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General Information
Hardware: KORG TR Music Workstation, Tascam US-122L Audio/MIDI Interface
Software: Cubase Essential 5, Wavelab 4, Snagit and Acoustica CD Label Maker
Samples are high quality MP3 format (320kbps)
Track 1: Two-bit Hustle
Length= 3:42 Tempo = 135
Sample Two-bit Hustle
Sampe length 1:02 Segment 0 to 1:02 Size 2.4 MB
Programs / Instruments
B075 House Bass
D083 Euro 8va Bass
B116 BD & SD Kit 2
A052 Psycho Kit )
C100 Percussion Kit
B087 Turn Back Stab
B061 Transformation
D106 AMS Feedback Lead
B004 Trance/Garage Kit
g001:d Standard Kit
This composition was founded on the idea of alternating bars between the two bass sounds. The drums also alternate in beat and choice of bass drum and snare. So the bass line was writtien first, followed by the drums, and the Turn Back Stab melody was written on top. A similar process was used for the second theme which features diminished and chromatic ideas. The lead sound is AMS Feedback Lead. The Turn Back Stab program joins the bass line in the second theme to give it a raunchy sound. The bass melody alternates every two bars between an upper and lower octave. After the 1st 8-bar segment of the second theme, there is a 2-bar break which has a half-time beat and a neat program called Transformation.
The slick, urban feel to this track evoked ideas that led to the title. Doing a web search, I discovered that the phrase was far from unique but rare compared to "Two-bit Hustler". I was always intrigued by the expression "two-bit", of American origin. The word bit sometimes meant an eighth and hence two-bit became a quarter.
Track 2: Dry Moon Alien
Length = 2:26 Tempo = 130
Sample Dry Moon Alien
Sample length 1:07 Segment 0 to 1:07 Size 2.55 MB
Programs / Instruments
A010 Saw OD Bass/Lead
A002 Centerfuge
A004 Mashed Kit
B123 Nasty Bass
C020 Standard Kit 2
C064 Square Snaps
B075 House Bass
C096 S&H Reso Comp
C057 Ravelian Pad
This was a breakthrough composition for me. This was the fourth piece that I composed for this album and I really started to take some chances. The track starts with Saw OD Bass/Lead and transitions into the deeper, rounder sounding Nasty Bass. Then it switches to House Bass which remains until the end. The rhythm tracks are raw and free and in the editing process, only things that I deemed mistakes were weeded out. Normally, with rhythm tracks, velocities are scrutinized and adjusted into set levels based on a variety of patterns that I've developed. The rhythms themselves are usually far more structured than on this track. It's not a question of right or wrong but what style suits each track. That 'rush of air' sound used in the intro and again more prominently between 0:22 and 0:35 is a popular feature.
That clear, ascending pattern that is heard 3 times during the track uses a program called Square Snaps. The lead sound that appears after the 2nd Square Snaps pattern is called S&H Reso Comp. It is a tricky sound to use since it phases in and out tonally, sometimes being barely audible over all of the accompaniment. I addressed this by recording a new audio file that had different peaks and valleys of volume and introduced it into the mix at a lower volume. When the primary track nearly cuts out, the other one compensates. The process also gives a neat stereo effect. Ravelian Pad is that spacy background sound heard between 1:32 and 1:47.
Dry moon alien is an anagram of Leonard Nimoy that can be found in both the actor and Star Trek anagram galleries. In quotes, Dry moon alien was a non-existent phrase on the Internet before it appeared on my website. The idea is that anybody who does a web search on the title will find me rather than countless other sites that might be listed higher. Quimera's Quilt, track 15, is also an anagram.
Track 3: Phantom of the Court
Length = 4:30 Tempo = 100
Sample Phantom of the Court
Sample Length 1:12 Segment 1:27 to 2:39 Size 2.77 MB
Programs / Instruments
B116 BD & SD Kit 2
A100 Tricky Kit
B020 Standard Kit 1
A005 Hardpulse Bass
B087 Turn Back Stab
B110 HarpsyKorg
B016 Rezbo
B013 VCF Modulation
This track features a neat sound from my workstation called HarpsyKorg which is a beefed up harpsichord sound with a nice attack suitable for the album's style. If memory serves correct, there are 45 bars of music that have the HarpsyKorg playing in a baroque style. Turn Back Stab is the lead program in the main theme and Rezbo is used as the echo part with a delay set at 1/8 D (dotted 1/8th). The bridges have two similar percussion sounds, with different pitches, that remind me of submarine sonar. VCF Modulation is the trippy pulsing sound used at the end of the harpsichord solos
This track shares the same tempo and similar marching drum accompaniment with March of the Pyrodroids. I can't say much about the title except that the baroque flavor got me on a train of thought that eventually led to this name.
Track 4: Droxine
Length = 1:45 Tempo = 114
Sample Droxine
Sample Length 0:36 Segment 0 to 0:36 Size 1.37 MB
Programs / Instruments
A034 Saw Arpeggiator
C043 E Bass Pick 2
B020 Standard Kit 1
C020 Standard Kit 2
B064 Inverse Square
Droxine almost didn't make it on to this album, but some last minute changes changed my mind about this track. Originally, a piano program was used for the bass but it grew tiresome, so I switched to a regular bass, E Bass Pick 2. The main lead is called Inverse Square. Droxine probably has the most natural sounding drums on the album. The sounds chosen are regular acoustic drums and cymbals and the patterns played closely resemble standard drumset playing. The one sound effect type program is called Saw Arpeggiator.
In mixing, I decided to add effects to the intro to give it a tinny, 'boxed in' feel. The effects used are metalizer and an offbeat setting of Amp Simulator. The trippy wavering pitch effect heard in Inverse Square is part of the original program and not a mixing effect.
Droxine is the name of a female character that appeared in an original Star Trek episode called The Cloud Minders. She lives in Stratos, a city in the clouds. I guess the airy and somewhat softer nature of this track reminded me of clouds and floating or whatever. Yeah.
Track 5: Knife in a Toaster
Length = 2:54 Tempo = 150
Sample Knife in a Toaster
Sample Length 0:47 Segment 0:30 to 1:17 Size 1.82 MB
Programs / Instruments
B074 Detune Leader (T1)
C010 Bright Pulse Lead (T2)
A052 Psycho Kit (T3, T4)
B004 Trance/Garage Kit (T5)
A038 5th Stab (T6)
A085 Digital Voice (T7)
B016 Rezbo (T8)
The idea of this piece originated from hearing a track called Omen by The Prodigy which was featured (instrumentally only) in a scene from the movie Kick-Ass. One of the lead sounds was very similar to one in my KORG environment called Detune Leader. I had previously avoided sounds like this but sometimes sounds that most people would classify as harsh and irritating can be musically entertaining and artistically fruitful. Knife in a Toaster definitely stands out as the harshest sounding entry. When I originally set the peak levels in mixing, the result was that it sounded louder than the other tracks by a substantial margin due to the grating sounds. Even though it wasn't technically louder with regards to output decibel levels, it was adjusted to a lower peak so as not to scare people while driving.
While working on this track, the phrase "wet knife in a toaster" popped into my head and it stuck. Later, it was shortened to just Knife in a Toaster
Track 6: Moonbop 7
Length = 4:29 Tempo = 90
Sample Moonbop 7
Sample Length =1:00 Segment 0:18 to 1:17 Size 2.29 MB
Programs / Instruments
B052 Psycho Pitch Kit
D032 The ANAPIZZ
A100 Tricky Kit
A117 Talkin' Keys
A026 2VCO Planet Lead
B013 VCF Modulation
The composition started with the bass line of the primary theme using an instrument called The ANAPIZZ. The lead sound in the main theme is Talkin' Keys as is the upper register 'answer' part added later. The lower melody has a strange double voice but the upper melody doesn't. This is a quality of the program and not a mixing effect. The lower melody is given more reverb in mixing to give it a fuller sound. The lead instrument in the chorus type theme is called 2VCO Planet Lead. Although a likable sound, it tends to have an erratic volume and a peak limiter is required in the mixing process. The pulsing tone that arises periodically in the second half of the track is called VCF Modulation. The strange bending notes that occur in the bridges and feature prominently in the finale are found in the program Psycho Pitch Kit.
Perhaps, the most interesting feature of this track is the time signature. Although it has a 7/8 signature, Moonbop 7 has a smooth flow that tricks many listeners into believing that it is common time.
The name derives from the original idea that the melody reflects some sort of alien conversation, due to the voice-like instrument chosen for the main theme and the 'question and answer' effect. After Googling the word moonbop and discovering that it is far from original, a 7 was added to make the title unique and reflect the odd time.
Track 7: The Hypnolith
Length = 4:19 Tempo = 100
Sample The Hypnolith
Sample Length 1:00 Segment 1:03 to 2:02 Size 2.29 MB
Programs / Instruments
A004 Mashed Kit
B083 Ana Bass 1
B016 Rezbo
B038 Garage PWM
D070 Power Saw
B020 Standard Kit 1
C038 Power Snap synth
This composition is uncharacteristic of me because I went with a very simple and repetitive rhythmic theme, with only occasional deviations. Rezbo is the program heard prominently at the beginning. Garage PWM comes in to support at 0:33. Power Saw is the backing sound playing 5ths between 1:40 and 2:23 and reappearing at the end. It is the sound playing the off-beats in the fade-out. Power Snap synth is the siren-type sound heard in the section with the middle eastern flavor which starts at 2:23.
During composition, this track had a hypnotic effect on me and that was the basis for the name. I spent much time trying to invent a word using combining forms that was both original and suited to the track. -lith is a combining form meaning stone and usually elicits thoughts of a monument of some kind (monolith). So I guess a hypnolith would be a stone monument that puts people in a trance.
Track 8: The Duke of Slick
Length = 3:47 Tempo = 135
Sample The Duke of Slick #1
Sample Length 0:50 Segment 0 to 0:50 Size 1.9 MB
Sample The Duke of Slick #2
Sample Length 0:53 Segment 2:00 to 2:53 Size 2.02 MB
Programs / Instruments
A005 Hard Pulse Bass
B038 Garage PWM
B004 Trance/Garage Kit
A100 Tricky Kit
B070 5th Sweeper
g028:d ANALOG Kit
g001:d STANDARD Kit
D070 Power Saw
B016 Rezbo
D010 Square Wave Lead
B013 VCF Modulation
This is the danciest track on the album. The steady quarter note beat at a 135 tempo, the driving bass in a simple eighth note octave pattern and the open hi-hats on the off-beat is very standard but effective stuff. The bass is a combination of Garage PWM and Hard Pulse Bass. The first lead instrument, heard only between 0:12 and 0:42 is 5th Sweeper. The main lead is a combination of Power Saw and Rezbo, with Power Saw set to a higher level except in the segment following the drum solo. The clear, high lead that solos between 1:53 and 2:07 is Square Wave Lead. The VCF Modulaton program is used for only one bar in a late transition at 2:59.
There is an 8-bar drum solo played on the toms accompanied by bass drum, tambourine and a steady synth rhythm mixed with a strong flange effect. Flange is a commonly used effect in general on this track.
The original title of this track was The Prince of Smut but I found that annoying after a while and decided to change it at the last moment. I thought of Prince of Slick but soon changed to Duke.
Track 9: Arctic Voyage
Length = 3=07 tempo = 180
Sample Artic Voyage
Sample Length 0:49 Segment 0 to 0:49 Size 1.9 MB
Programs / Instruments
B116 Bd & SD Kit 2
A004 Mashed Kit
D038 Trumpet Ens.
C083 Jungle Rez Bass
C061 Cyclic X-Fades
D070 Power Saw
A009 Saw Strings
A026 2VCO Planet Lead
B020 Standard Kit 1
The opening of the track showcases a sound called Cyclic X-Fades, maybe like a glass harmonica with a harsh edge added.
The sound is reoccurring throughout the track and starting at 1:26, there is a 20 second Cyclic X-Fades solo which is taken over by 2VCO Planet Lead, a sound also heard in Moonbop 7. The main lead is a combination of Power Saw and the softer Saw Strings. Trumpet Ens. takes over for Saw Strings when more clarity is needed due to the quicker notes.
As for the title, Cyclic X-Fades sounds cold and desolate, perhaps because it reminds me of a sound that one hears whenever the Ice Queen appears in the first Chronicles of Narnia movie (although Cyclic X-Fades is much harsher). Other names that I considered but rejected were Arctic Princess and Queen of the Tundra.
Track 10: Accelerate to Blueshift
Length = 1:09 Tempo =124
Sample Accelerate to Blueshift
Sample Length 0:45 Segment 0 to 0:45 Size 1.75 MB
Programs / Instruments
B032 Perky Bleeper
C036 X-Mod Raver
C038 Power Snap Synth
g017:d POWER Kit
C032 Analog Piano
C020 Standard Kit 2
B048 Mega Big Synth
B105 Noble Brite Pad
D032 The ANAPIZZ
This short theme was written for a portfolio that was being developed.
Blueshift is an effect in cosmological physics whereby visible light is shifted towards the higher frequency blue end of the spectrum due to the shortening of distance between the light source and the viewer. If one was in space and accelerated to a high enough velocity, the effect would become apparent. Strangely, when I Google-searched the title Accelerate to Blueshift, which is a sensible concept, I found not one instance of its use on the Internet.
Track 11: Spectral Nebula
Length = 1:30 Tempo = 180
Sample Spectral Nebula
Sample Length 0:53 Segment 0 to 0:53 Size 2.02 MB
Programs / Instruments
D032 The ANAPIZZ
D075 Digi Syn Bass
B116 BD & SD Kit 2
A004 Mashed Kit
B105 Noble Brite Pad
B035 Small String Ens
C035 String Quartet 1
B020 Standard Kit 1
A073 Classical Ana Pad
This track was also intended for the portfolio, I imagined this to be music suitable for closing credits of a TV show, perhaps an educational show on space (and hence the name). The very quick 16th note pattern is The ANAPIZZ. The Digi Syn Bass is very smooth and it is a synthetic version of a fretless. The lead in the primary theme is a combination of Noble Brite Pad and Classical Ana Pad. The second theme lead is a combination of the two string programs.
Track 12: March of the Pyrodroids
Length = 1:06 Tempo = 100
Sample March of the Pyrodroids
Sample Length 0:28 Segment 0:09 to 0:37 Size 1.08 MB
Programs / Instruments
C020 Standard Kit 2
D101 Deep Detune Bass
D070 Power Saw
Written originally as a short demonstration piece for the portfolio, I knew that it would be an excellent fit for this album. It has always been a favorite due to the neat rhythm and the rough, grinding sound of the detune bass.
This was originally intended to be the opening track of the CD and the album itself was slated to be called Pyrodroid. Much time was spent coming up with the title. Like The Hypnolith, which was actually coined later, I was searching for a unique combining word. It is nearly impossible to invent an unused word using common combining forms but this one was certainly rare. Other candidates were Pyrobot and Hypnodroid. The word march relates to the marching snare drum track heard throughout.
Track 13: Irish Barmaids
Length = 2:58 Tempo = 190
Sample Irish Barmaids
Sample Length 1:26 Segment 0 to 1:26 Size 3.31 MB
Programs / Instruments
B116 BD & SD Kit 2
D084 Wacky Hiphop Kit
B011 Drive Bass
A004 Mashed Kit
B038 Garage PWM
A036 DWGS Sync2 Knob1
C058 Fat Syn Sync
A027 Club AC Bass
D035 Camera Strings
The Drive Bass program has a big fat sound but was doubled with Club AC Bass which helped solidify the bass melody. Perhaps the strangest lead used on this album is the program DWGS Sync2 Knob1 which is heard throughout, although duplicated by Camera Strings in the chorus-like theme. Fat Syn Sync is heard in the bridges. This track was a late addition, added for no other reason than to lengthen the album but it is one of the most memorable, with an infectious beat and some very fun hooks.
The strange lead DWGS Sync2 Knob1 sounded to me like some type of synthetic bagpipe and I kept thinking about pubs so that is the origin of the title.
Track 14: Visited by a Blue Orb
Length = 4:15 Tempo = 125
Sample Visited by a Blue Orb
Sample Length 1:27 Segment 0:32 to 1:59 Size 3.35 MB
Programs / Instruments
D083 Euro 8va Bass
A020 Standard Kit 3
D013 Flashlight Pad
B087 Turn Back Stab
B116 BD & SD Kit 2
C077 Oxygen
D079 Glass Vox
B064 Inverse Square
This track was included last. It is a complete reworking of a dancy tune that I had composed 2 years previously. The original version used instruments that were too light and clean to fit into the scheme of this album. There was also far too much repetition since it was originally written with intention of vocals to be added. Without the vocals, it was rather monotonous with regular 16 bar segments with hardly any instrumental variation. It was cut from about 5:30 down to 4:15. Virtually all instruments were replaced except Flashlight Pad, which is that trippy background effect heard in various parts throughout the piece and Oxygen which is a sound effect used only on the final note. I didn't give this piece much hope but it turned out to be a worthy addition and it is often counted among people's favorites from this album. That crystal clear, upper register lead is a combination of Inverse Square and Glass Vox.
The title is derived from the original intended story line for the lyrics (which were never written). It was set centuries in the future where some guy travels from a space station to an exotic celebration or party on a distant planet. When he returns exhausted, he is 'visited by a blue orb' (or something to that effect).
Track 15: Chimera's Quilt
Length = 4:44 Tempo = 95
Sample Chimera's Quilt #1
Sample Length 1:36 Segment 0 to 1:36 Size 3.69 MB
Sample Chimera's Quilt #2
Sample Length 1:00 Segment 2:42 to 3:41 Size 2.29 MB
Programs / Instruments
B087 Turn Back Stab
A027 Club AC Bass
B004 Trance/Garage Kit
D070 Power Saw
A004 Mashed Kit
B038 Garage PWM
g:001:d Standard Kit
D106 AMS Feedback Lead
The versatile program Turn Back Stab is again a fundamental part of this track. It is that deep, grinding bass sound heard throughout. It is paired with the rounder sounding Club AC Bass. Power Saw and Garage PWM combine to create the lead. During the solo section, a third sound called AMS Feedback Lead is blended in. AMS Feedback Lead is also used as the echo part in the primary theme's second appearance, played with a strong vibrato effect on the longer notes. One significant aspect of the mixing is the flange effect on the Turn Back Stab which is graphed so that it is fairly light in some parts and fairly extreme in others.
Chimera's Quilt is an anagram of Miles Quaritch, a character from the film Avatar. It was chosen as the title since that phrase was unique to stevengalen.com (at least according to a Google search)
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