[album art]

Dharmapala

[track art]Dharmapala (protector of the faith)2015/01/22MP3 FLAC
[track art]Dharmapala (draft version)2015/01/22MP3 FLAC

This track was beset with technical difficulties in the recording - in particular, I'm not sure why the top notes keep cutting out - but since it's only a draft anyway, I decided to go ahead and post it as-is. Combination of multitracked modular and the Gakken NSK-39 "Pocket Miku" being used as a MIDI sound module. Major and septimal-minor chords in just intonation, with exact quarter-octave (300 cent) shifts in the chord progression; the result is that although it's basically 12-tone, there's a cluster of many different frequencies around each of the 12 tones instead of hitting them all exactly. The chord sequence was generated by recursive substitution on "vi-IV-I-V," sometimes called the Sensitive Female chord progression because of its popularity with the Lilith Fair types. (They don't usually use septimal minors in it, of course.) The resulting sequence is hypnotically repetitive without quite repeating itself exactly. Chord voicing chosen with the aid of combinatorial optimization, and I'm still working on adjusting that to exactly the way I want it. In the final version, I plan to use the Asuka/Shinji distortion module demoed in a couple of my other tracks; but I haven't finished building that yet.

I also would really like to run the Pocket Miku's output *through* the filters on the modular, but it turned out not to be hot enough. If I'm lucky, the distortion device (which is basically just an overdriven amplifier after all) will have enough gain to act as a line-to-modular converter too; if not, I'll have to work out something else. Just for this draft I recorded the Pocket Miku separately and mixed them on the computer.

[track art]Ashokasundari (daughter of the wish-granting tree)2015/09/05MP3 FLAC
[track art]Dharmapala/MSK 007 demo2017/09/17MP3 FLAC
[track art]Dharmapala (Middle Path version)2020/04/28MP3 FLAC

A new take on my composition from 2015, featuring the first prototype build of the Middle Path VCO. This was recorded as six separate tracks (for the six voices) and then mixed down. Sync mode between the two oscillators; the slave oscillator goes through a Leapfrog VCF and then is patched back to the Middle Path's shaper, while the master gets patched directly to the shaper; then the shaper output goes through a Coiler VCF, whose BP and LP outputs go through a MSK 008 Octave Switch functioning as a mid-side decoder to create a fake stereo image. The whole thing goes through a reverb effect but other than that it's all North Coast Synthesis modules.