Awww, hey, thanks everyone.
oscillateur wrote:What did you use (instruments, etc.) ?
It varies from track to track, but I'd say overall it's about a 50/50 split between samples/in-the-box manipulation and live instrumentation.
For example, the piano on the title track is a real, physical piano recorded with a contact mic, and the rest of the instruments on that one are from my little modular rack (the low drone) and the Boardweevil > RM-1N (that's the bat noises and oscillating scream-y sounds), but The Waste Maker was entirely done in Ableton with Noatikl, some slightly different spectral filtering on each track, and the white noise* coming on top of a very, very granulated iteration of the original Noatikl system playing 10 or 15 minutes further from where the "normal" track actually ends, if that makes sense.
Since someone mentioned it, Nocturing Machine was built around the modular going into the DD-500 with some Ableton accoutrements (the periodic metal scraping is in the box cymbal sounds that have been fucked with a little bit and 'played' via QuNexus), but 98.2% of that piece is from my little 3U.
*nerd stuff about the noise because I'm gratuitously uncool:
So there's an LFO that's controlling the pitch of the first noise generator which was sent into a differently flavored -- much wider -- ITB noise addition machine in Ableton, which is what gives it that sort of "wash of mist on wind" quality (Or at least I hope it does.
), since the LFO, which was quite slow, is running through the wave independently, the input is still being triggered by the original sample (i.e. when there's no notes coming from the sample, there's no white noise). That's why it sounds pleasantly choppy -- because the sample was warped a ton.