The hormonal extreme of cats facing off the love and boredom and mischief of youth, the baiting and taunting, the collapse into conformity, the laughter and hush drunks attempting invisibility one stumble at a time car doors, kitchen doors, front doors, bedroom doors slamming a wind twisting the cottonwood until it touches stucco walls raccoons and dogs discovering the tip and roll of garbage cans which the wind takes over rabbit shrieks from the mouths of fox or owl sirens of life or death and other wails whose meaning we may never know. It functions more like a radio signal that can’t be tuned in.Ī garage door mechanically opened, whirr and clank, bindings of rust-a car is driven in, a warm motor and gravel under the tires.ĭogs open up, pure vocal cords then humans open the inferior howl-a swelling barrage of yap and yell.Ī jet and a jet and a jet-the recurrent scream of deceleration. But I also used take three in the first half, processed to death and entirely unintelligible. Take four seemed best, in the second half of the composition. Readings two and four were more personal. Readings one and three were kind of upright(?). In Sound Forge I just set it to record, then did four takes without stopping. The words seemed to fit the vibe, although it would depend on the reading. After digging through a few poems and dream narratives I chose “Silence,” (a newer poem, something less than a decade old…2012, actually). Maybe you can make out their names in the screen shot.)
Hell let loose lost connection to host Patch#
(I still haven’t learned to program any of these instruments, although I did once create my own patch made of my samples in Iris. I never learned anything with more than three sharps or flats.) Two patches in Absynth 5. Those must be the most common combinations for the most common scales.
There is C-sharp, E-flat, F-sharp, G-sharp or A-flat, and B-flat. (I say A-sharp but I actually see the key as B-flat. Two keys held together-maybe A and A-sharp drifting to A-sharp and B, then back. Usually I present samples and voice and the synth parts are more like flavorings, a touch of spice that shouldn’t be too distinctive (say pumpkin spice rather cinnamon, or taco rather than cumin, curry rather than cardamom).įollowing this I wanted more drones, longer, steadier, and with fewer notes.
Hell let loose lost connection to host pro#
But I never use the M-Tron Pro nor the Arturia because I’m afraid I’ll just try to recreate some classic Genesis or Yes passages (not that you’d be able to recognize them, since I can’t actually play even the simplest parts).…I created shifting drones of adjacent keys, wandering between A and C or C-sharp.…Three Mellotron tracks, with three different patches.…As I kept refining the mix I kept attenuating them because they seemed too musical, even though there’s nothing even remotely melodic about what I did, and distracting from the samples. The scratchiness and wobble of the tapes is gorgeous and irresistible. For more than 50 years the Mellotron has been one of my favorite instruments. Then it seemed a good idea to try some Mellotron patches (Arturia’s Mellotron V). I’ll keep that in mind-might curb any excessive tendencies. I noticed that, with my monitor size and GUI layout, 17 tracks is the maximum fit in the mixer panel, if I want to see all of them. (This was done in Sound Forge at least 10 years ago, so I’m now often left guessing how I got some of my sounds, or even what made them.)…Some of these samples were looped and randomly placed on Reaper’s time grid, just to create a mechanical rhythm. The long swells of machine-like groans were a quick rubbing sound stretched, with the pitch dropping each time I lengthened the file. Most of the sounds-the first seven tracks-are from the recordings I made with those speakers…something like 15 years ago. When rubbed grill to grill they made interesting sounds. The speaker grill stood out, like a box lid, and had a slight convex curve from side to side.
The speakers had teal plastic bodies, to match, with black perforated metal speaker grills.
One of those little fake stacks of components, maybe 7–8” across and 10” high. Years later, probably when in high school, she got a new stereo and was throwing that one out.…It was teal. Maybe when my older child was in grade school, in the 1990s, I bought her a cheap bookshelf stereo (did it even have CD, or just cassette?).