The vox is actually only one thing (a clip of a native american singing, played backwards) that I modified using audacity to play a bit high and a bit low but both at the same tempo. Those two samples are all you're hearing but with a metric ass-ton of routing from a muted pcm through a slightly audible vocoder and two heavily automated modulars that pan contrary to each other. What I wanted was the vocals to be in constant motion but impossible to pinpoint with the ear as to left or right. I am curious if anyone else has done anything similar, and actually you were someone that came to mind (your tracks often have unique "tricks" that sound very fine tuneid). If you get a chance, I'd love to hear your thoughts on the caustic file itself.
I'll take a look - I'm tricksy (when I remember to try) but much less musically adept than you. Sometimes it's just about finishing a new 'thing', sometimes it's more about how I did the 'thing'.
And yeah, sometime a process or an idea becomes the centre of a tune. The track I've attached was purely because other than using the PCM Synth as a sound module for violins, pianos - real instruments in general, I rarely approach it as a synth. I'm not huge on sampling - I don't disagree with it, it just doesn't fit naturally in my workflow (one shot beatbox samples excepted).
So earlier this year I forced myself to create a track around some guitar feedback samples/loops from Music Radar - I like it, but haven't gone back to that approach again yet.
Excellent work - messed up and trippy, my kind of vibe. Love the barking, slightly dubsteppy 303 type riff. Perc is awesome too.
The cut up, looped vox are fantastic, hypnotic and unsettling.
https://soundcloud.com/james-muir
https://www.facebook.com/james.muir.77
Thanks very much, James.
Now wth is this in collaberations?!its
The vox is actually only one thing (a clip of a native american singing, played backwards) that I modified using audacity to play a bit high and a bit low but both at the same tempo. Those two samples are all you're hearing but with a metric ass-ton of routing from a muted pcm through a slightly audible vocoder and two heavily automated modulars that pan contrary to each other. What I wanted was the vocals to be in constant motion but impossible to pinpoint with the ear as to left or right. I am curious if anyone else has done anything similar, and actually you were someone that came to mind (your tracks often have unique "tricks" that sound very fine tuneid). If you get a chance, I'd love to hear your thoughts on the caustic file itself.
Caustic Song file (optional):
¿que onda, pachuco?
I'll take a look - I'm tricksy (when I remember to try) but much less musically adept than you. Sometimes it's just about finishing a new 'thing', sometimes it's more about how I did the 'thing'.
And yeah, sometime a process or an idea becomes the centre of a tune. The track I've attached was purely because other than using the PCM Synth as a sound module for violins, pianos - real instruments in general, I rarely approach it as a synth. I'm not huge on sampling - I don't disagree with it, it just doesn't fit naturally in my workflow (one shot beatbox samples excepted).
So earlier this year I forced myself to create a track around some guitar feedback samples/loops from Music Radar - I like it, but haven't gone back to that approach again yet.
https://soundcloud.com/james-muir
https://www.facebook.com/james.muir.77
um...yeah, maybe you should revisit that approach once in awhile because that was really fun to listen to. Well done.
Any chance of me getting the caustic file on that for remix/collab purposes?
¿que onda, pachuco?
https://www.dropbox.com/s/m9b2vc5l8fshv9c/TO%20THE%20GLORY%20OF%20NOISE....
hope the file is useful
https://soundcloud.com/james-muir
https://www.facebook.com/james.muir.77