Jimmy Lem - Blister Pop Unlimited

https://ift.tt/sabNQ5H

Recorded, mixed & mastered 31 Aug 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa.

©2023 Jim Lemanowicz

Process notes – iPad, AUM, Fugue Machine generating notes into MF Randomizer and ScaleBud 2 into Erik Sigth’s strng synth engine and then a bus track.

Other Desert Cities & Shaper were effects used.

I recorded at 45.1 BPM and imported the two wav files into Ableton Live 11 Suite. There I time-stretched the audio to 60 bpm using the Beats warp mode with short transient envelope times and then added a gate to my standard channel group. I added my standard mastering group (Live native effects and Ozone), widened the stereo panorama to 110% and rendered to WAV & MP3.

—–

This original version of “Please My Parching Tongue” was submitted as part of ​Disquiet Junto Project 0609: Speed Limit Pt 1. Record a track at precisely 60 BPM with the intention someone will subsequently rework it.

More on the Disquiet Junto at: disquiet.com/junto/

Subscribe to project announcements here: tinyletter.com/disquiet-junto/
https://ift.tt/sabNQ5H

https://ift.tt/0XzHV7r

Recorded, mixed & mastered somewhere between 10pm and midnight on 11 Aug 2023 by Jim Lemanowicz at Blissville Electro-Magnetic Laboratories of Massapequa. Raw recording is from 11 Aug 2019.

©2023 Jim Lemanowicz

Process notes – For raw material, I used a recording of mine from 11 Aug 2019 of what I believe is Erik Sigth’s nils and Retronym’s Tabletop and probably recorded on an iPad 4. The original recording was about 4:45 min long.

I took this recording and loaded it up into a template I created in Ableton Live from last week’s project. I divided the recording into two tracks and stretched each out, chopped each into three and did some Live warp & crossfade magic on them to make the audio more or less percussive. Each track also received a Buffer Shuffler 1.0 device set to a 20 step pattern with only 5 steps active (aka 25%).

Each track went through different chains of effects, emphasizing some subtle resonance and distortion. Each effects chain ended with a gate device. I can’t say for sure that it is 25%/75% but its pretty freaking minimal.

—–

This original version of “Spaces In Transition” was submitted as part of Disquiet Junto Project 0606: Three to One. The Assignment: Compose a piece of music with three times as much silence as sound.

More on the Disquiet Junto at: disquiet.com/junto/

Subscribe to project announcements here: tinyletter.com/disquiet-junto/
https://ift.tt/0XzHV7r