling better. one of the big things i've noticed from doing this weekly practice is the ability to work QUICKLY. this is a prime example. that you can turn around something so delicate and textured and intricate in under 2 hours.... splendid work, my friend[/quote] Thanks for the kind words, and yeah for sure. I think the single biggest value of having done WB for the whole year has been learning my own limitations and capabilities... like I'm now super confident in what I can (and can't) do in an hour/4 hours/2 days/etc. Also I'm MUCH more comfortable with my tool chains, so when I'm in a rush, I know exactly what to reach for to get specific things down. WB has very much been like a musical version of CrossFit or some such. [quote=jegasus]Holy shit, how is this speed trash!?!?!? I'm quitting music, hahahahahaa.... This sounds so cool!!! I'm a huge fan of the xylophone-style melody here, it sits SOOOOO well in the ethereal monstrous and scary space that is the rest of the tune. Monsters lurk - beware!!![/quote] ʱªʱªʱª(ᕑᗢूᓫ∗) It's really kind of a magic trick... the libraries are doing all the heavy lifting in this track. This is made from mostly NI "Media Composition" libraries. So most of the orchestration, modulations, and arp sequencing was done for me. I basically just had to figure out a harmony and play chords to get like 90% of the track. Arhkis, Ashlight, and Mallet Flux got me most of the way there. Like I mentioned above, I've gotten so much practice with each of those this year, that I didn't really even have to do much thinking about what sounds I wanted or how to dial them in. It was just like "Ok, let me get a texture laid down with Ashlight real quick... <6 minutes later> now, lets get some rhythmic elements with Mallet Flux... <5 more minutes> and do some melodic things with Arhkis so I can evolve the sound a little..." and boom next thing I know, I'm throwing in some pads and ear candy to flesh out the unused parts of the spectrum, and Bob's your uncle. In January, it probably would have taken me like 6-8 hours... but now... easy two hours with time for a leisurely coffee break. Doing WB with a full time job, and while working through a grad-school program has for sure been a crucible for my music making... but the processes I've forged though out the year have made every second of lost sleep worth it.

All the right compromises were made! Software crashes suck but to cope I always say I can rebuild lost work better than it was because I know the direction I'm going. This keeps me from throwing things too far across the room. Like others have said, so wide, every frequency is covered with interesting bits to pay attention to while drifting off in between. Well done!

All the right compromises were made! Software crashes suck but to cope I always say I can rebuild lost work better than it was because I know the direction I'm going. This keeps me from throwing things too far across the room. Like others have said, so wide, every frequency is covered with interesting bits to pay attention to while drifting off in between. Well done!

Thanks so much, this one was actually pretty fun to make too... like there's something about the pressure of "I have 0 time to make mistakes... so 2 takes... max... then move on".  Like it just puts me right into a flow state.  Even the crashes were less frustrating, because I just didn't have time to be mad. 

[quote=SQF]All the right compromises were made! Software crashes suck but to cope I always say I can rebuild lost work better than it was because I know the direction I'm going. This keeps me from throwing things too far across the room. Like others have said, so wide, every frequency is covered with interesting bits to pay attention to while drifting off in between. Well done! [/quote] Thanks so much, this one was actually pretty fun to make too... like there's something about the pressure of "I have 0 time to make mistakes... so 2 takes... max... then move on". Like it just puts me right into a flow state. Even the crashes were less frustrating, because I just didn't have time to be mad.

daaaang awesome what you did with 2hours left   The plucky sorta wood sound with the bells makes me feel the pressure you were under as you made this.  Love the tension and textural sounds flickering about the edges.  The harp-like sound later creates even more mystery as it explores this foggy dream sequence.  Glad to hear you're feeling better!  Excellent work as always!

daaaang awesome what you did with 2hours left :o The plucky sorta wood sound with the bells makes me feel the pressure you were under as you made this. Love the tension and textural sounds flickering about the edges. The harp-like sound later creates even more mystery as it explores this foggy dream sequence. Glad to hear you're feeling better! Excellent work as always!

Thanks... and yeah it's funny listening back to this how you can almost hear the ticking of the clock for the WB deadline in the piece. 

[quote=Tone Matrix]daaaang awesome what you did with 2hours left :o The plucky sorta wood sound with the bells makes me feel the pressure you were under as you made this. Love the tension and textural sounds flickering about the edges. The harp-like sound later creates even more mystery as it explores this foggy dream sequence. Glad to hear you're feeling better! Excellent work as always![/quote] Thanks... and yeah it's funny listening back to this how you can almost hear the ticking of the clock for the WB deadline in the piece.