The piece I am currently working on is tentatively titled Fog Beings. I don’t particularly like the title, but I have a disability that disallows me creating catchy titles for things. You see: My novel is named November. The connotations are as endless as the synapse is wide. I believe a comment existed in a conversation from a few days back concerning the replacement of synapses with fatty tissue.
Fog Beings is divided into the following parts at the moment.
Introduction
Two synth arpeggios tumble incessantly. One consists of four sixteenth notes. The other has five. Yeah, I know that is very typical of me and harkens all the way back to Filter. One has to have stylistic continuity, right?
This goes on for twenty measures of four. During the latter ten, a stomping beat (remindful of The Fen) begins with the one of each measure. It switches to a pseudo 5/4, accenting the one and four.
Underneath it all is a hopefully exceedingly creepy slowed down version of Christián’s guitar scraping extravaganza he sent me yesterday that procedes to dissapear during the final bars.
Acoustic abomination
I layer a short sample of Christián’s acoustic skewed a measure. The reverb applied gives it a slightly distant feeling. I contemplate returning to the fore, however, as it is the centerpiece.
An organ playing Cis and G fades in during the last ten measures. One can imagine the purpose - tension is produced. I include the stomping during the latter half again, as with the introduction.
As a beat keeping mechanism, A bizarre panned squeak assults the listener every other bar. During the first complete take of the piece (posted on Soundcloud last night for Christián’s aural perusal) featured this abberation later, as well, but I have decided this portion is its only proper place.
So - spare is good, eh? Indeed, I say. Several listens to the first take told me not to have every sequence playing simultanesouly. My mixing bane formerly and still currently to an extent is lack of tone space. Too much clutter usually fills up different spans of frequency.
The result is a muddle. Fuck muddles.
I feel these two parts are complete. Immediately afterwards, the creepy slowed down version of Christián’s guitar scraping extravaganza re-enters. The arpeggios begin again churning. A short sample of strumming is taken and accents every measure.
One amusing thing is that I am working with both LMMS and Audacity. The rhythm structure is not apparent in the latter, which I use to create the samples from the long wav he sent me.
For this small strumming example, I took a the clip, repeated it and positioned the repeat at exactly 2/3 of a second after the beginning. Thus, we have two strums - on the first two beats of a measure. Either I have not explored all the possibilities that LMMS offers me (I’m a lazy cunt, I know) or I am indeed only able to position samples at the beginning of measures.
The piece clops along at ninety beats per minute, thus the figure cited in the previous paragraph. The relation between 90 and 60 helps, obviously.
So, there we go.
