Another new track — and in 6/8! I love this time signature; it’s really well-suited to this genre and offers a little bit of interest in a world of 4/4, whilst still being “normal”.
With this track, I think I’m starting to properly find my feet with Reaper. My workflow is coming together, and I’ve nutted out how to organise plugins and tracks for automation better. There’s still a way to go, but I’m now well into “just make music” territory.
This is the first track on which I’ve used a multi-band compressor; I think I’ve found an OK balance between average volume and nice tight transients. If you have any tips, let me know!
Nursery rhymes have recently become a much more prominent part of my day-to-day life: a not unexpected development when you have a four-month-old son. 🙂 I don’t, however, see why they should always be quite so staid and boring — or, for that matter, distressingly cheerful. Out of these thoughts, then, came this piece — an electronic rendition of Kookaburra sits in the old gum tree, put into a minor key for fun and profit.
I should, of course, also note that Ben, Ariel, and I have our own special version of the lyrics:
Benedict sits on his daddy’s knee, counting all the monkeys he can see. “None! Daddy, there are none! Daddy there are no monkeys here but me!”
This track is a melange of orchestral, trance, dance, and chip. It’s also probably my “loudest” track to date — whilst I haven’t yet managed to put a compressor on the whole thing (or use sidechain compression), I have compressed Kontakt (for the orchestral parts) and the two basses, producing a much “tighter” mix than is normal for my music.
It’s been far too long since I published a piece of music. Part of the reason for that is that I was, for a while, without a sound-card in my computer — a problem which has since been remedied by a new Komplete Audio 6 interface. Another reason for the lack of music is that I’ve just been really busy at work — which makes it hard to come home and write music. 🙁
But enough with the explanations. Unforgot is a melange of dub, chillout, and orchestral styles. I actually wrote this nearly a month ago, but made a few changes at the suggestion of a friend from work. One of the changes was to make the bass much less “wobbly” — in the first version, it oscillated between the left and right channels, which sounded a bit off.
I’ve been told that all the cool kids put their music on SoundCloud now, so I’ve played the role of the compliant sheep and followed suit. To that end, you can listen to this track directly on SoundCloud. Of course, you can still grab it from here. 🙂
Want to be was a fun track to write. In the “chorus”, the melody sweeps across the the track in an almost operatic, Andrew Lloyd Webber-esque fashion. The “verse” sections contrast quite starkly: they’re much thinner, with a more subdued melody. I have to admit, I find the main melody quite catchy — hopefully, it’ll get into your brain, too. 😀
Desperate flits between trance and almost-but-certainly-not-dub. There’s a mixture of various synths, the apparently almost-obligatory strings, and a cor anglais which has been twisted in on itself.
This is a somewhat experimental piece (albeit not too experimental!), inasmuch as it involves automating Kontakt a fair bit. This lead to the rather displeasing discovery that you can’t automate effects in the outputs, which quite frustratingly meant that I had to add the same effect to a whole lot of instruments, then tie them all to the same automation controllers. Ah well.
I wrote this track back around July 2012 for inclusion in the 2012 Songs for the Cure album, but as it looks as though that’s not going to happen (no word on it from Josh Whelchel since April), I’m putting it up here for your aural pleasure. If you like it, donate some money to your local cancer council!
This is a retro video-game inspired piece; chiptune sounds and brass collide to provide an epic (but still playful) feel.
I’ve been listening to Armin van Buuren a lot recently, and the result is this track: arguably my first “straight” trance track. There are, however, strong orchestral and rock influences in it, plus a few chiptune elements thrown in for good measure.
This was the first track I wrote with my new headphones (courtesy of my lovely wife) — Sennheiser HD 598s.
Listening to this track does make me realise that I’ll need to spend some time (when I get the chance!) learning how to master my tracks properly. The overall volume on this track is way too low (it’s been amped to the point of not-quite-clipping), but I’m loathe to compress it until I’m confident that I can do so without producing sausage music. So if anyone has any tips on audio compression, I’m all ears! 🙂
This track is a fusion of orchestral and electronic sounds — a technique which seems to become more and more a part of my idiom. A slowish lead-up to a strong middle section, which then moves through to a floating solo viola line (I love the slightly “rougher”, less refined sound of violas as compared to violins), then back to the fuller electronic/orchestral sound — a straightforward ternary form, which so often works well.
This piece starts out quietly, but moves into a fuller, orchestral and synthetic middle section. To my ear, it would work quite well in a game, with its emotive melody underpinned by a driving rhythm, parenthetically enclosed by an almost-melancholic processed piano.