Aesthetic Processing

This blog is a continuation of a series. See here for the previous blog (2016a).

Psychadelic Rock image_Ultimate Guitar.com

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.

20160225 Pro Tools Main Track 00_00_1

 

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.

Soundtoys_Echoboy_Infinite Dark + Dirty.P1.png

 

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.

Soundtoys_Echoboy_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.
Soundtoys_Echoboy_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.

Soundtoys_FilterFreak_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.

Soundtoys_Crystalizer_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.

Soundtoys_Devil-Loc_Maximm Pain.Max 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.

Soundtoys_Devil-Loc_Maximm Pain.Backed off Max settings.png

 

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.

UBK_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.

UBK_Sly Fi_Kaya_default

 

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.

UBK_Sly Fi_Kaya_Bass-7TubesDown.png

 

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.

UBK_Sly Fi_Kaya_Overt-IllAdvised.png

 

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.

Eventide_Quadravox_Harmoniser

 

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.

Eventide_Octavox_Harmoniser.png

 

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.

Moogerfooger_Ring Modulator.png

 

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.

Zynaptiq_Adaptiverb_SciFiTransitionRift

 

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.

Zynaptiq_Adaptiverb_SciFiTemporalAnomolyAtmo.png

 

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.

iZotope_Neutron1_Heavy 808 Distortion.png

 

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.

iZotope_Digital Delay.png

 

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.

Native Instruments_Absynth_808 Kick.png

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

onion-layers

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
– ©David L Page 25/02/2016
– updated©David L Page 05/03/2016
– updated©David L Page 01/05/2017
– updated©David L Page 21/08/2018
Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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