WS, I added no additional sound sources. The trebly stuff is Paul Muller's piece, which is actually a kind of Steve Reich-ish texture with a midi chamber ensemble. I gated it so it only sounds when David's guitar (which is also slightly gated) reaches a certain threshold. There's a tiny bit of release and then additional decay from reverbs (different one for the guitar). Can't remember what I else I did, mostly sweetneing. For me, a fairly "hands-off" mash, compared to what I usualy do, and an experiment in discongruity, or even cognitive dissonance (I'm a sucker for that stuff). Anyway, again, it's formally still David's wonderfully spasmodic improvisation, but with Muller's contrasting sound also being uttered with every guitar gesture. So it's little improv experiment and I liked the way it sounded.
interesting idea, Chris; indeed this could turn into a song of sorts. It was just a quick IF mash where Paul's continuous consonant minimalist texture is chopped into discrete chunks by virtue of being gate-triggered by David's raucous guitar. I also declined my usual pitch-shifting and enjoyed the found intervallic & xenharmonic dissonances; & discongruity in general (mood/texture/tonality). So to me it's more like a hyper-instrument extension of David's original improvisation.
this is ok - I must admit I'd like to hear this with some shuffling percussion and a bass line to paste it together - and bring out that lead instrument a bit more. Its always dangerous to compose someone else's piece - so forgive me if the idea sounds ludicrous.
It seems a lot of you record with open mics and can relate. I record 1 track at a time with usually 4 or 5 tracks. So, Im only asking for about 15 minutes of Silence...IS THIS TOO MUCH TO ASK??? Anyway, my house is so loud, I get a lot of bloopers…
On this beach made of sand and shells
and broken hearts
as with so many things in this life
it ends where it starts
And like the waves that will roll over me
you take away everything that I see
So I walk to the place where the sand
and sky…
This was an experiment today to try and write and record a song in 2 hours. It came out as a lullaby, I wrote it after a neighbor girl asked if she could have her ball back from my yard and I felt like an old man.
what I meant, really, is that I liked the way you felt free to play around with limited materials in this track (and others); and the different colors coming out of one chord is what made me think of Stimmung. It's all about the ear, and you have a good one, rather than theoretical knowledge (though that doesn't hurt, despite what some folks say).
Rough sketch of a proposed dreamy 12 string piece that I couldn't pull off on the 12 string so did this quick electric version with vocal pads. Not sure of the recording quality- sounds OK in my cans and kinda crappy on my monitors. Recorded march…
Comments on skiks/bruce hamilton's stuff
I never would have imagined this "odd couple" together but the gating was an ingenious idea!
banging!
awesome i think we can pull off something rad
WS, I added no additional sound sources. The trebly stuff is Paul Muller's piece, which is actually a kind of Steve Reich-ish texture with a midi chamber ensemble. I gated it so it only sounds when David's guitar (which is also slightly gated) reaches a certain threshold. There's a tiny bit of release and then additional decay from reverbs (different one for the guitar). Can't remember what I else I did, mostly sweetneing. For me, a fairly "hands-off" mash, compared to what I usualy do, and an experiment in discongruity, or even cognitive dissonance (I'm a sucker for that stuff). Anyway, again, it's formally still David's wonderfully spasmodic improvisation, but with Muller's contrasting sound also being uttered with every guitar gesture. So it's little improv experiment and I liked the way it sounded.
geez, i can t possibly feel right being crude around you gentlemen, beautiful job
interesting idea, Chris; indeed this could turn into a song of sorts. It was just a quick IF mash where Paul's continuous consonant minimalist texture is chopped into discrete chunks by virtue of being gate-triggered by David's raucous guitar. I also declined my usual pitch-shifting and enjoyed the found intervallic & xenharmonic dissonances; & discongruity in general (mood/texture/tonality). So to me it's more like a hyper-instrument extension of David's original improvisation.
this is ok - I must admit I'd like to hear this with some shuffling percussion and a bass line to paste it together - and bring out that lead instrument a bit more. Its always dangerous to compose someone else's piece - so forgive me if the idea sounds ludicrous.
my goodness, thanks for finding some beauty in my grunty angst spasm of a rhythm lead. Paul's song is new to me, i think it's gorgeous.
http://alonetone.com/chimps8myears/tracks/kjashnthstash hey bruce, just for fun i went at it with arate shifter and various synth
fawllowed by a shadow. good stuff!
Great composition!
Nice use of silence and note formation. Great!
strong force.
Does this have binaural beating? Very cool and unusual piece!
around 1:00 it gets scary and captivating like your trapped in your own nightmare and you can't get up. great job.
I like the rhythmic dynamics on this 'un and how it floats in and out of a sonic haze.
nice - an odd juxtaposition - the first part sort of jumps arouns and the 2nd part sounds like a dark basement you shouldn't enter...
@vaisvil, pretty much; it's a lot of pasting, stacking, pitch-shifting, time-shifting of the original utterance (no extra samples used).
I like this! Is this then playing back a single phrase multiple ways?
cool track, gritty soundscape with contrast.
Comments made by skiks/bruce hamilton
cool is the word.
[updated]
man, great touches. & thanks for the compliments on 'folly'...cool that you listened all the way through & 'got it'
your vocals are very soothing. songs are great too!
great little tune. the almost falling apart at the seams thing...you pull if off really well...which is harder than many folks think!
such nice tones!
what I meant, really, is that I liked the way you felt free to play around with limited materials in this track (and others); and the different colors coming out of one chord is what made me think of Stimmung. It's all about the ear, and you have a good one, rather than theoretical knowledge (though that doesn't hurt, despite what some folks say).
very nice; almost stimmung-like in the chord focus
wonderful stuff...!