gemini://thurk.org/blog/293.gmi

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.

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.

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.

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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[1] and Audacity[2]. 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.

Beings from fog

Topics: music, flavigula

2014-01-17

Introduction

Acoustic abomination