Single Tracks, SounDevotion Competition

When New Ideas Don’t Work Try Old Ones

For SounDevotion Competition Round 85

This round featured Dexed, a great DX7 VST. Though I learned synthesis on a 4op Yamaha, 6 operators make a world of difference I wish I had a long time ago, to a point that I priced TX802s…. (For the price, a bunch of Dexed instances in Renoise beats trying to control and mix a TX or two, no doubt.)

Many of the tones have a Renoise LFO adjusting a modulator’s ratio. This causes the overtones of different hits to change slightly, creating a more realistic sound in some cases, an effect I exploited often when I was in college.

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Full Length

Everything Must Change (For You), So That Everything Stays the Same (For Us)

Everything Must Change at archive.org

Download entire album as a ZIP file

Sample audio:

Everything Must Change (For You), So That Everything Stays the Same (For Us) is a return to the RPM Challenge in 2011 (The RPM Challenge is a public dare to create a recorded album using the time only in the month of February to conceive, compose, record, produce, and master) and is named after a paraphrase used in the blog Spike Japan (http://spikejapan.wordpress.com) to describe the country’s economic structure.

As with Release Zero, the RPM Challenge was in the same month as Battle of the Bits’ Winter Chip VI and contains mastered versions of some entries there. The blend of chiptunes and samples of varying rates with RPM’s time limit causes a rough blend of sounds and styles, beginning with the eerie and soft and gradually moving towards the tongue-in-cheek only to return again.

I had originally started this project with the intent of using only the classic ST-XX sample disks (such as the overused ST-01) for Amiga Protracker for sources of sound as a tribute to the tracker and demoscene that inspires me to create; however, after four or five different attempts to go through the samples and create a piece good enough for release, I found that I was editing the samples until it didn’t matter what they were or where I was getting them from, they all started to sound too similar.  Winter Chip began, so I did the same thing I did for Release Zero- I used my Winter Chip entries as tracks.  It took quite a bit of polish and even some rearranging (and retracking) to get it all to blend.  Perhaps it is the nature of the RPM Challenge to make records that are rough and don’t flow well, but by taking the challenge twice I’ve learned that there is a feel in working quickly that does not come out when I work slowly.  I hope that this work is enjoyed all the same.