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Thread: FOR THE SHIPS AT THE BOTTOM OF THE SEA -- another WIP demo thread

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    Darkness on the edge of Tone TwilightOdyssey's Avatar
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    Default FOR THE SHIPS AT THE BOTTOM OF THE SEA -- another WIP demo thread

    With the successful completion of my last songwriting demo, Concerto For A Dying Sun and a brief break, it's time to dig back into songwriting mode again. Like Concerto, this song will be completely DAWless/tablet-less using the Soundtrack Machine and any live instruments I can bring to bear.

    It's still early days and I'm very much still in experimentation mode but I've always wanted to write a song that's based off of the Harmonic Overtone series. Every pitch has both overtones and undertones to a greater or lesser extent, largely dependent on the timbre of the sound itself. With synths, which are very harmonically rich, you filter out those harmonics to create timbre. But I got to thinking: could it be possible to write piece of music that takes a single note and its overtones as its basis and make it sound melodic?

    ANSWER -- I DON'T KNOW!!

    1. So I start with a single pitch. I selected G as the base pitch because it's relative to a standard tuned guitar.

    2. The next step was to find out the harmonic series based on that note:

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    3. I then converted each of those harmonic pitches into notes:

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    4. The last step was to map them out into a series of notes, like this --
    G3
    G4
    G5
    B5
    D6
    E6 or F6
    G6
    A6
    B6
    C7
    D7
    E7
    F7
    G7
    B7
    G8

    5. As you can see, there are a lot of options just with a single note! Now we get to the theoretical bit -- if I were to arrange those notes to play with a very slow release, say 30 seconds, and a very long digital delay, say 2 minutes, I can create evolving 4-note chord arrabesques. These pads will create part of the backing for the orchestral and rock bits to be layered on top.

    ++++++++++

    Last night I was able to make a 4-voice paraphonic supersaw pad using a function generator, which is an analog computer used in synthesis:

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    Set to self-oscillation, the function generator creates a very slow-moving envelope. When applied to a VCA (voltage controlled amplifier), it acts like a very gradual AD (attack-decay) gate for the volume of a note. What makes a Function Generator super useful is the EOR and EOC outputs, which stand for End of Rise/End of Cycle. With these patched, you get a pulse at the top and the end of each envelope. When connected to the clock or sync input of a step sequencer, it will advance to the next note when it receives the pulse. This gives you an automated sequence of notes.

    I tested it last night and it actually works, but it still needs a lot of work in terms of the note sequences for the chord progression. As it will take about 2 minutes for each chord, the entire song will (probably) only have a 7 or 8 long chord progression in total.
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    Darkness on the edge of Tone TwilightOdyssey's Avatar
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    Default Re: FOR THE SHIPS AT THE BOTTOM OF THE SEA -- another WIP demo thread

    First experiment is quite promising!

    https://photos.app.goo.gl/fXdJ7Y1s3wpXYJHJA
    Why don't you take your little Cobra Kais and get outta here?!
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    Darkness on the edge of Tone TwilightOdyssey's Avatar
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    Default Re: FOR THE SHIPS AT THE BOTTOM OF THE SEA -- another WIP demo thread

    Another development!

    When dealing with long, evolving drones and chords it can be difficult to nail down what you want the actual tempo and time signature to be. I've been toying with the concepts of Konnakol music and having a spiraling set of counter-rhythms to create shifting complex meters. However, since this is prog rock, I don't want to sacrifice the downbeat; just obscure it a bit.

    I've broken this pattern down into four measures:

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    It consists of two measures of 15/16 time and two measures of 5/4. Now to write a pattern that fills all of those needs! :P
    Why don't you take your little Cobra Kais and get outta here?!
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    Darkness on the edge of Tone TwilightOdyssey's Avatar
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    Default Re: FOR THE SHIPS AT THE BOTTOM OF THE SEA -- another WIP demo thread

    First proof of concept!

    Why don't you take your little Cobra Kais and get outta here?!
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    Sock Market Trader GuitarStv's Avatar
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    Default Re: FOR THE SHIPS AT THE BOTTOM OF THE SEA -- another WIP demo thread

    I fully support this kind of experimentation! Some cool sounds you're getting, and an interesting idea. It will be cool to see how you turn this into music.
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    Darkness on the edge of Tone TwilightOdyssey's Avatar
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    Default Re: FOR THE SHIPS AT THE BOTTOM OF THE SEA -- another WIP demo thread

    Quote Originally Posted by GuitarStv View Post
    I fully support this kind of experimentation! Some cool sounds you're getting, and an interesting idea. It will be cool to see how you turn this into music.
    Thanks! The Good News is that it is, indeed, starting to sound something not entirely unlike music.

    The drone is now settled, it has three envelopes that move at different speeds, so it shifts from left to right, left to right ... it's very hypnotic. The fun part was when I started improvising guitar over top of the drone. That as the ah-so! moment. I am going to work on the Konnakol rhythms today; right now I am thinking of delegating them to the chiptune modules. Should make for an interesting sound.

    The drone patch:

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    Stay tuned!
    Last edited by TwilightOdyssey; 09-21-2019 at 08:50 AM.
    Why don't you take your little Cobra Kais and get outta here?!
    My collaborative PROGRESSIVE ROCK PROJECT, As Follows.
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    Sock Market Trader GuitarStv's Avatar
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    Default Re: FOR THE SHIPS AT THE BOTTOM OF THE SEA -- another WIP demo thread

    I've always been fascinated by synth guys with their tangled webs of patch cables. It's very mad scientist-y.
    Join me in the fight against muscular atrophy!

    Quote Originally Posted by Douglas Adams
    This planet has - or rather had - a problem, which was this: most of the people living on it were unhappy for pretty much of the time. Many solutions were suggested for this problem, but most of these were largely concerned with the movements of small green pieces of paper, which is odd because on the whole it wasn't the small green pieces of paper that were unhappy.

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