This blog is a continuation of a series. See here for the previous blog (2016a).
Psychedelic Rock Music
At the outset of my research study, I imagined my creative practice was to be a five (5) track EP of original compositions. The song style was to be a roots-based, a style I had been accustomed to writing over many decades. However, I wanted to ensure I was challenging my practitioner self, and therefore reflected on sub-genres I had not yet explored. Over the first few months of the pilot study, I found my self returning to my musical influences[1] to garner some inspiration. As part of this process, I investigated and developed my understanding of the history of music production[2] . As described in my blog here (2016a), I had always loved psychedelic rock but had no experience in producing that style. I therefore turned my focus to learning as much about this style of music as I could.
As part of this process, I began to experiment within the digital virtual environment with processing audio to arrive at a psychedelic aesthetic. This blog is a record of one of those experiments in sound processing techniques, rather than using external hardware experimental processing as they had done in the 1950s and 1960s.
Experimentation
Sample Event 0 (click to access audio)
I commenced with a recording of a Taylor 815ce acoustic guitar, capturing the sound with both a DI (via a built piezo pickup) and several contact microphones attached to the body of the guitar. The first track is a segment of an original acoustic recording – a sample, or sound event – , with no processing applied.
Sample Event 1 (click to access audio)
In the first sample, I applied a digital virtual time-based processor to the sound event – Soundtoys’ Echoboy, with the setting Infinite Dark + Dirty.
Sample Event 2 (click to access audio)
In the second sample, I applied a digital virtual time-based processor to the sound event –Soundtoys’ Echoboy, with the setting Darkening Circles.
Sample Event 3 (click to access audio)
In the third sample, I applied a digital virtual time-based processor to the sound event –Soundtoys’ Echoboy, with the setting Wreck-o-plex.
Sample Event 4 (click to access audio)
In the fourth sample, I applied a digital virtual spectral-based processor to the sound event -Soundtoys’ Filterfreak, with the setting Phasey Sweep.
Sample Event 5 (click to access audio)
In the fifth sample, I applied a digital virtual dynamic, spectral & time-based processor to the sound event –Soundtoys’ Crystalizer, with the setting Koursar.
Sample Event 6 (click to access audio)
In the sixth sample, I applied a digital virtual dynamic-based processor to the sound event –Soundtoys’ Devil-Loc, with the setting Maximum Pain at full settings.
Sample Event 7 (click to access audio)
In the seventh sample, I applied a digital virtual dynamic-based processor to the sound event –Soundtoys’ Devil-Loc, with the setting Maximum Pain at partial settings.
Sample Event 8 (click to access audio)
In the eighth sample, I applied a digital virtual dynamic & time-based processor to the sound event – UBK’s Sly-Fi Deflector.
Sample Event 9 (click to access audio)
In the ninth sample, I applied a digital virtual dynamic & time-based processor to the sound event – UBK’s Sly-Fi Kaya, with the default setting.
Sample Event 10 (click to access audio)
In the tenth sample, I applied a digital virtual dynamic & time-based processor to the sound event – UBK’s Sly-Fi Kaya, with the setting Bass 7 Tubes Down.
Sample Event 11 (click to access audio)
In the eleventh sample, I applied a digital virtual dynamic & time-based processor to the sound event – UBK’s Sly-Fi Kaya, with the setting Overt ill-advised.
Sample Event 12 (click to access audio)
In the twelfth sample, I applied a digital virtual spectral & time-based processor to the sound event –Eventide’s Quadravox Harmonizer.
Sample Event 13 (click to access audio)
In the thirteenth sample, I applied a digital virtual spectral & time-based processor to the sound event –Eventide’s Octavox Harmonizer.
Sample Event 14 (click to access audio)
In the fourteenth sample, I applied a digital virtual time-based processor to the sound event –Moogerfooger’s Ring Modulator.
Sample Event 15 (click to access audio)
In the fifteenth sample, I applied a digital virtual time-based processor to the sound event –Zynaptiq’s Adaptiverb, with the setting Sci Fi Transition Rift.
Sample Event 16 (click to access audio)
In the sixteenth sample, I applied a digital virtual time-based processor to the sound event –Zynaptiq’s Adaptiverb, with the setting Sci Fi Temporal Anomaly Atmo.
Sample Event 17 (click to access audio)
In the seventeenth sample, I applied a digital virtual spectral-based processor to the sound event – iZotope’s Neutron I, with the setting Heavy 808 Distortion.
Sample Event 18 (click to access audio)
In the eighteenth sample, I applied a digital virtual time-based processor to the sound event –iZotope’s Dynamic Digital Delay.
Sample Event 19 (click to access audio)
In the nineteenth sample, I applied a digital virtual synthesis instrument-based processor to the sound event – Native Instruments’ Absynth 5, with the setting 808 Kick.
Summary
Whilst it was a fun practice task applying a range of digital virtual processing to the sound event sample – dynamic, spectral, time-domain and various combinations of these – , I noticed that the processing alone – the processing applied to the sound event samples – did not inspire my creativity for another production project. The processing I applied were merely colourful effects in my mind, not influential sounds to ultimately influence the direction of a composition. As I continue to delve into this style and experiment in multi-textured complex layers of music and sound that characterise that particular musical style, I will continue to investigate the various technologies and processing techniques advocates of psychedelic rock music used. I will likely explore external hardware technologies, and feel at this time I will need to be more inquisitive with less predictable processing options. I am looking forward to progressing my sonic compositions and sound designs using a range of technologies. I look forward to this next chapter in my creative practice.
[1] See Page 2015c https://davidlintonpage.com/2015/05/30/doctoral-research-study-part-2f
[2] See Page 2016b https://davidlintonpage.com/2016/02/20/history-music-production-part-4a-diy-experimental-practice-influences-large-format-console-studios; and Page 2016c https://davidlintonpage.com/2016/03/05/history-music-production-part-4b-experimental-practice-changes-the-approach-to-mainstream-music-production
It is intended for this series of creative practice-related blogs to continue here (Page 2016e).
References
Onion image courtesy of: Onion Layers Accessed 15th December, 2014
Page, David L. 2016e. https://davidlintonpage.com/2016/02/29/doctoral-pilot-study-part-2c Accessed 5th March, 2016
Page, David. L 2016d. Soundcloud. DLP Soundcloud Accessed 5th March, 2016
Page, David L. 2016c. https://davidlintonpage.com/2016/03/05/history-music-production-part-4b-experimental-practice-changes-the-approach-to-mainstream-music-production Accessed 5th March, 2016
Page, David L. 2016b. https://davidlintonpage.com/2016/02/20/history-music-production-part-4a-diy-experimental-practice-influences-large-format-console-studios Accessed 24th February, 2016
Page, David L. 2016a. https://davidlintonpage.com/2016/02/17/doctoral-pilot-study-part-2b Accessed 24th February, 2016
Page, David L. 2015c. https://davidlintonpage.com/2015/05/30/doctoral-research-study-part-2f Accessed 24th February, 2016
Pro Tools 12 Sample Event Images courtesy of: David L Page Accessed 25th February, 2016
Psychedelic Rock image courtesy of Ultimate Guitar.com Accessed 5th February, 2016
