Well, it’s been a while so a big rambling update is probably in order here:
First, the wife and I made the decision to go ahead with a kitchen remodel we’ve been planning for several years this last month (May). I know the last time I posted was March, but April was busy for other reasons. Other than a little wall arranging, we did the entire thing ourselves from demolition to crown molding. That’s a post in and of itself, maybe sometime at the end of the month.
Second, I took a new position within my company as a Software Manager. If you’re familiar with Agile Scrum methodology, I’m basically a ScrumMaster for 4+ teams. If I were to visit a seer today my fortune would be “I see a shortage of time in your future”.
Third, I started re-reading Godel, Escher, Bach sometime in April with the intent of understanding more than 50% of it. I get a little bit more out of it every time I read it, but the more I understand the more I question it. Another post.
Fourth, and most interesting for those who actually come here, I got a chance to wrap up several STFUnity tracks. Here’s a bit of detail on the ones that are ready for press:
This track is massive. Huge. As with every STFUnity song, the collaboration effort is an experiment in and of itself. On this one I played the part of outro writer, as most of the track was completed by Bill and Jason over at their studio, with a solo tracked by Eric Fontaine on the Saxophone. I was chartered to piece together an outro to the song based on the elements within the song. I wanted to make sure that my effort wasn’t a simple copy/paste/rearrange, as this would be entirely too obvious. So, I employed the GOLSequencer in another creative way.
First, I made 15 or 16 tracks to house the song elements I wanted to play with for the outro. Creative restraint is something I like to play with, so I made a rule for myself that no outside tracks or instruments could be used to make sound, only the existing recorded material. I made a rough arrangement of tracks, selected some effects to timestretch, bit reduce, saturate, and otherwise mangle the audio into an unrecognizable fury. Then, in order to destroy any sense of predictability, I mapped the GOLSequencer’s note on events via MIDI to the “Speaker On” automation control in Ableton Live. I recorded one pass of automation, then I mapped the note on events to various effect controls, recording another lane of automation to randomize the effect on/off states, hard/soft knee compression ratios, etc. The result can be heard in the outro of Apothecurious here. You should listen to the whole song though, it’s rad as hell.
Notably Th’mipwians is a lost book of the bible, missing because the person responsible forgot to write it. It’s also a STFUnity song. Written in a single session by Jason and Bill, I added the sound design and ambiance that I’m known for on this project. Introducing a new creative restraint: only use ambience/texture that I’ve previously used in other STFUnity tracks. I did less to modify the noise and texture other than repitching it to fit the time signature of the song. The goal here was to unify the song with the rest of the STFUnity material in a cohesive way, rather than the total sonic destruction on the outro to Apothecurious. Check out Th’mipwians over here.
We’ve got a few more tracks to wrap up for STFUnity, and then some work to get the release format put together. What, you didn’t hear? STFUnity is a video game, the tracks we’re writing are for the different levels in the game. More on that later.
After wrapping up this STFUnity stuff I’ll be releasing a short piece called BFault and Loose Canons, which is several experiments in canon structure and fugues, and an excuse to write a few simple pieces of music inspired by Godel, Escher, Bach. I’m also collaborating with John Keston over at AudioCookbook.org on a project for mobile devices, look for that in upcoming posts as well.
Updates and articles will be monthly at best right now while I catch up with my real life.