I’m not sure why, but I wanted to make something both painfully chaotic and relatively synchronized. Luckily, there happens to be an app for that, and it’s called BitWiz, a unusual program that essentially lets you program in a mathematical formula, and it will turn it into very intense digital-sounding noises. The underlying sound in the track was generated from a modification to one of the preset sequences, further disassembled with some Sonic Charge effects, accompanied by some of my favorite Reaktor ensembles until I got the level of sound I was looking for.
The result is… marginally listenable, but for some reason I really like it. Listening to it makes me feel… synchronized, somehow, especially when I put it on loop. Although I can’t listen to it for too long because then my ears start to hurt…
Also, the title was originally going to be Kabang for some arbitrary reason, but then I removed the G for an even more arbitrary reason. The removal, however, does not appear to objectively affect the sound quality.
Step 1: Take the glass top to a corningware dish and spin it upside-down on a tile countertop.
Step 2: Record the oscillating glass noise.
Step 3: Experiment with the clip using various forms of granular synthesis, gating, extreme filter and delay warping, hyper-driven amps, and other fun stuff.
Step 4: Wobble Grind (Maximal) Wobble Grind (Minimal)
Oh yeah, warning: there’s a reason this one’s tagged “earbleed.” Some of the extreme driving produced some unusual side effects that are very shrill in pitch, so you may want to carefully moderate your volume when listening (or listen to the “minimal” version on the right, which has less of the especially hard programming).
Sometimes, when I’m testing out a synth and trying to learn it, I just hook up my keyboard and start playing around with them live, tweaking every knob I can get my hands on and seeing what happens. Sometimes, if something interesting happens, I record it. The following are some of the results. Warning: some of these amp up unpredictably – make sure your speakers are set at a safe volume before continuing.
This is actually a visual pattern exercise rendered into musical form. Each of the notes start out playing in sequence, then slowly move, one by one, into different phases in relation to each other’s positions. The first iteration of this track was rendered using a bunch of loud bells, but it didn’t seem quite… interesting enough. This version switches over to Logic’s venerable EFM1 synth, and adds slowly varying modulation amounts to the mix. The result is a track that I find both intriguing, and at times almost unbearable to listen to all the way. If you are able to listen to this track all the way through, you have my full permission to remove the letter F from the title should you so desire.
Essentially, this piece started off as three seperately played live arpeggiations – one focusing on a sort of standard synth sound, one “playing” a preset not unlike a military ship’s warning klaxon, and one of a glistening crescendo loaded with piercingly high frequencies. The first piece contains all the sequences, one after the other. The second piece, Insanity, mixed all 3 of them together… simultaneously. The result is an absolute sonic cacophony of insane noise – which, surprisingly enough, I actually like listening to (at least until it makes my ears start bleeding and I have to reach for the volume off control in desperation). Be forewarned – not for the faint of heart.