more than 4 percent
By wangus on April 17, 2022 11:59 pm
more than 4% of beans by count are moldy
i was very tired and very stressed this week and didn't make much time to work on this week's track until today. (had only laid down the main drum/bass groove beforehand).
so a simpler track than some other weeks', but still some interesting stuff going on.
OP-1, all internal synths/samples, recorded one take to internal album, some (very rushed) post touch-up eq/limiting.
interesting notes:
* the main bass sound is a tame Voltage patch excited through CWO with Blue Value LFO modulation. Blue-modulated CWO is generally a _really_ hard combo to work with, imo. but it works super well here. The bass sequence is just a rhythm on one note, but the CWO modulation has a bit of slew to it, so a note sounds different depending on the length of the note/pause before it.
* I recorded the bass at +6 tape speed. made it tricky to get the bass pitch and CWO modulation "in tune" with the song at +0 speed, but I couldn't get the CWO modulation to sound as tight at standard tape speed. Plus the higher-rate-recorded audio gets a little bit lofi when pitched back down to normal tape speed, a nice effect.
* Probably my fav part of the track is the almost-scratch-like resampled wobble on the main bass. I dropped the bass clip from tape into the drum sampler, pitched it up an octave, and set the LFO to modulate sample direction. Dialed it to a tempo-synced rate, and adjusted the depth (negative) until the playback got back to the original duration (i.e. it's playing reverse for ~1 unit of time, and forwards for ~2 units. Happens to be around -70 depth). Never quite used the LFO like this before (normally when I'm modulating sample direction, it's a high LFO rate to emulate a normal timestretch). But it's super neat; the sample playback actually stays about the same net length even if the LFO rate is varied.
* Used the relatively-new shift+stop higher-resolution-tape-grid feature a lot, to chop up drum/bass patterns in some moments
* i don't remember the last time i used tombola sequencer before now. it's doing the glitchy plinky sounds near the beginning/end
* The sizzling bass in the B section is 4 layers. A center-panned sub, then left/mid/right panned crispy DSYNTH takes, with the shift+red filter parameter dialed to different frequencies. It really fries the upper end with the right patch.
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