fine alien part iii: samplephonics project

use duct tape then I use it to repair cords a lot

use electrical tape instead, it's smaller and not as noticeable

paw's got some electrical tape around here somewhere, no problem there.

Starting on the last five bass loop-sounds today. Most likely will finish.
Finishing the last 4 or 5 music loops tomorrow. Doing the documentation on both then, If I can squander the time.

Off topic, I'm actually pretty ticked that I fell asleep early last night (12 AM are you KIDDING me?) cause now I might have to sit on my brewing til like, Saturday.

Oh yeah. I'm giving Frankjavcee a free copy of this when it's finished (arguably very soon) and I urged him to review it. He said I could send it to him via twitter. Good shit! :]

Oh yeah I finished the music loops today
Not gonna do the notework yet but here's a prefatory manifest of the scales used in every bass, atmos/pad, and music loop\
MUSIC
Am - 8
C - 7
Cm - 8
D - 2
Dm - 6
F - 2
Gm - 1

Bass -
Am - 11
Cm - 11
C - 11

Pad/Atmos
Am - 8
Cm - 8
C - 8

*ATMOS omitted because they are single note, but for the sake of completion, they are 3 A 2 Am (???) 3 C and 1 D

Tyson wrote:use electrical tape instead, it's smaller and not as noticeable

comes off easy though

Allright, I'll try to keep this (comparitively) short and sweet because I don't want to spend my whole Sunday writing this thing. Plus I got a few more sounds to make.

Starting over here with the music loops, I took a very liberal approach to this section.
I upheld a few abstract directions when making them, depending on how it steered at first it would either be
-Distorted/corrupted traditional instrument (not distorted as in literal distortion, as in some perverse or broken interpretation of it) Ex: Busted Brass, Crack Bells, Big Shoes Long Roads
-Synthwavey/analog synth design put through a melody, usually lush, spacious arps (Clearance, Crystal Clears, Moon)
-Highly Experimental sound design making eerie or dirty as fuck sounds (Acrid Noiz, Voice Machine, Wooden Hell)
Everything in the between was combos of those I guess lol
As always, a common recurrent was subtle, warm tube distortion. Like every section, this had Gated and Mods counterparts. I'll go ahead and knock those out by saying that they were basically the same -- intended to provide a more rhythmic background. However the gates here were a bit more liberal in that, some were just straight up waves. The mods here were anything from glitch sequences to distortion and sound shaping up the ass.
Now to dissect aforementioned sections and their processes for developing that sound.
Alright, so corrupted instruments. This was an idea that dates back to the beginning of Clown Funk with the use of basically broken or busted instruments. I played around with the developmental idea by taking some loops of whatever instrument (a brass solo for example), and seeing how i could shape the sound to make it sound really gritty and of course, broken. This led to a lot of precise distortion and some programmed volume cutting. The end result for Busted Brass was basically a programmed synth imitation of a classic 80s brass sound fucked up with a volume mod and mass (an octave or two) detune on the osc split. Running through the mixer, it got some guitar pedal distortion (just enough of a noticeable amount), a light chorus effect, then some recursive distortion to wrap up the sound. Making the melody, since I wanted this to sound influid and broken, first note was cut a little after the 16th or so, then the rest of the melody flowed through on the second half of the pattern with it's last note cut in a similar way as the first. Repeat, transpose last notes.
The idea is to make an instrument just sound like, harsher and more aggresive in both a sound and musical sense - influid, edgy. With bells I made it sound like they were cracked up and drowned them in a subtly distorted reverb and delay/echo. With a Rhodes imitation, octave detune, redline pushing distortion, go hell on the eq, really long delay and reverb hid with more distortion. Small distortion amounts each time.
For my general method of synthwave synth sound design, refer to my last post. Basically the same thing here except with arps, and I used a lot more unison. Short attacks, long decays, multiple oscs... Some of this category was just retro sound design, such as the strings I designed on the poly6 which sounded retro because they were on the poly6. I also took this chance to make really plucky synthwave jingles and stuff, but the arps are the main attraction here. Processing, plenty of reverb (usually) and warm distortion. Chorus fx too ofc.
Highly experimental -- what more is there to say, really? I just tried making some really nasty or spooky sounding shit. All I can really provide here is an example or two. Voice Machine started with me fucking around in a sampler-sample morpher-thing. Basically ended up like, 3 oscs based on the same voice oh/ah sample, one pitched down an octave, one pitched up, one original. Hooked the volumes up to LFOs individually in such a way that - when one would go out, the other would go up. So it sounds like a 1-key arp. Acrid Noiz, me fucking in a different sampler and making it really glocky and noisy, and overrall gritty as fuck just fucking with knobs and distortion.
That's all I can really offer on that until/if I think of something else notable.


Onto the Bass loops.
Some were bass guitar imitations, some were synths in both an oldschool and gritty-digital sound design.
Bass guitar imitations were mostly from FL's native Boo Bass (A bass by ghosts, for ghosts!), but some were sample play. Distortion was heavy here, but starting off with only a subtly-distorted sound was common here. A good bit of tube amp imitation here, the distortion design was the main attraction here. Synthetic really varied. Some was classic clownfunk bass (low, detuned analog saws put through a rhythmic random-square filter and reasonably distorted), some was Synthwave (Here's what I told bae when he asked about it; Open up polysix, put the Attenuation on +8 DB, move the "sub" from 1 oct to off, move the range from 8 to 16, KEEP HITTING G. There was a good bit more than that of course but that was the general basis for a synthwave bass, a template if you will.) Some weren't synthwave but took a really synthetic approach. Messing with filter envelopes and simple stuff like that while having the filter kinda "strangle" the lower frequencies was p fun. I might think of some further iteraton on the bass but for now that about summarizes it.

There's an hour missing here

Finished the synth and bass multis today. Some were pulled from earlier patches I made in mind of Clown Funk. Also between yesterday and today I finished the majority of the effects, Rise and Fall FX being finished. (The only fx I lack now are 2 glitch effects).
I could end the sample pack right here and it'd be about complete. However, I'm gonna go the extra mile and make one more drum kit, with the loops. (Keep in mind that this is roughly 5 kicks, hats, snares, and percs made into 5 drum loops for 3 bpms. Why isn't it 4? because it's the last drum kit and fuck you.)
In fact if you're reading this, first responder gets to name the last drum kit.

Btw, documentation of the sound design behind the fx and multis coming either tomorrow or later in the week.

Finished all fx, finished the last drum kit (save a sound or two I might go back to do) and roughly 2.5/3rds of it's drum loops.
This is coming to an end, boys. Hell, I might finish this whole damn thing tomorrow.
Of course, documentation coming later.

Tyson wrote:use electrical tape instead, it's smaller and not as noticeable

use kapton polyimide and support american innovation in polymer technology

Finished the rest of the last kit, a few drum sounds and their respective loops.

That's it. The Mutant Enemy Sample Pack is finished. I'm done.

Remaining sound design documentation and conclusive post comes tomorrow.

an artist is never truly finished

Very tue
That's why I specified that it is this project. One work after another

use the megaman x soundfont in every song and become a multi-million dollar artist because of bone memes.

Problems uploading to media fire. All fucking day. In fact, I just got it uploading, I think.

Keeping this short and sweet.

FX - Half was noiseplay, half was modulating analog shit. Risers/falls were the opposite modulations/programs of eathother. LFO'd noise with a slight LFO to the LFO 1 rate is the basis of noise fx. Risers/fallers were just ascending/descending pitch sometimes with a partial gate.

Last drum kit - Half was cut up and heavily processed and worked out subtle drum samples from folk songs. The other half was my traditional drum synth style programming.

Conclusive notes:
This project was nice. Sound design excursions like this can really push out some artist's block, as I now feel more confident in executing some concept album ideas I have. One way or another this is getting pushed out through some notable sample distributor. I have too much pride in my work to not see that happen.

Oh boy, Mediafire just did that fuckin glitch again looks like I'm back at 0% fucking fun.

The total size is just under 1.2 g.

So, as expected
When I sent it back to Samplephonics, I got nothin'
When I sent it back to Prime Loops, I got nothin'
Seems like they're much more willing to check it out when you say you want to distribute a sample pack. Lmao.
FrankJavCee either didn't see my messages or didn't download it, idfc

So now I'm signing up for Rightsify on a Neighboring/Publisher rights plan to distribute this. I don't really care which outlet it gets to, as long as it gets to a decently held one. Rightsify did say they send their submissions to ADSR Sound, which is a pretty prestige sound design company, they have fucking masterclasses and shit for sound design, but I really doubt it'd show up there. It'd seem kinda out of place too haha. Also says they distribute to Beatport, which is p nice, Premier Sound Bank, never heard of, and Producer Loops, which I think I've heard of

Signed up now, trying to find where you fuckin upload the shit

Just noticed these boys distribute tunes as well. $20 per album beats CDBaby's$80 (As I remember it), to a fuckton of outlets and 100% royalties. Pretty nice!
Might make use of it some time

i never got anything back from that rightsify shit, maybe because I didn't follow their minute quote details to a t or some dumb shit

I said I was gonna get money off this and have it distributed, some how.
although I've been doing it for the past idk munfs or so, due to nobody getting back to me on this, I'm going to sit on this for a little while longer before working something out (seeing as the production of Demonic Jukebox is in decent swing now and by the time i cover it's bases with the stems I'm working with right now, it won't be terribly long til spring break which by then, we ought to be able to wrap up recording)

If absolutely nothing else can be done, I will personally distribute and sell this sample pack. It won't be anywhere near what I had in mind, but hey everybody's gotta start someway, somehow.
It would be a lot more feasible if I had a Shutmouth Studios website, which is something I've had in mind but not the time nor money for, to host this but ofc these luxuries do not exist. At least if I do it this way, I'll have a lot more control over the price, which is always a good thing. I'm thinkin $5-$15, to spit in the faces of these overhyped $40-$60 sample packs that are only famous over some boon's name being on them and having a fraction of the content of a cheaper counterpart. (LOOPMASTERS PARTNERED WITH VENGEANCE PRESENTS; TRAP HEDGEMONY WITH YUNG LIL KLIK-KLIK, WITH OVER 10 DRUM SOUNDS, 12 SYNTH LOOPS, AND 6 808 SUB KICKS THAT ALL SOUND SLIGHTLY DIFFERENT FROM THE FIRST, ALL OF THIS FOR A MODEST PRICE OF $120 ($160 FOR ACIDIZED OR .REX!!) NON-ROYALTY FREE, ROYALTY FREE LICENSES ARE AN EXTRA $200)


All this said, I've been throwing the idea between hands for a bit, and if the documentation of this sample pack didn't make it obvious, I fucking love analog tube distortion, which is why the next Fine Alien will be Mac B's Bone Box - A Reaktor 5 powered multiband distortion + eq
This will be entirely new territory. I am not, by any means, adept at the finer delicacies of MIDI and audio interface programming, so this WILL be difficult to soundly get off the ground. I won't be surprise if I don't meet my own expectations, but I will emerge with some product. It'll be experience, though.

I was considering making a lil polysynth for this next edition of Fine Alien but it can wait. Don't have a whole lot of ideas for it that are good enough to motivate me toward it anyway.

ill be doin that during this summer all permissive ^