I’ve been working on this one for a while and I’m getting happier with the mix. Need to tweak the arrangement though – not sure about the first appearance of the guitar or its sound. I think that will be removed once I have the vocals. It seems incongruous early in the piece.
You can follow the history of work in progress as Johnny developed and the story of the track’s title on this post.
One thing which Pure Tone suggested, was some “girly vocals”. This set a train of thought in motion and I was looking around some movie sites last night. The track is pretty light and bouncy so I was after something with a touch of humour for some of the quiet sections. I thought these four lines would work well and I’m delighted with the way Salwa Azar has delivered them.
Johnny, is this true? ‘Cause if it is…
Good luck Johnny
Bye bye Johnny
Say kid, what do they call you?
…never should have picked a name like that. A name like that you gotta live up to.
Any last words Johnny?
Johnny (A Name Like That) by kieronjames
So apparently it’s Black Friday in the US. Not really sure whether there’s any significance beyond a general sale, but the good news is I managed to pick up a copy of Native Instruments’ Reaktor 5 for €99. Quite a bargain.
I didn’t really know what it was, though I’ve heard @ambienteer and @fjfonseca refer to it a good deal on Twitter. So I thought I’d satisfy my curiosity whilst the price was low.
Much to @dustmotes‘ doubtless incredulity, I have managed to hook it up to Cubase (without any sticky-backed plastic) and here’s my first upload. I’ve been messing around with the drum sequencer “Massive”, using some of the on board samples. To this I’ve added some Audio Damage Automaton FX and a quick and dirty bass line using Rob Papen’s SubBoomBass.
I can see that this is going to be fun 
Update 7: 03/01/2010
Here’s one that somehow never really gelled, but I’ve been so backwards and forwards with it that I’ve run out of steam.
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Update 6: 22/12/2009
I’ve been really on and off with this track for way too long. I’m at the point where I might just ditch it. I’m uploading 48 bars and as you can see, I’ve been pulled in lots of different directions with it. In truth, it’s all over the place. I’m not sure I can salvage anything, so I might bin it (or park it at least) and start with something new.
But I think I’m done for 2009. Time for a break and return in the New Year with a fresh direction.
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Update 5: 10/12/2009
A glitch too far? Very probably. Still screwing around with this to see what falls out. Creating some wah wah effects from Monday’s brass stabs. Still some bits I like and others which will go. Not the quickest track to come together, but I think it’ll get there in the end. May work on something else for a while and come back to this.
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Update 4: 07/12/2009
Last night, Doyle suggested some brass stabs – an idea supported by Linda. They both got me thinking and I couldn’t wait to have a play. It takes the track in an entirely different direction from the idea I’d loosely formulated, but hey!
I’ve not got very far – just toying around with some ideas, but is this the kind of sound we were all thinking of?
(Needless to say, there’s very little chance the brass will stay this “straight” throughout the track. It’ll need to be treated, glitched and generally bent out of shape, but I may keep the odd 4 bars here and there quite conventional.)
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Update 3: 06/12/2009
I’ve been a bit blocked – and I think it’s this track in particular. Really happy with the drum part and some of the other bits. I’ll add lots of incidental percussion – little fills here and there – once it’s complete, but it’s not coming together quickly. Then again, what’s the rush?
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Update 2: 01/12/2009
Starting to develop some parts, but still no arrangement to speak of. Again, not mixed or anything yet so levels are probably all over the place.
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Update 1: 29/11/2009
Had a bit of a play with this today. Added some elements which I like and some I’m not so sure about. I’ll leave it for a couple of days and see what stays and what goes. Also need to start thinking about a lead part.
As usual, there’s no arrangement here, not even an introduction – so prepare yourself as you hit play! The drum loop I’ve created is also pretty raw. The bass drum triplets, whilst powerful, are clearly repeating too frequently. I’ll pull these in probably once every 8 or even 16 bars once the piece is further on.
Not sure at all about the funky wah wah guitar type synth sound. I suspect that will die. Only bit I’m really happy with at the moment is the repetitive bass line and the drums (once the BD triplet frequency has been reduced.
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First upload: 27/11/2009
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I’m not going to add too much content to my own blog, since it’s being covered in detail over at Half-BIT.com, but I will take a moment just to add a brief description of what Fernando and I are working on.
It started with a tweet from @AudioPornTwitz about a Little Boots remix contest. The Earthquake stems were posted online so I DM’d Fernando to see if he was interested in having a play with them for our follow up to Separate.
Earthquake – GAP RMX by Half-BIT
Anybody remember Cosecha? And the fun we had pulling together PS011, recently released by the outstanding PublicSpaces netlabel?
Well, Mr Fonseca and I require your help again. Our newly formed collaboration, Half-BIT will be providing an art sound installation at Netaudio’s EXPANDING 09 Festival on 14 November in Barcelona.
Half-BIT is all about collaboration. It’s our raison d’être. It’s how the whole project was kicked off. And we want it to be global. Our first track started life as a wonderful IDM piece from Alka’s Dog Lost in the Woods album. It was remixed by Fernando Fonseca, then remixed again by me. None of us have actually met. Alka is based in New Jersey, Fernando kicks around Barcelona and I inhabit the far less urban-cool, though equally chic Cheshire, UK.
What we need from you
Just like Cosecha, Fernando has asked me to seek parameters to create a new source file for him to glitch the hell out of for a sound installation on 14 November (when I’ll be tucked up in front of Faithless at Manchester’s Warehouse Project). And we need YOU to help with those parameters.
This time, I intend to use two of my favourite VSTs: Ohm Force’s Symptohm and BigSeq2 from Audio Damage. I’ll request some parameter values to create the sound (e.g. send me a number between 1 and 5000) and you’ll tweet back with your number. Just like Cosecha, I’m not going to disclose which values are being requested, but unlike Cosecha, I anticipate far fewer requests being made of the contributors. (Promise!)
Once I’ve handed our sound over to Fernando, he’s going to work even more collaborative magic to create a very special piece for Barcelona.
Play your part by adding a comment below with your Twitter username, or tweet us up with #halfbitbarcelona in your tweet.
We’ll keep you informed of progress via our favourite collaborative social networking wonder-drug: Twitter.
The Contributors
The following people / organisations have volunteered to respond to data requests.
@_alka
@BlueEydGlambert
@dust_bunnies
@fbish
@groovecriminals
@heuristicmusic
@HipGnosis23
@leeconnolly
@LucidAcid
@madebyrobot
@publicspaceslab
@pure_tone
@retorta
@ronsens
Sound 1 – Ohm Force Symptohm Output [30/10/2009]
Thank you to all the contributors for providing numbers today. Below you’ll find a SoundCloud player which previews the three bar loop your numbers have generated. Don’t get too excited just yet. There’s a second stage to the process where we mash this up using Audio Damage’s BigSeq2.
The table below illustrates how the sound was generated from the numbers supplied:
| Parameter | Request | Received | Contributor |
|---|---|---|---|
| Note | 1-12 | 5 | @alka |
| Note | 1-12 | 5 | @BlueEydGlambert |
| Note | 1-12 | 12 | @dust_bunnies |
| Note | 1-12 | 3 | @fbish |
| Repeat (0) Reverse (1) | 0-1 | 1 | @groovecriminals |
| Tempo | 110-180 | 123 | @heuristicmusic |
| Beats | 2, 4, 8 or 16 | 8 | @HipGnosis13 |
| Loop Length | 1-4 | 3 | @leeconnolly |
| Symptohm Sample | 1-123 | 72 | @LucidAcid |
| Slide Time | 1-4000 | 1 | @madebyrobot |
| Morphing | 1-6 | 3 | @PublicSpacesLab |
| VCA | -30 – +4 | -7 | @pure_tone |
| VCF Cutoff | 60-8000 | 4358 | @retorta |
| Voice Filter Type | 1-3 | 2 | @ronsens |
None of the contributors was aware of the parameter for which they were submitting a value. The request simply read (for example), “Please send me a number between 1 and 4000 (inclusive). Thanks.”
Phase 1
Here’s how the loop was generated:
The first four contributors provided the notes for the loop. I preselected C major scale and with 12 notes in an octave we have a pattern of E, E, C, D.
Parameter 5 governs whether the pattern should then repeat or reverse (0 for repeat, 1 for reverse). So the second four notes are D, C, E, E.
Parameter 6 establishes the tempo of the loop: 123bpm. Parameter 7 sets the note length: 2 being a minim, 4 a crotchet, 8 a quaver and 16 a semiquaver. The loop length was established as 3 bars by Lee Connolly. The sample preset from Symptohm is 72 (literally counting through the sample files in the Symptohm library!) and the remaining four parameters establish the filters applied.
Loop 1 – Symptohm
Symptohm (Half-BIT #Netaudio) by Half-BIT
More to come! Stage 2 will be the mash up and sequencing in Audio Damage’s BigSeq2.
Phase 2
Here’s how the loop was generated:
Phase 2 of our Netaudio project applied a VST plugin named BigSeq2 from Audio Damage to the source file above. Once again, the values were requested without conveying to the contributors which parameters they governed. The table below illustrates how the values were applied:
| Parameter | Request | Received | Contributor |
|---|---|---|---|
| Preset | 1-40 | 25 | @alka |
| VCA Step Size | 4, 8, 16 or 32 | 4 | @BlueEydGlambert |
| VCA Gate | 1-100 | 43 | @dust_bunnies |
| VCA Decay | 1-70 | 36 | @fbish |
| Filter Type | 1-6 | 5 | @groovecriminals |
| Filter Frequency | 40-2000 | 1688 | @HipGnosis13 |
| Filter Resonance | 0-100 | 76 | @HipGnosis13 |
| Delay Time | 1-8 | 8 | @leeconnolly |
| Delay Feedback | 0-100 | 37 | @LucidAcid |
| Delay Send | 1-100 | 40 | @madebyrobot |
| Bit Rate | 1-100 | 89 | @PublicSpacesLab |
| Bit Depth | 8-24 | 19 | @pure_tone |
| Distort Fuzz | 0-20 | 15 | @retorta |
| Distort Warp | 0-20 | 17 | @ronsens |
Loop 2 – Symptohm plus BigSeq2
Thank you to all the contributors. That’s my bit done. Now it’s over to you, F.
I think the single most impressive thing about Twitter has been the opportunities for musical collaboration which it has brought about. This, my third significant ‘joint venture’ is with the amazing talent, Scott Lachance, aka Digitube. I really am absolutely thrilled to have an opportunity to work with such wonderful musicians and producers from all over the world.
I’ve only just begun with this and I do have a slight problem with one of the VST instruments drifting slightly out of time (around 2′10″ which I’ll fix). I’m uploading the small amount I’ve done and I guess here will be as good a place as any for Scott and I to exchange ideas as the piece develops. The upload of work in progress has become something of a tradition and people do seem to enjoy chucking in their two pennyworth as a track evolves (which I both seek out and value hugely).
This has not been mixed at all. Levels are definitely awry.
Update: 07/11/2009
FInished track. Mastered by @pure_tone
Update: 24/10/2009
Really great to speak with Scott on the telephone this evening. Felt very inspired after our call and so I did a little more work on this track. Spent quite a bit of time on the percussion and created a kinda funky guitar out of one of the stems (actually came from the drum stem, using BigSeq2 to create the groove).
I’ll have another listen tomorrow, but in truth barring level checks and EQ tweaks, I quite like the place this has got to.
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First Upload: 23/10/2009
Just playing around with some deep percussive ideas for this first upload. No arrangement and no mixing completed so far.
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Digitube Original “Organic Build 2″
Scott published his ‘let’s kick things off’ MP3 on SoundCloud and I’m uploading it here too for reference. Clearly, it’s much more than a ’starter for ten’!
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OK, off we go again!
I finally completed my own remix of Alka’s Separate, when a few days ago I was sent a link by Fernando Fonseca to have a listen to what he was up to with his remix and to offer an opinion as to whether it needed vocals.
I am really impressed by what he’s put together.
Long and short of it is that we got talking about whether I’d be interested in mixing his remix. Fool that I am, I agreed!
Last night, I loaded the stems into Cubase and started to have a play around. I’ve worked on a supplementary bass part and I’m uploading a quick burst here, just a flavour of what I’ve got – it’s just a few bars of percs and bass, but gives a hint of where I want to take this.
Rather than the “drop” you’ll hear after the short soloed percussive break, it’ll almost certainly lift here (more drums!), but I do love the sub at this point.
As always, I’m uploading a tiny snippet to kick off the post. I really like looking back and listening to how the tracks evolve, so these are always great to hear once the finished piece has been mastered.
Mastered version
Separate – STRBX RMX by Half-BIT
Mastered by Pure Tone
Update: 20/10/2009
Should really listen to this again with fresh ears tomorrow before uploading, particularly as I did most of the mixing on the train. But what the heck! Let’s pop this version on the website now and if I need to remix or tinker in any other way, I can always come back to it over the next few days.
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Update: 15/10/2009
Train journey home allowed a bit more time to play around with the Half-BIT Mix. Really liking the way this is coming together, though clearly a way to go yet.
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Update: 12/10/2009
Still poorly so it’s laptop in bed (again) and a little bit more playing with The Half-BIT Mix.
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Update: 11/10/2009
Took @pure_tone’s advice and brought the laptop to bed to do a little more work on this track. Not taken it too much further as my head feels like ’tis full of cotton wool and I don’t want to have to undo lots of this later if it’s awful with proper ears.
Not an arrangement, nor a mix. Just some ideas. Some will stay, some will go.
Anyway, Tone was right. That killed an hour!
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First Upload: 07/10/2009
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I guess it was the sun, sea and sand of a beautiful Spanish island which inspired me to try and turn a fabulous IDM track from Alka into a clubby groove, but that was my intention with this treatment of “Separate”.
With that in mind, I decided to name it the Jandía Mix after the small resort at the southern tip of Fuerte Ventura, where I was staying 10 days ago when this was put together.
Update: 7th October 2009
The shrill flute towards the end of this track and its incongruity with the rest of the piece has been niggling me since August. I love what Tone had done with the mastering and apart from that, was pretty happy with the track. Last week I could take no more so I opened up Cubase and played around with some different instruments. The flute has now gone and been replaced with a filter-tweaked lead synth patch from Ohm Force’s Symptohm, run through Audio Damage BigSeq2 with a little DaTube FX. Once done, I handed it back to Tone and he’s re-mastered compressing the track slightly to highlight some of the detail.
Separate (Jandía Mix) by kieronjames
And here’s a link to the original track by Alka on Last.fm.
Note re first three comments below:
I did have an earlier problem with the lead synth at 3:28. There was pretty heavy modulation on the original track which (to my ears at least) bent it out of tune – not on the original, but on the remix – so I sought comments from a few trusted Twitter folks. Responses from @digitaldoyle, @digitube and @UBLF are shown below.
I tried tweaking the EQ at 3:28 as suggested but was convinced that the part was still out of tune, rather than just a harmonics issue so I ran the audio file through Cubase Pitch Correct to see how far it was “drifting”. After adjusting and readjusting for about an hour, I ended up deleting that part and writing three new lead synth lines. I’ve also done more work on the arrangement and mix and as ever, I’d love your feedback.
The laptop is back from the Apple Store and the geniuses have worked their magic (by replacing the logic board). This is fantastic news! Can’t believe it’s only been a week. It feels like a lifetime since I last plugged that Steinberg USB dongle in.
To celebrate, I’ve begun work on the Music For Freedom project kicked off by @fjfonseca and PublicSpaces netlabel. You can read much more about the project on PublicSpaces’ website. I feel very proud to play a small part in the Indaba and Soundcloud music sessions. The response from musicians has been inspirational.
My starting point is to listen to the various uploads at Indaba and select one or two samples to work with. I have already uploaded some drum loops to the session and some of the vocal samples have caught my attention.
Although there are parallels between this and the Baha’i track which I did for @thomasraukamp, I’m keen for this to be much more traditional – roots in the music of the region. With that in mind, I’m downloading the Persian melodies from Fernando Fonseca and will kick things off with those.
Update: [10 September '09]
The finished piece can be heard here.
Update: [14 August '09]
Summer holidays have played havoc with progress on this track, so just a quick update to let people know that it isn’t forgotten. I’m hoping to receive vocals before too long. In the meantime, here’s the very latest mix of the instrumental.
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Update: [25 July '09]
Not too many changes since 22nd July update below. Just a little more work on the bass sequence, changed one oscillator and increased the level of the other. Also brightened up the “slams” in the backing to Verse 2 by tweaking the EQ.
Until the vocals are added, I really am going to leave this alone now.
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Update: [22 July '09]
Did a little more work on this last night. Beefed up the bass with a new sound from SubBoomBass, worked on the EQ for the celeste, string instruments and djembe (removed some lower frequencies from the latter so that it wouldn’t fight with the bass as much) and extended the middle verse by twelve bars to make room for the extra text.
Listened to this as it’s uploading and not so sure I like the second oscillator on the SubBoomBass track. I think I’ll swap this out later for a Half Sine (it’s the higher frequency patch which answers the lower frequency one).
Also, bass is fighting with other instruments rhythmically in some sections of the track – which it didn’t seem to on earlier versions. Feel as though I’m getting too close to this and my tweaks are sending it in the wrong direction.
Very excited about hearing the vocals and looking forward to being in a position to put a final mix together. Will work a little more on that bass line tonight. It’s strange because in 12 July update I really liked the bass!
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Download .WAV file [155Mb]
Update: [19 July '09]
I probably should wait until tomorrow before uploading this for two reasons:
- I’ve been mixing all day using two pairs of headphones and haven’t heard it on any speakers at all, let alone reference monitors which I don’t possess.
- I should give it twenty four hours to listen again with fresh ears having spent some time today working with the file.
Anyway, despite the fact that it will probably change again a few times before it’s mastered, I think it’s now time to hand over to Shahryar Saberfakhr for the vocals.
I’ve left spaces in the track for the three verses of The Wind Will Take Us by Forugh Farrokhzad which will be sung in Farsi by Shahryar Saberfakhr:
The Wind Will Take Us
In my small night, ah
the wind has a date with the leaves of the trees
in my small night there is agony of destruction
listen
do you hear the darkness blowing?
I look upon this bliss as a stranger
I am addicted to my despair.listen do you hear the darkness blowing?
something is passing in the night
the moon is restless and red
and over this rooftop
where crumbling is a constant fear
clouds, like a procession of mourners
seem to be waiting for the moment of rain.
a moment
and then nothing
night shudders beyond this window
and the earth winds to a halt
beyond this window
something unknown is watching you and me.O green from head to foot
place your hands like a burning memory
in my loving hands
give your lips to the caresses
of my loving lips
like the warm perception of being
the wind will take us
the wind will take us.
Forugh Farrokhzad
Translated by Ahmad Karimi Hakkak
The spots in the track I had in mind for the three verses are:
1′55″ -> 2′19″
2′44″ -> 3′08″
3′58″ -> 4′22″
I’m really not sure if these will be long enough (particularly for the second longer verse) and I don’t want to be prescriptive at all. If vocals fit elsewhere in the track (e.g. during the introduction) that’s fine too!
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Download .WAV file [150Mb]
Update: [15 July '09]
Had planned to work on this track last night – and wished I had trusted my instincts and left well alone. Given that I wasn’t feeling too inspired, I thought I’d do some “admin” on the Cubase file – organising tracks into folders, creating marker and arranger tracks and starting to consider structure and arrangement.
I had a few other questions to consider too:
- How long should the introduction be?
- Which instruments and effects would feature in the intro and final sections of the piece?
- How and where should the vocals be incorporated?
- Should I create a bridge?
The so-called “admin” (tidying rather than organising) is one part of the process which I find anything but creative, but since I wasn’t feeling too musically inspired, it seemed a good opportunity to take care of it. So an hour into moving things around, track and part labelling and considering the overall structure, I was horrified when Cubase froze.
I’ve set up the iMac to create backups every so often, but had neglected to do this with the MacBook, so all was lost. Thankfully, I had created a new file before I started, so the fact that I’d inadvertently deleted the entire third part of the riff (every instrument) during my rearrangement tasks was not as horrendous as it might otherwise have been.
Software crashes are a fact of life with digital musical creation, but that doesn’t make them any easier to bear! So I’m no further on with the arrangement and all the parts below are STILL playing in unison!
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Update: [12 July '09]
Didn’t get very long to work on this tonight as I was unexpectedly required to drive Dad’s Taxi. Tonight’s pick up: Three rowdy teenagers (including my highly charged 13 year old daughter) from ten pin bowling in Rochdale.
Spent some time later working on a bass line with Rob Papen’s excellent “SubBoomBass” and I’m uploading a small section here, first solo, then with one of the drum kits (no percussion) and an additional synth part. After the second time through, I add one of the melody instruments, just so you can hear how it fits together.
I know I must seem to labour this point, but this isn’t an arrangement and it isn’t mixed at all. Call it a preview of some of the instruments which may (or may not) make it to the finished track.
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Update: [10 July '09]
Pleased with how this is beginning to take shape. I’ve added another synth track – the one which opens this teaser – and some other instruments playing the lead melody. At the moment, they’re all playing in unison, which won’t happen in the final mix, except perhaps at the end.
Other than a bass (SubBoomBass from Rob Papen looks to be likely VST) and a main drum kit, which I’m still unsure as to whether I’ll add, think I have all the ducks (or camels) in a row now, so it’s time to start work on the arrangement.
I’m starting to hear this build – Ravel’s “Bolero” style – to a loud and rhythmic climax.
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Update: [9 July '09]
Spent a little more time on this last night. Worked a lot on the percussion and was able to make substantial (still early days) changes to the sound by replacing the instruments used in the melody – thanks to import of a copy of the Persian midi file which Fernando emailed me.
I also dropped the tempo by around 4bpm. I want the rhythm to “groove” and with it being predominantly based around sixteenths, I think it has more chance of doing this at a slightly slower pace.
My favourite part is still the two notes played on the FXpansion Orca (“Beating” preset) with BigSeq2 plugin effects and REVerence (Cubase 5) reverb. Simple.
There’s still no arrangement or mixing here. These are just elements I’m planning to incorporate. And I’m convinced there are a couple of bum notes in that midi file at around 0′57″.
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First upload: [8 July '09]
I only spent an hour or so last night, using the traditional_melody file uploaded by Fernando and a short drum loop of my own. I’ve added a couple of notes using Orca (FXpansion) and my favourite VST from AudioDamage, BigSeq2.
I’m uploading an eight bar teaser, but this has a LONG way to go yet!
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For the sake of archiving this tune’s development, I’m uploading eight bars from track 2 of Somió release, Deva. The piece is entitled “San Feliz” and inspired by memories of reading Murakami in the garden last year (hence the bluesy chords), swigging ice-cold Coke in the sunshine and the summer I long for!
I’m trying to create a loose downtempo funk mood to reflect my highly relaxed state of mind at the time. These eight bars (repeated with some heavily edited Balinese Bells in the second eight) should give an early indication of how well I’m reaching the intended goal.
Clearly not mixed at all. These are early days.
Thoughts?
San Feliz Teaser (Update 2: 28/05/2009)
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San Feliz Teaser
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Oh, and here’s San Feliz:
DEVA forms the title track for the album of a new recording project, Somió.
I’m in the process of pulling compositions together for this and have begun work on a separate website. The reason for divorcing this work from other tracks is that I’m looking for a consistent theme for Somió. I’ve a tendency to “go with the flow” when writing, but I want at least some of my work to develop along a particular line.
DEVA (more about the origins of the project and album at somio.net) was sketched some time ago as six random notes (or 12 if you count the slight change in each alternating bar). I did make an earlier attempt at arranging it back in March, but I’m much happier with this version.
The bass sequence remains rock solid throughout the track, barring two very short pauses as the main theme is introduced. The percussive sounds and frequency changes are intended to punctuate what is essentially the exploration of a very basic melody.
The arrangement of this track is complete but I will be back to check levels before mastering.
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