wow a WB that's not centered on a heavy bass soun—wait, shit

M8 tracker, raw internal render, all synthesized, no samples

I really liked the last bars of last week's track (heh) (loch ness), and the patch that made it (paraphonic FM, with some cross-modulation of the voices).
A vision for this week was an evolution from that last bar, a constantly moving 3-voice piece that gradually built accompanying layers.  It's the same instrument throughout, but the tone changes dramatically with different ranges/voicings and subtle tweaks to filter/modulators.

You can hear some of the development, but there's a whole middle section that I didn't have time to compose, and I didn't get to fill out the soundscape I was imagining.

I can imagine a tight EP of last weeks plus this; "loch ness / talk less" has a fun phonetics to it, like https://open.spotify.com/album/2Bfoe4fd … etjOM_9Wcw
And there'd be nice contrast in the one-track "loch ness" vs. the (imagined) maximal-soundscape "talk less" (perhaps a misnomer, as it'd be way more voices...)

And of course the end just goes rabid, a la https://open.spotify.com/track/7t7M7qD2 … JhscAGTIog or https://open.spotify.com/track/1GWGqt7j … X6o_8OtH4Q
(@ilzxc lmao the just-bump-things-up-an-octave trope i remarked on)

whatever

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some notes on the FM synths here:

The main instrument:
[list]
* FM 3-voice paraphonic on operators B,C,D.  But it's set up algorithm [(A>B) + (A>C) + (A>D)], and operator A is an octave below B.  So there’s cross-modulation of A onto the different pitches of C/D, making some interesting tones.
* Highpass and a bit of amp overdrive, which really change the timbre with different ranges/voicings of the 3-paraphonic instrument
* Enveloped operator feedback.  They’re all sines or triangles; feedback makes them saw-like, so modulating it sounds almost like a lowpass filter
* A lot of table/phrase modulation of feedback too, for more motion

The heavy bass, 2 layers at first:
* FM [(A>B) + C + D] B is is a sine sub with a bit of feedback for body, and A an impulse modulator for bite.  C is a ratio 7 (6th overtone) SW3 wave.  D is some noise.  Heavy resonance bandstop filter, and POST AD overdrive for the nasally grime
* That same patch, but highpass filtered instead, and different pan/chorus/reverb send.  Bit of high-end air to the bass

And 3 layers when it freaks out (this section is driven by pushing the low things even lower, and the high things even higher):
* The original main body, but highpassed instead of the bandstop
* The “air” patch but up a couple octaves
* A wavesynth WARPed sine sub to replace the low end

https://www.instagram.com/p/Ca0jFFjukwg/

Tags: bass, m8 tracker, m8tracker, niseag, rabid, week 9 2022, View by:wangus