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 / wangus's music / onion's modulus

onion's modulus

By wangus on May 8, 2022 11:50 pm

ultimate tensile ztrength cheese balls.
An unhinged take on synthwave.  the OP-1 is not the right tool for synthwave, for me.

I'm gonna pivot from the OP-1 after week 20, so this is the third-to-last in this stretch.

OP-1, all internal sounds/samples (except some FM radio noise), one take to internal Album, touched up in post.


The first idea of the track was the structure: a loop of a number of segments, where each segment built a distinct vibe.  The first segment of the loop would be stripped-down, so the track would have this cycling breakdown flow.  machinedrum "spectrum sequence" came to mind as a vaguely similar idea.

Originally was going to be a downtempo vibe, but I started riffing inspired by a royalty-free-ish synthwave-y EDM track i heard.  So it turned into a 4x8 bar loop:

* Segment A: breakdown—bass + drum groove, float on a i7 harmony
* Segment B: harsher—drill on the bass more, realign to a i-add2 harmony (no 7th)
* Segment C: enter timewarp—vibe with reversed percussion, weird chromatic harmony
* Segment D: parallel universe—riff on IV7 harmony to turn around back to segment A

and the whole track really just goes ABCDABCDABCD, that's it.  But variations (and the final unhinged ABCD) keep it always fresh.


Interesting OP-1 techniques/notes:

* Audio-rate Tremolo LFO used all over.  Subtle "re-toning" drums, atonal FM effects, gritting up (/destroying) bass, pseudo-overdrive on cymbals overdubbed onto a kick.  Make sure to use a symmetric waveform if you want the effective speed to stay the same.
* Surprising depth in segment C with just simple Cluster sawtooth pads octave-doubled on two tracks, panned left and right.
* I think my top gripe with the OP-1 is the day-0 (?) bug where lift/drop copypasting a key in the Drum Sampler disables dropping audio from the tape into the sampler, until power-cycle.  Objectively stupid that power cycling is now effectively part of the OP-1 workflow.  (side gripe: the output amp puts out an uncomfortably loud pop on power-on)

Audio works licensed by author under:
Copyright All rights reserved

Pretty wacky stuff.
- Devieus

kept me on my toes the whole time, really excellent and satisfying production throughout. the destruction at the end was great

Excellent!

I liked how you played with the stereo in the beginning and how it became phreaky at the end. also nice harmonies and super dope synth chords/sound around 0:40.

and thx for the description and your thoughts on the op1. I don't have one but have tried a friend's and it's quite nice in some ways. didn't know about the pop on power-on. sounds SO annoying. how do audio engineers think this is ok in any universe?!? I have an audio interface (audient id4) that does a pop when u plug it in, I really hated that pop with a passion. Now I have a popless one and it's a lifechanger.

I love all those subtle and not so subtle effects, they really bring it to life

Reading the description made me feel as though I enrolled in a master class. Great track as always!

I've been revisiting your spangle catalog (what an absolute banger of a hit is the title track of that EP, btw!) so maybe I'm just in that wangus kind of mindset, but this one's a hit. (Full disclosure: kind of super partial to disintegrating / destroying content over time which this kind of does -- nonlinearly, which is a plus.) I listened blindly for the first couple of times -- comments be spoilers sometimes! Did not pick up on the |:ABCD:| form, which I feel is intentional. Perceptually, the form is A--->B--->C (but not quite). The reason I'm mentioning this is that ABC is (generally speaking) unfriendly form (aka "content, more content, here's more content").

So on the second listen (and subsequent), direction naturally gravitated to the melodic fragment at 1:08 that "reprises" at 1:53 and this second timestamp is fucking staggering to me because it's not been 30 seconds but the motion from 1:33 until re-emergence feels like such a developmental departure for things to feel like a reprise. Coincidentally, that's my favorite moment of this because it does something very effective perceptually that I don't know many songs to do.

tldr: I liked this a lot, hella dope.

offbrand wrote:

the destruction at the end was great

i was uncomfy the first few times i listened to what i had done.  love it



horatiuromantic wrote:

also nice harmonies and super dope synth chords/sound around 0:40.

they're weird harmonies but something satisfying for sure (especially when the come back in more detail later in the song).
the sounds are pretty minimal but work well here (reversed drums, detuned saw cluster chords, froggy bass)



PieBaron wrote:

I love all those subtle and not so subtle effects, they really bring it to life

heavy on the not-so-subtle for sure.  but glad the subtle things show too.  one of the last elements I added to the track is the drone-y FM-y sound in the beginning and end of the track.  not showy, but really glues things together.  e.g. when it briefly peeks in at 1:45 amid the chaos


LainHiro wrote:

Reading the description made me feel as though I enrolled in a master class. Great track as always!

music that doesn't have a lot to say about harmony and sound design is not music i like (to make, to listen to).  those are just the top elements that resonate to me, that i can always find more interesting notes the more i analyze.  (examples of elements i personally have a harder time picking out depth in: lyrics, traditional instrumental expression)

ilzxc wrote:

[long comment not repeated here]

tldr: I liked this a lot, hella dope.

interesting note on the A-B-C structure; definitely agree with the "unfriendly" assessment (masked initially, but settles in more with each repeat)

been getting a lot of mileage on the OP-1 tracks from upcycling every element i can, reprising but not repeating.
that transition you talk about, i agree, something striking about it.  1:53 gives me big  "don't worry everything's fine" energy, when everything is about to be Not Fine.

(side note: i love the variation i got out of the one bass patch through the whole track.  all the variation in tone, from the croaks to the upright-bass-sounding "D" section, is just toggling an envelope modulation, adjusting attack/volume which impacts the filter's envelope-following, and resampling for destruction at the end)

I have absolutely loved your OP-1 series!  Excited to see what instrument you use next but I'm always available for more wangus OP-1 freakouts + tite videoz

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