Someone Else's Remains

This is my fourth Disquiet Junto piece.
The project was to remix Marcus Fischer’s Nearly There, with tracks lent by Marcus. Most of the original sounds were created with an ebow on a lap harp, which in turn made for some nice source material, if maybe a little close in feel and timbre to the whistles and glass of the previous two weeks.
I created a four-track Ableton project, and almost randomly assigned these stems of Marcus’ to three of the tracks, and then found a couple of small rhythmic parts to assign to the fourth track. I used a Novation Launchpad to sort it all out, and quickly decided that I’d “perform” this the same way that last week’s project was performed. That is, set it up, hit “record,” mess with knobs (via the Op-1 which makes a sweet MIDI controller), and then hit stop. Whatever happens is what happens. The main difference from last week is that this project would be processed entirely via software. The software I used was Uhbik’s Tremolo and Reverb, and Audio Damage’s Automaton on the percussive sounds (which is the source of the glitchy bzz and hiccups you can hear throughout). The Op-1 was assigned to control the four mixer faders, and again, the launchpad launched the clips. As I mentioned last week, live stuff (not Live stuff) is new to me, and I’m interested in finding a good workflow that will allow and encourage me to play live somewhere, someday.

The track is thus:

The project raised some interesting questions for me, regarding the nature of a remix. I don’t have the headspace to explore this thoroughly right now, but I’ll see if I can get some more down before the end of the weekend. The basic idea is that there are three ways to go with a remix:

• Limiting the remix to the original tracks and sounds only. No matter what you do with the track, the use of the original sounds will capture the spirit of the original track in some way, whether intentional or not.

• Using sounds from anywhere, including the original stems or not, but paying attention to the composition of the original in order to stay true. Otherwise, what is it that makes it a remix? On some tracks, you could keep just one representative part, like a unique vocal, with everything else new and from elsewhere, and it’s still recognizable as a remix.

• The third seems to be not worrying about any of this, and just making whatever it is you want, where you happen to have been given some source material. If one is remixing a pop song, or almost any song with vocals, this still seems inherently destined to capture the spirit of the original in some way. But on a piece like Marcus’, the sounds are, to me, less than the composition. That is, many of the stems sound like outtakes from previous Juntos, to be honest, and could possibly have come from anywhere. I’m not sure it’s the individual sounds that make Marcus work what it is. Maybe it is, but it’s not what I take from it. It’s not like a particular guitar part, or a vocal styliing…

Again, just thinking out loud here. I’m curious about others’ feelings on this (and on the tracks I’ve been posting in general). Hit the comment button.

it's just a guitar

I’m gonna talk about the guitar here dropping the analogy from the last post. Upon further reflection, I’m not having an affair, really, and I’m not breaking up with my synth. I suppose the closer example would be that I’m perfectly happy taking on multiple, um, lovers.
What brung me to the guitar and keeps me with it for a year now is the same thing that moved me from software to hardware in 2009. Playing an instrument is better than playing a computer. Certainly the computer is an instrument of sorts and that argument is an interesting one. But dude, it’s not the same. A relationship is a valid analogy, frankly. Programming software to make music is to a real human relationship what an online affair is to playing a real instrument. Simplified, easy, without the messiness, but ultimately far less satisfying as well. The modular synth hardware is, to me, somewhere in between. More tactile than a computer, obviously, but also closer to programming than playing an accordion or a guitar. I pick up a guitar and in about eleven seconds I’m playing. I turn on the modular and I consider what I plan to do, and start patching. Even with my relatively small synth, this takes some thought. It ain’t rock-n-roll.
It wasn’t too long after this guitar discovery of mine that I bought a Doepfer A119 for my synth, which is a preamp and envelope follower. With it, the modular basically becomes a large effects box and the guitar a versatile oscillator, and I can easily run the guitar through its ring modulator, filters, Fm the sound, and anything else I can do with the synth. The A119 produces gates as well, so events can be triggered with each string pluck or chord strum. I’ll definitely write more about this with examples.
I also now have a growing collection of pedals. These reproduce many functions of the modular, when it comes to driving the guitar through them. For instance, I can patch up an auto-wah with a filter, a VCA, and a Maths. But like with the guitar itself, just plugging into a pedal straight to the amp is just easier and more immediate. And since much of what I like about this route is the immediacy, I have pedals. Fuzz, tremelo, chorus, vibrato, delays of course… I love ’em and pretty soon I’ll write all about ’em.

What this is leading to is that the whole thing is coming around full-circle, see. Last week I was listening to some of the samples of Christopher Willits guitar on CDM and started thinking of tools to play with loops and samples in an interesting way. I have Max for Live and Reaktor and both of them provide a wealth of tools in which one can mangle and shuffle and wreck loops in fascinating ways, I decided it was a good time to spring for Audio Damage’s Automaton, mainly for the immediacy (natch) and for the pretty graphics. I’ve always loved Conway’s Game of Life ever since I saw Brian Eno talk about it at a tech conference in San Francisco in 1995. It blew my mind back then, and I love how software designers have used it as sequencers in different ways (in fact, I think it’s a good subject for a future post). Reaktor has a drum machine called Newscool, which is one of my favorite ensembles in that package. Audio Damage went another direction with it using it not to create notes and sounds, but to eat them.

It’s just a start, and a too-long one at that (more than four minutes), but below is a simple 16-note guitar loop (B-E-G#-B-E-G#-B-E, A-E-G#-A-E-G#-A-E) recorded into Ableton, and then attacked by robot monkeys. Along with Automaton, I used Max for Live’s Buffer Shuffler (trying to see how much overlapped with Audio Damage’s Replicant — the answer is a little) which is what is creating the backwards recording sounds and some of the misplaced parts of the phrase.

Marc Weidenbaum’s Disquiet picked this up this morning, which is always a bonus.

The unfortunate reality, now, is that today is Christmas Eve and the hour or so I’m taking this morning to write about this is the last hour or so I’ll have for the next week, at least, to do anything not resembling family adventures and holiday cheer. But my resolution for 2012 is twofold.
1. Make more sounds.
2. Write about it here.

Happy Holidays.