Category Archives: Processing

Descriptions of unique audio processing techniques

Logical Psychosis

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Once again I have opted to feature a mini-mix of an unfinished idea, rather than an individual sound or example of processing. I am finding that creating these 1 to 2 minute snapshots of the idea is giving me a new perspective on unfinished compositions that I might have otherwise left by the wayside. Perhaps rendering simplified versions of these pieces will serve as an interim step to producing completed versions. I’m also appreciative of the feedback I’m getting on these rough mixes from friends, family and even a handful of very nice reader comments. Thanks!

I wouldn’t exactly call this piece a remix, but it does use bit of my Rhodes playing and other samples from prior Keston and Westdal tracks and performances. The arrangement, bass line, chord progression and processing are all new, so it only obscurely resembles any other tracks. I’m quite fond of how the bass line sounds. It reminds me a little of an analogue, male vocal simulation that Tomita produced on his interpretation of Mussorgsky’s “Pictures at an Exhibition”, which otherwise has no similarities to this piece.

Logical Psychosis

Creepy

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I have had this sound so long that it’s difficult to trace where it came from and how is was originally processed. I think it dates back to early in the year 2000. So, how does one deduce what the sound is and how it’s processed just by listening? Let me start by forgoing paranormal techniques. Although it sounds “creepy”, I’m guessing that I didn’t accidentally record ghosts eight years ago.

First of all it is obvious to me that the sound is another example of reversed audio. It’s also likely that the sound was processed through a delay before it was reversed due to the repetitive nature of the fade in at the beginning. It also sounds like it includes a vocal element, but there are other textures and percussive layers to the sound suggesting that it it is made up of several tracks. I could investigate it further, but everyone loves a mystery.

Creepy

Automated Auto Pan

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As a producer, a technique I have found that is an effective way to develop the dynamics of a performance is by adding expression through automated processing. In this phrase of synth from a composition that I’m working on I have applied automation to add an expressive quality to the recording.

I have always been fascinated by the Doppler effect as it is mechanically applied to sound through the use of Leslie speaker cabinets. I own a Leslie cabinet that I had modified so that I was able to run instruments through the amplifier, other than Hammond organ, and control the speed with a foot switch. My goal was to play my Rhodes through a Leslie, and this is something I did during live performances for years to come.

My favorite characteristic of the Leslie is the slowing down and speeding up of the motors that control the speaker rotation. This can be simulated quite well with plugins or virtual instruments such as the Native Instruments B4. In this example, rather than use Leslie simulation, I opted to simply automate the “Rate” parameter in Live’s Auto Pan effect. Leslie simulators often add other characteristics like motor noise, filtering and distortion, but I wanted to keep the signal relatively clean while still getting a speeding up and slowing down expressive quality to the instrument. To get the full effect of the automated panning, listen with headphones firmly planted on ears.

Automated Auto Pan

Zhiguly

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I stumbled across this gem, that was recorded during a jam session between myself on Rhodes, Nils Westdal on bass, and Kyle Herskovitz (DJ Zenrock) on turntables. This session happened more than four years ago on March 11, 2004.

I couldn’t stop myself from messing about with it until I got this simple 0:22 second arrangement. I automated a filter on the Rhodes as well as running it through an amp modeling plugin and then topped it off with a touch of ping pong delay.

The main thing that attracted me to this archive was the skillful turntablism of Mr. Herskovitz. I have been fortunate to work with him off an on for more than a decade. Kyle is the most talented, creative and dedicated DJ and turntablist I have ever heard or worked with, so I have included a solo snippet of his track from this session so you can hear some of his magic on its own.

By the way, the photo is from a video installation we produced. It was performed during a show at the convention center in Minneapolis on a co-bill with Keston and Westdal and Zenrock last year.

Zhiguly

Zhiguly Scratch

Hybridized Beat Repeat

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In my last post I explained how I rein in random processing behaviors to get the results I’m after. A good processor for randomizing audio is Ableton Live’s Beat Repeat. Beat Repeat effortlessly duplicates the once tedious process of repeating small chunks of a sample to get stuttering effects, but also has parameters to randomize the repetitions in a variety of ways.

For the Rhodes solo in “Six Weeks” I wanted to scramble my performance in some way to match the “broken” drum programming. Beat Repeat was the ticket, but I couldn’t get a complete take that fit well with the rest of the piece. If you look at the image you can see that the solo is made up of fifteen separate regions of audio. These are all abstracted from specific renders of the performance through Beat Repeat. After rendering the audio several times I selected specific phrases and organized them in a way that enhanced the dynamics of the piece, creating a hybrid. Listen to the solo by itself and then to hear it in context play the full track at 2:54.

Six Weeks (solo) – Hybrid Beat Repeat Solo

Six Weeks (full track) – One Day to Save All Life