While this music thing is a hobby in the strictest possible sense, I rationalize a lot of it by telling myself that I obsess over synthesizers and amps and guitars and effects pedals for the purpose of creating soundtracks. This is far more reasonable to me than imagining playing on stage and driving around the Mid-Atlantic in a van.
Every now and then I actually put this logic to use and make a soundtrack. My picture book, Everything Goes: In the Air, will be out in about three weeks and to that end I’m ramping up the publicity and teasers leading up to publication in September. I put together a video promo for the book.
In the past, most of my soundtracks have been created with various synths, either the modular or software. In this case, I use a guitar. While I have two really nice guitars and gear at the house, this soundtrack had to be done rather quickly yesterday afternoon. So I took the cheap Squier Stratocaster that I have here at the studio and plugged it in directly to Ableton Live via an audio interface. I used Ableton’s Amp and Cabinet effects to get the sound I was looking for, and added some EQ-8, compression via AD’s Rough Rider, and Uhbik A for slight reverb on a return channel. The percussion is made up of samples from a goofy little Casio keyboard I found years ago at a garage sale and sequenced in Ableton’s Impulse.
While on vacation in Maine last week, I spent a lot of time listening to Luna’s 1994 album “Bewitched,” and the influence is, to me, definitely there. I’m rather surprised that it sounds a lot like Vampire Weekend as well.
When I make these little animated movies, I typically believe that I’ll able to simply dig into my huge folder of songs-in-the-works and various four-bar clips I’ve recorded and find something that will fit. And often that’s the case. However sometimes it’s not and i have to start something from scratch.
On Friday I recorded a little time lapse of my building a puzzle. This puzzle is one I illustrated for Mudpuppy last year. I like to put these things up on MrBiggs.com. I spent an hour or so first going through Ableton clips and song files, then through some of the stuff I’ve played around with in Numerology. Nothing really piqued my interest so I tried recording some sequenced loops using the analog modular I’ve been putting together. This should have been enough, but it just wasn’t coming together. I found myself getting wrapped up in the knob turning and sound making and not in the song making like I should have been. I couldn’t get the sound to even work until I realized that I had some settings wrong in Volta/Ableton. I was feeling rushed as the day was slipping away so I knew it was a doomed effort. After taking some time off and drawing (you know, my actual job) I fell back on what I know works. I opened up Numerology, dropped in a matrix sequencer Reaktor’s Oki Computer synth, which I know will give me some funny bleepy sounds with lots of modulation possibilities, perfect for this little movie.
Oki is an interesting little instrument in that it’s basically a wavetable synth and specializes in digital sounds and odd noises. I had Reaktor for a good two years before I started wrapping my head around this synthesizer, but now I can make it do what I want, more or less, and I have quite a few of my own presets that I use as starting points. Along with the matrix sequencer in Numerology, I had a modulation sequencer running Oki’s wavetable position knob all over the place. So I recorded about three minutes worth of playing the matrix “live.” This works really well for me with TonePad and other iPhone apps that I have, and it game me something useful here as well. I posted the five sequences I recorded. These are all recorded using the method described but with adjustments in the first five waves of the wavetable. About 1:15 into the song titled “Oki seq5” you can here the beginning of the loop that I ended up using in the final piece.
Once I had the main clip down I was able to add in some drums made out of bits of sampled electronic toys and various other bloopy beepy oddness, mostly cut and manipulated from these bits of recorded Oki.
When you watch the movie, you’ll hear a weird reversed-and-speeded-up bit as the puzzle is being taken apart. This is the main melody just reversed and, yeah, speeded up to about 180 bpm from 130 bpm. The kick drum and snare come from Audio Damage’s new Tattoo (not a good use of a terrific drum machine but still…), adding some frenetic banging. Then a few snare hits as I reposition the box, and a final little beep — originally an accident of the song looping back to the beginning at the end, but I liked it so I added it into the sequence.
I’m hoping to soon get something useful out of the modular. This weekend I’m planning a few hours with it so we’ll see what happens. Thanks for listening.
Here are a couple pieces that I made in 2003. They’re among my first attempts with this stuff and with Reason. Most of the sounds you hear are my voice in ReDrum. The other sounds, like the bells, are from the NN-XT sampler.
The second piece was used a soundtrack in an animation I made in early 2004.
The video is from last August, 2008. The main melody was one of my many hundreds of little unfinished 4-bar pieces of things that I have tucked in my Ableton folder. When I shot this video, I knew I needed something perky. I randomly opened a few Ableton projects and came across this one called at the time “Beep Repeat.” Yes, I name things so that months later I have zero idea what they are.
It got elaborated upon and after messing with the timing, it fit pretty much perfectly. A friend said it sounds like busy.