To continue with my notes on the songs on my 11th album, Sampler, we get to the 6th track. That title is called Very Confused. The description of how I did it may be as equally confusing.
As inspiration for and as a way to try different ways of composing, I took an existing piece, the first movement of the Opus 2, No. 1 Beethoven Piano Sonata. I loaded a midi rendition of the piece into my DAW. I used a function that takes all the notes of the file and extracts them to separate MIDI tracks. I forget how many unique pitches there were, but it was a large number. Based on the visual look of each track in a piano roll editor I moved tracks around and combined many with specific percussion instruments in mind.
I ended up with 16 different midi tracks. Using what I thought would sound good in combination with all the other tracks I assigned various percussion instruments to each of the 16 tracks. All the percussion sounds were from the Native Instruments sound library Percussion Symphony Series. Even the mysterious piano sound was from that library.
Processing, as with much of my music was minimal, once the desired sounds were recorded. The Claves had Replika XT (from Native Instruments) on it with a special effect patch highly modified. The Rain Stick track utilized the Movement plugin (from Output.com), 11.8 pitcher from one of the expansion packs. The vibraslap track sounds like a metalic flying object with lots reverb. That was accomplished by sending it through the Dual Crystals effects chain in Absynth. I used a little bit of EQ and compression here and there.
The original Beethoven Sonata movement, with repeats is nearly 20 minutes long, far too long for a track on the album. So I cut and chopped different sections, mainly silence and shortened it to less than 6 minutes. I was surprised by how much silence there was in the original piece when broken into its individual notes.
It is definitely Very Confused. I hope you like it. If you do or have any other comments or questions, please leave them below.
I’m taking a break from writing about the individual tracks on my new (July 2018) album. I will return to them.
I sometimes wonder if anyone is reading these blogs of mine, I’d love to know. With practically no comments or interaction from anyone about my blog, I’d love to hear from you in comments or the contact form on my website.
Earlier in 2018 I wrote that I was no longer selling my keyboard music as single titles but would instead be selling collections of my music. After experimenting with that for a few months I’ve decided to go back to selling titles individually. The benefits of having only collections available were outweighed by administrative and organizational elements that the average buyer of sheet music probably isn’t aware of. For example, keeping track of which titles are contained in which collection and which filenames are associated with those collections & individual titles.
Whether it be keyboard, bells, instrumental groups or solos, I’ve only ever had one collection sell well. That being my Huge Classical piano collection book. This is probably due to classical music always being more popular than sacred or popular music arrangements and that few of the titles in that collection are available elsewhere from me.
The thought occurs to me that maybe with digital music, people prefer to buy individual titles. Is it because the total price is cheaper? Is it because, unlike with collections, they don’t end up buying titles they don’t want. (That’s my reason for preferring singles to collections. I’ve quit buying Hal Leonard Jazz Piano Solo series books because I end up with too many titles I just don’t care anything about ).
I’d really love to see a discussion of what you like or what other musicians you know like. Are there other reasons why people don’t want to buy collections in digital form as much as singles? Or maybe I’ve got it wrong. Maybe people do like collections better than single sheet music.
Escape Is This Way
This is both the 5th and 11th tracks.
Please leave a comment if you like these liner notes. That way I’ll know that you want me to continue posts for all the tracks on the album.
Track 5 is an “acoustic” version and the 11th is an “electronic” version. The piece is based on a piece from my sheet music catalog “12-tone piece for 4 instruments.”
I used instruments from the Symphony Series String Ensemble from Native Instruments. Basically the 4 parts are comparable to a string quartet. I used minimal EQ. I added some risers, orchestral percussion and Cuban style percussion. The risers from the Rise & Hit library from native instruments. The percussion from the Kontakt factory library all percussion preset. The Cuban style percussion from the Discovery Series: Cuba by native instruments.
The two percussion channels I sent to the stock delay in Reaper with a modified ping-pong, 5-tap delay preset. The riser channel I sent to the RC-48 reverb using the snare roll preset (with modifications).
For the instrument and effect channels I cut out some of the low frequencies (below 50Hz) that can creep into software based instruments. On the master channel I cut low frequencies below 100Hz. I also used the T-RackS Bus compressor from IK Multimedia with a slightly modified Glue preset. The final link in the effects was the Lurssen mastering console with a modified Classical (Warmer) preset.
On the electronic track I kept the same percussion parts but with the Supercharger compressor with a modified Drumbus on the Cuba percussion. I didn’t use any EQ or other compression in the mix. I did use the same compressor on the master track, but did not use the Lurssen console.
I did some panning automation on the Percussion channels. All the sounds were kontakt instruments. In order: 1) Gravity Natural forces pack, Hope eternal patch and Analogue strings from the Retro series Kontakt library; 2) Gravity Natural forces, Mystic Fifths – Amb01 and ChoirInt from Kontakt Retro series; 3) Retro Strings 1 and Gravity Natural forces Stacked Ahh, Eee, Ooo and 4) Matrix Pad 2 from Retro series and Gravity natural forces, Scorched Earth – Amb01
Let me know what you thought of these two tracks.
It Is Different
The fourth track on our album Sampler
The album and audio samples available at: http://store.cdbaby.com/cd/jamesgilbert11
Please leave a comment if you like these liner notes. If nobody comments, then I will probably not include all the liner notes for all the tracks.
This track is one of the most experimental tracks on the album. I used an old DOS, early Windows piece of software to generate notes based on fractal math. You can probably hear in the somewhat abrupt changes where the different formulas changed.
I used various electronic sounds for the 4 tracks. For the pluck sound I sent to the RC48 lexicon reverb utilizing a modified medium random hall & echoes. On three of the other tracks I sent them to the Reaper default delay, modified 5-tap ping pong. The percussion track also got sent to delay and reverb.
All tracks were fed into a parent folder. On that I had a 3-band splitter. This allowed me to send the lower end to one processing chain, the middle to one and the high to another.
I used Supercharger on the two lower bands and solid bus comp on the higher band.
On the master buss I used the Lurssen mastering console modified a bit from the EDM preset.
I did say that It Is Different.