Artifacts and Interfaces Controls: Tap the primary circle to display an image detailing a portion of the song's process. Click and drag to cycle through different circles to listen to each track. You might want to wait before scrolling to move onto the next song every time you swap because the song loading takes a while for no reason at all. Short Synopsis The objective of [AI] was to create five different tracks using fundamentally different software. In addition, each track covers a different topic in music, be it live scoring, tracking, modular music, plugins and/or vocal synthesis.
[ARC] Phantom Where mentioned, @ocetace Breadfish Vocaloid: Kumi See credits node for full details. HUGE Ranting Section Below (XD) --------------------------------------- I originally was trying to develop for Astra R- oh, oops. That was a secret, hehe :) Anyway, I was trying to develop the UI for a menu for a really big project a year or two down the line. It's effectively a big gacha game with cloud saves and fire emblem-esque gameplay. There's also unique casting systems and works of an amazing Live2D-ish artist. It's a huge undertaking and that's why I've been searching for artists to fill specific roles in the dev team. Anyway, about the UI. It's super jank and the only reason why I'm using it in this project was because I ran out of time... because I was playing too much pokeMMO and needed an interface for people to interact with during my live showcase. XD Anyway, about the music. Man of the Past I SUCKKK at cello. Don't @ me on that, I know I'm bad. Anyway, @ocetace and I went to a studio to record and we had like a collective 5 hours of practicing before performing. If it weren't for Breadfish spending a copious amount of time fine tuning and splicing our takes, it would not have sounded remotely good. Man of the Past is about my origins as a producer - I was trained in classical aspects and never really experienced the tech side of things as a kid. Of course, paper-and-pen scoring is antiquated, but that was what I did for a while then. Motives wise, I wanted a song that encapsulated the type of music I'd always write (or want to write) at that time - epic, beautiful, maybe a tad depressing. Of course, ego got in the way and I suggested to that we should perform it in a studio, at least for once in our lives. So we did. Mistakes were made. State of Being I ######## hate trackers. Anyway. I wrote this track with Breadfish in mind, because he mostly listens to beatmap music (which is what I wanted to emulate with some complex drums). I didn't know where to place State of Being - it's just one of those songs that exists in the EP to, well, exist. Kind of fitting then, that it's meant to resemble the idea of existence. The technical point I wanted to prove was that despite being limited by my channels, instrumentation, and effects, I could still make a complete and cohesive piece. Ok but also I really hate reading spreadsheets when making music. Journey of the Present I-- MORE TRACKERS? WHY?! So, this was the first song I wrote for the EP. It's supposed to detail the adventures of today, and there's an abrupt mix-up midway into the piece into some funky-trash hardstyle to show the wrench life throws at you, or something figurative. The hardstyle was meant for a couple of my friends (one of which is Breadfish) because of the beatmap style music they often listen to. The crazy part wasn't even the trackers - it was making the instruments themselves. Sunvox is an interesting piece of hardware, let me tell you that much. You need to MAKE the instruments, then sequence them using a TRACKER, then put it on a timeline where you can draw little icons of AMONGUS, then figure out why nothing works -- oh it's because it isn't ROUTED to the output chain. It's a whole different way of synthesizing sound, and it was incredibly weird and painful to learn. Follow the Flow Can we, uh, not talk about this one? LOL We have to? Aww, ####. YES I did the vocals. NO they are HORRIBLE. Please don't ask what the vocals are, I'm gonna deep fry myself in a vat of oil if you do. So originally (don't tell my instructors please) this was supposed to be a hobby song, but then I figured I could re-use the base as one of my assignments. I did so twice -- one for a virtual motion sound system, and the other for this piece. This piece was supposed to be climactic and culminative about my experience as a music dev, and then I figured I might as well make that a part of the EP. So I did. It's still supposed to be a big ego flex, but it sounds bad to me. So now it's more like a humbling piece that reminds me that I still suck at making music and that I still have a ways to go before I reach that flow state. Design the Future It's a bit melancholy, but Design the Future is dedicated to my late grandparents. The focus of this piece was to tell a tale respecting our ancestry. Not much more to say about this one, just that it's supposed to be appreciative and an ending to the EP.
