This is a very quick experimental piece that I wanted to try. A while back, I started playing around with trying to put image data directly into a music track by actually punching visual sequences into the piano roll. This time, I wanted to see what would happen if you tried to create pixellated text across an octave.
This song originated when I was listening to a very driving prog rock song, and half-wondered if if it was sort of like the musical equivalent of a machine gun attack. Then, I wondered, what would the musical equivalent of a machine gun firing be? Probably not quite like the piece that resulted, but that was at least the general driving idea behind it (and, at least toward the end, it does take on a bit of an impression of its namesake). Basically, it’s a fast, growing sequence that’s somewhere between music and sonic assault, but I like it nonetheless.
Drums are a custom program (and custom sound programs) done in Logic’s Ultrabeat, guitars are Slayer 2, and synths are Vanguard. There’s also a limiter on the master output which I probably put in a couple of minutes too late. When I say some of this stuff is ear-bleed material, it’s not just your ears I’m talking about…
Oh, and despite the fact that mashups officially jumped the shark the moment they were featured on “Glee”, I created an experimental mash of Gatlin’ and one of my other tracks (Ambient Distance).
Pretty much everything on this track is generated to some extent by Reaktor’s various ensembles. The core of the track is a heavily transformed live playing of Reaktor’s Acoustring ensemble, modified by Traktor effects, and accompanied by a large number of Reaktor algorithmic grooveboxes and sound generators. The overall result is a pseudo-ambient piece with an interesting, pulsating sound that cycles between gentle and gritty. This song was definitely interesting to work with, as it took the original melody line and managed to transform it into something almost unrecognizable compared to the original, but much more interesting.
There are two versions of the track that you can download – the Minimal version, which focuses mainly on the transformed melody accompanied by a couple of generated sounds, and the All-Inclusive version, which includes many additional generators and grooveboxes. The minimal version is good for listening to the essence of the track, while the all-inclusive version has a much fuller sound.
I was playing around with Wusik EVE when I discovered that you could do some interesting ribbon-controller style sweeps using the mouse on the instrument’s mini-keyboard. This is one of those tracks, riffing randomly using a Mellotron choir. The result is a bit on the weird side, but strangely compelling and relatively melodic.
I was playing around with Wusik EVE when I discovered that you could do some interesting ribbon-controller style sweeps using the mouse on the instrument’s mini-keyboard. This is one of those tracks, where I was playing around with some octave shifts with one of the interesting Mellotron sounds. WHile I was playing it, I thought it sounded slightly like the intro to the movie 2001, but not really… hence the title.