Some more Isle of Tune experimentation here, although this time the focus is much more on how altering, reversing, and shifting the sequence of notes creates interesting new interactions between the various melodies “played” by each of the individual sequencers.
And, just for fun, I created some effectized versions that make the sequence sound a bit more dynamic and interesting (or at least trancegated):
More of my continuing sequence-shifting music experiments in Isle of Tune. Featuring an interesting shifting melody and some bizarrely incongruous sound effects.
What is Wub Scub? I have no idea. I guess it’s the sound I make when I attempt to vocally imitate dubstep. I do not have a very high regard of the dubstep genre generally. Therefore, the following demo is obviously not dubstep; rather, it is fairly traditional dark-ish driving techno, featuring a custom-programmed “wobble bass” that is admittedly a hallmark of the dubstep genre. (Really, it’s not that hard to do – all it is in this case is a custom-tweaked FM bass with high harmonics, with some drive and distortion, pumped through an LFO-linked filter with programmed variable frequency). The full demo also includes some bitcrushed samples and other fun stuff. The main bass is a custom patch for EFM1, processed by CamelCrusher and modulated by Logic AutoFilter. Samples and drums are stock logic loops.
I also created a couple of more “minimal” arrangements if you’d rather focus more on the bass sound:
And, just for fun, here’s what it sounds like when cranked (maniacally) up to 140BPM:
Oh, and as an extra added bonus, here’s a track of me running just the bass loop while playing the “wobble” live for around four minutes or so. The track, to me, seems just about on the edge of unlistenable, but then again, people listen to actual dubstep and seem to enjoy it, so who knows…
(Although, to be fair, *actual* dubstep sounds more like this)
As you may know by now, I’m quite a fan of the democratizing nature of technology in terms of music creation, and the proliferation of tools designed to make creating music fun and accessible to people of all ages and skill levels. An application that I came across recently, Isle of Tune for iOS, definitely fits the bill: it’s a simple algorithmic sequencer cleverly disguised as a city-building sim. You lay out roads to define the sequence, buildings and scenery placed alongside generate nodes and effects, and cars on the road serve as the “pulse” to trigger the sounds in sequence. The program gets more interesting, though, when you realize that the cars can travel at different speeds, in different directions, and that the roads can be constructed to be far more than a simple loop or linear sequence. This makes the program great for exploring Reich-esque phased patterns, and makes for some surprisingly unique musical opportunities.
Below is the sound of a couple of cities that I designed, although I’m currently working on some that are far more complex…
My brother (who is an accomplished multi-instrumental musician in his own right and a collector of obscure and eclectic music) and I recently had a discussion about this particular track of music. I asserted that the track really does sound quite unsettling, while he opined that, compared to many things he’s listened to, it’s not particularly unsettling at all. I suppose you’ll have to listen to it to see which one of us is right; be aware, though, that it contains many discordant elements and may not be your cup of tea (in fact, music is rarely a beverage unless you are suffering from extreme synesthesia).
The song started out as an experiment in varying synth harmonics by variably modulated filter sweeps across synths playing the same pattern. Ultimately, the effect ended up being less interesting than I had hoped, so I started playing around randomly with other musical elements, the result being a sort of discordant found-sound mishmash which sounds to me like something you might hear during a cinematic nightmarish hallucination. There are two versions: the original, and a later variant with some additional samples and processing that is probably the better of the two.
The synths were produced in Vanguard, and the discordant ambient background is provided by a custom-tweaked preset for the Reaktor ensemble SpaceDrone. Most other sounds are random clips and loops from the packs that come with Logic Pro.
Oh, and one additional note: You might want to check the volume level on your equipment before listening.