Electronic / acoustic tracks


Fully electronic tracks.

Ride Cover250
Ride was the second track I finished with Logic. As with Cello Mello, the trigger was small enough. I found a very intriguing "plucked string" sound on a certain synthesizer, and I started hammering out those riffs. These riffs don't exactly conform to the rhythm of the piece, so the whole sense of time was somewhat fluid from the beginning. Structurally, this piece actually has only two phrases: the first phrases consists of the longer and longer plucked string riffs, then the second phrase is the guitar solos.

The initial lead synth proved unreliable, and I reworked the track with all Logic synths, using ES2 for the lead, ES1 for bass, and ESM for the pad. Initially, this was to have been some demented "drum and bass" track, but right from the start the rhythm was 7/8. The initial drum track of just bass drum and handclap grew into three separate drum kits.

Alcatraz cover250
Holiday on Alcatraz Island grew out of a competition entry on KVR Audio. The competition theme was "Islands", and most people were writing depressingly upbeat reggae tunes. This was my antidote.

Having grown up as a musician on "real" instruments, I tend to think more in terms of notes than sound as such. This track was my first attempt to get away from that. The parts keep repeating a pretty simple riff, but the sound is gradually taken apart. The GPO harp is sent (not very successfully) through the SpaceEffect; the Tassman synth is gradually destroyed by bitdepth reduction and other mutilations, and, most successfully, the drums are sent through KTGranulator. The "waves on the shore" effect is actually the drum as dragged through the granulator delay. The piano that comes halfway is also granulated. Both the piano and the church organ are again GPO.

Prophesy250
Prophesies. In an early music ensemble we played the Prologue movement of Orlando De Lassus' Prophetiae Sybillarum, which is a wild piece, for its time or for any time. It modulates like crazy. I was so intrigued by this piece that I took the basic mood of it, and translated it to a piece of ambient electronica.

The bass here is again Trilogy. Initially I used three times the Bassmosphere Tassman preset for the other voices, but it sounded too messy. The tenor is still a (slighly edited) Bassmosphere, and the soprano is another Tassman sound. The alto has now been replaced by the MicroRock guitar synthesizer. Suitably disguised.

idle musician
It's so hot in central Texas right now, I can barely bring myself to make music. I was just about able to sqeeze out this gentle rolling piece. Essays in Idleness is the title of a 13th century Japanese collection of musings on daily life. I just liked the title.

GPO winds, ES1 bass, Plugsound guitar, Cheesemachine synths.(2006/07/22)

Fantasy 250
Ok, no little children around? Fantasy is a track that took me some soul searching before I dared release it. The original instrumental part was actually written to seduce a woman. It didn't help, in case you're wondering. However, Computer Music magazine had just put a CD on the cover with a collection of, eh, female vocal samples. And that's how I came to write this track.

All basses are Trilogy, guitars again PlugSound, as are the drums. Synth and piano are Logic.

BunkerHillCover
For a while I have been wanting to do something with American Patriotic songs. After all, even if I'm not American, I've lived in the US for quite a while, so with the fourth of July (of 2005) coming up, I felt like getting in the spirit of things. The one song I wanted to try was Columbia, Gem of the Ocean, since Charles Ives uses it in every other composition of his. However, since Ives has already done so much with it, I decided to try something else. Songs like Dixie are somewhat limiting in what you can do with them -- okay, make that: in what I can do with them -- so in the end I picked a less known song, Bunker Hill.

The melody has an AB structure, which I extended to AAABBB, with the synthesizer playing the outer A and B, and a piano playing the middle ones. This tune marks the first time that I have used drum loops.