"Art is how we decorate space, music is how we decorate time.”-Jean-Michel Basquiat
(thanks José Fonseca, I'd never seen that quote before!)
Listen to this track on Spotify here: open.spotify.com/track/6iuMli...
#ambientmusic #relaxingmusic #meditationmusic
Patch Notes:
I started putting the 'Fragments' patch together after getting Marbles (Cara) a little while ago (and Triple Sloths). I wanted to pair it with Sinfonion and my Ladik Skipper modules to create a generative piece that changes very slowly and subtly over a long period of time. While making the patch, I came up with an idea to create random evolving weather, which was going to be much more complicated but ended up being quite simple to patch, which I'll detail below. As some people noted, the patch ended up sounding similar to 'Waiting for Cousteau' by JMJ, one of my favourite ambient pieces of all time. Although that wasn't intentional when I started, it inspired a lot of my decisions. The patch took about a week to do, with most of that to fine tune many aspects, especially probability and setting attenuation and offsets to get just the right range of CV, so that things never became too dense and that there would be natural peaks and valleys throughout the piece (thanks to Triple Sloths).
Vector: Part 1. sends notes to Sinfonion Ch 1 out to DPO pitch input, gate from Vector goes to Ladik skipper (low probability), to Delta V EG, which opens filter on Vult Freak. No VCA is used, so that there's always some subtle bass audible. Decay on Delta V is randomly modulated via B-out of Ultra Random.
Pamela's New Workout: 6 channels of random, with very low probability (RSKIP set high around 92%+) go out to Bitbox Micro to randomly, and rarely trigger various pre-made samples (non-looped) with Toggle enabled, so that sometimes they may stop short but fade out slowly (long release).
Marbles/Cara: X1 into Sinfonion Ch 2 In - Out to Disting Ex 1/vct input 1. Marbles X2 to Sinfonion Arp In - Out to Rings v/oct input. Marbles X3 to Sinf Ch2 In - Out Dist. Ex Input 2, for 2 voice polyphonic playback of Spitfire Labs Music Box. T1 Out to Sinf. Ch2 trigger input, split to Skipper 4 input. T2 Out to Sinf. Ch3 trig. input, split to Skipper 3 in. T3 out to Skipper 2 in. Skipper 2 out (3 copies) - 1 RndStp input - 2 Rings Strum in - 3 Sinf. Arp Clk input. Trig Bias around 10 o'clock for more triggers to Disting Ex.
Ladik Skippers (2 of): probability is CV modulated (small range) by Apathy X output of the Triple Sloths (multed x4 for each skipper CV in). This is for slow, evolving dynamics of the bass filter EG, Disting EX Spitfire music box (uses two Skippers), and Rings. This way there would sometimes be moments when stuff isn't triggering very much, and sometimes the opposite.
Triple Sloths: Apathy X - Skippers CV in. Y - Doepfer dual VC CF ch1. crossfades between two weather samples. Intertia X - VC CF ch.2 crossfades between second two weather samples. Y - Dual VCA CV ch.1 Input for dynamic weather overall volume. Z - Ch.2 VCA for the second weather volume. Torpor X - Dry/Wet balance of FX Aid XL Blackhole reverb. Y - VCA in on Praga to control bass volume.
Assimil8or: 4x mono samples into Doepfer crossfader (light rain, heavy rain, rain with thunder, harbour sample). All samples on the A8 are looped and constantly playing.
Ultra Random: Ura A out to Delta V Attack. B out to Delta V Decay R Flux out to DPO Shape input.
Ochd: slow LFO into Arbhar Scan (all layers). 2nd slow LFO into RndStp ch1 Sample input. Ch 1 Unipolar out into Timewarp (for slew) Timewarp out to Rings Shape input for pitch bends. 3rd med-slow LFO into Rings position input. 4th fast LFO into Rings FM (vibrato)
DPO: Square+Final out slow LFO into Angle to 2hp Mix out to Vult Freak (Stabile Low Pass)
Rings outputs through Magneto for subtle delay, wow/flutter and small mix of spring reverb
Arbhar through E520 (Chowder Delay) for some occasional stutter/repeats and pitching
Lubadh stereo loop (improv with Wavestate) pitched down 1 octave plays constantly
Disting Ex Music Box samples through FX Aid XL (Blackhole reverb)
Recorded direct to DAW.
Video shot on a Blackmagic Pocket Cinema Camera 4k with a Sigma 18-35 lens. Editing and colour grading done in Da Vinci Resolve.
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