APPARENTLY THERE’S MORE – (EP December 10, 2013, continuous mix excerpted from:
APPARENTLY, SUITE – (CD December 17, 2013; kamelmauz.bandcamp.com) experimental sound designs utilizing Gestrument
What was pulled out of the mine this time are dark ambient and industrial atmospheres with some consonant sampled voices and dissonant detuned pianos. APPARENTLY cuts a pathway through odd worlds.
The end of 2013 wasn’t supposed to end up with my nose to the monitor making an attempt to turn the raw goods into a mixed-and-mastered production. After all, I cut myself free of the office and had spent most of my creative time working to finish visual experiments rather than sonic experiments.
One day, on a lark, I decided to do a quick studio task: record examples all the unbroken soundfonts I had collected and imported into the wondrous iPad sampler, Gestrument. This produced a little more than two hours of audio, all of it casually improvised using a G pentatonic scale with a couple of extra passing notes. After running through the audio to make notes, and motivated by some felicitous sonic captures, I cut the long track in half and juxtaposed the two resulting tracks in two stereo tracks in Logic.
This gave me two voices that shifted into new sampler routines, and did so in very approximate pairings, throughout the conjoined hour-plus long track. I auditioned the result and was really surprised how the now entangled and intertwined G pentatonic voices moved through and against each other.
The rest of the process came down to, after deciding not to change around the given linear order, editing parts of the tracks in about twenty or so spots to excise combinations that didn’t work and better mesh the two tracks. Next, I processed the resulting nine tracks with flavors of reverb and echo.
Finally, came some ‘austere’ mastering over an aggravating two weeks.
I was compelled to laugh a great deal when the developers of Gestrument, Jonatan Liljedahl and Jesper Nordin, delivered a new version the same week I began the mastering process. This was funny because I may well have never conjured my most intuitive project ever had the release came before the middle of November.
If you get to the end of the video, I thank you for taking the journey. This experiment wanders through lots of moods, and many of the moods simply result from the strange micro-worlds drawn out of various found soundfonts. Soundfonts were the sampler format of choice for the first generation of bedroom sampler heads working on their Windows computers with their soundblaster cards.
Gestrument’s best wonderfully weird feature is its ability to import many archaic soundfonts. This adds a huge number of flavors to its default MIDI GM based pallette, and, also tosses the soundfonts into mappings and procedural treatments that the banks were not built for–always a good thing.
Two recordings came out of my own journey. The short ep mixes the shortest tracks from the full length 41 minute recording into a 17 minute excerpt. This excerpt was used as the soundtrack for the video.
Update: February 2014
Kamelmauz featured at Gestrument.se, also wrote some presets that are now part of the Gestrument stock patches. Thanks very much for the recognition goes to Swedish composer and Gestrument co-developer Jesper Nordin.