Landfill & Landfill Changes
Landfill (Remix of Concerto No. 1, Op. 56, 3rd Movement: Artefact)
TRACK DATA
Composition tool: Studio One 5 Professional
Recording tool (DAW): Studio One 5 Professional
Number of tracks: 176
Sound source: Presence XT, Impact XT, Mai-Tai, Mojito (All built-in sound sources of Studio One), TAL-NOIZEMAKER
Composition and Recording period: Oct 22 2021 - Jun 8 2022
The genesis and intention
This version was inspired by ᑎoiseᗩlter's comment "what a start! digging the different dancing synths in each headphone... so unique! great style and track :)".
I was happy to hear this because I had been trying to create an orchestral hit sound for the intro and I wanted to emphasize this part in the arrangement.
The reason why I decided to make this arrangement with more emphasis on the beat is that sometimes when I listen to music "while listening", I play different songs at the same time, and when I happened to play "Artefact" and "LFO (Mark Bell)" at the same time, it sounded like one It sounded like a track, and I remembered that I had mixed this track ("Artefact") as a dub acoustically, so I thought of doing a full-fledged mashup with "LFO", but sampling the original track is annoying, and there are rights issues, so I thought "why not create the LFO part myself? It's not that difficult to structure and the tempo is perfectly in tune".
How to create
Another of my intentions was to use one of features that our main DAW tool Studio One has, the Pattern Editor.
The "Pattern Editor" is a program that allows you to build tracks in patterns, but the beats are controlled by the concept of steps, rather than by the notation of beats.
With the Pattern Editor, you decide the size of the pattern (the number of steps) and connect them together, whereas with traditional notation, you assign notes to measures within a given time and number of beats.
In this case, 16 steps in 16th notes will give you 4/4 time in the score.
However, since you can change the size of the pattern for each track, you can easily create complex rhythms such as HH in 15th 16th, Rim in 13th 16th, etc. It is possible to do the same thing in music notation, but it would be a tremendous amount of work.
Also, the idea and feeling of building rhythms in the pattern editor is different from the idea in the score.
And because we pride ourselves on our patternless music, we didn't create the same "pattern", but rather created a number of derivatives, and then layered and arranged them.
These rhythmic patterns (already pattern-less) were then controlled by automation with filters, gates, releases and other information.
Mixing
Also, when I wrote this note, I checked the track count and found 176 tracks. The reason for this is that I used the original Artefact file and layered new tracks on top of it.
At first I thought it would be easy to create a new track on top of the "Artfact" 2Mix file, but then I realized that if I just added a new track, I would have to change the mix of the original file as well, because it would be difficult to hear the original sound, or it would be too loud. So I had to change the mix of the original file.
Therefore, the structure and mix of the original song "Artefact" is different. I have also added some new phrases for the instrumental parts other than rhythm and bass.
From completion to release
However, the remix, although it was very good, I thought it wasn't good enough for me to release (there was something missing to release it), so I left it alone for a long time.
However, when TM and I were discussing what to release in January 2021, we asked ourselves "what about that track? "Well, we're releasing Concerto in January as a distribution album, so why don't we take advantage of that?
So we listened to it again, and we realized that it's not bad, but it's missing something: the bass part is missing. But the bass element already exists in abundance, and it's too much trouble to replace the sound, and the existing sound itself is not bad, so I was thinking about what to do, and just yesterday (January 8) I suddenly realized that I could make the bass sound heavy and undulate in the side chain throughout the song. The next morning I tried it and I was like, "That's it! The next morning I tried it and finally finished it.
Landfill Changes (Remix of Landfill)
TRACK DATA
Composition tool: Studio One 5 Professional
Recording tool (DAW): Studio One 5 Professional
Number of tracks: 112
Sound source: Presence XT, Impact XT, Mai-Tai, Mojito (All built-in sound sources of Studio One), TAL-NOIZEMAKER
Composition and Recording period: Jun 8 2021 - Jun 8 2022
It's just Landfill without most of the "Artefact" elements.
I didn't change the mix either. So the work was done quickly.
When you listen to this Skeleton version, it doesn't sound like an LFO at all. If you think about it, the LFO-like Dub element was in the original Artefact. I said to myself from the beginning that the song and the tone structure was classical, but acoustically I was aiming for dub.
I think you could say that this version is "Artefact with only the time lapse and tempo swing extracted".
It's also a kind of remix.
However, when I checked the number of tracks, there were 112. When I remembered and checked the StudioOne file again, there were 24 tracks for the bass part and 85 tracks for the 9 rhythm sets.
It's about remixing
My idea of remixing is based on the same, or very close to the same idea, as that of the popular Japanese restaurant, Soba.
In Japan, there is a dish called "tempura", which can be served on a bed of soba noodles as "tempura soba" or on a bed of rice as "tendon".
A further twist on this is to order "tempura soba without tempura".
So, isn't that just soba without anything in it? But the truth is that you really do have to make tempura soba and then remove the tempura.
In this way, the oil and a little bit of the batter and garnish are transferred to the soba portion, making it taste different from "soba with nothing in it to begin with".
It's a bit like ordering a super-dry martini. You could order a gin straight up, but then you'd have to pour the vermouth into a glass or a mixer and then discard it. There's a difference between a super-dry martini and straight gin, isn't there?
That's probably the idea behind remixes for me, and that's exactly what Skelton's version is.
I didn't start out with a beat and bassline to build on, I created a beat and bassline to go with Artefact and then pulled Artefact out of it.
In this sense, the sound of "Artefact" is almost absent, but this is a kind of remix or derivative work, extracting the rhythm and tempo elements of Artefact".
(TM writes:)
I didn't know there is a way to order "tempura soba without tempura"...
Anyway, the titles are my idea that you go down some river throughout Concerto No. 1, from a watercourse towards the sea, in which these tracks are supposed to be positioned somewhere just before the sea. It's also about something extreme as "Artefacts". That should be "Landfill", I thought, remembering those in Tokyo Bay.
While the landfill is one of very artificial artefacts, landfill changes affected by environmental changes must be even more artificial in many ways.
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