Method

Updated: Feb 13

*I've worked on this method for the next album 'Senmurw", it allows to have logical reflexes and by taking in photo the various presets, as analogic instruments don't have a display for this.

**Some tables are not included in this description, but I can send them.

***Pythagora Musical Theory played a really important role during the various steps.





Instruments

- The dominant note (or root note). I've recording the sound of the instrument in the Waldorf Eurorack Nw1

(From a Cd, the instrument itself, or by extracting the sound from a video), the goal is to record with the purest sound possible.


Before the recording itself, it's important to set the degree of compression, and then the recording quality.

For this record, i've used many times: the "Microwave quality" algorithm.

The other algorithms are great too, but i will try them in an another process for the next records as they allow something different for the final output signal.


So, for this, i've recorded the ancient/medieval instrument that corresponds to the dominant note.

Example: For the title Uza, it is in dominant G note, this note according to Pythagora is linked with the sound of the organ or "the medieval gaboulet".


-For the guitar, i've played with the traditional Byzantine scales mainly.

Two songs are played with the Mongolian scales.

**I've kept in mind the dominant note and with extra notes that can be included within the dominant scale.

***Another parameter is to respect the structure of the "Gregorian Octoechos" : first part/verse and the final act, so two parts for the whole track.


-The guitar is played with the Neo Flanger F13 pedal in Echo mode, (Delay and feedback at 13h / 1h).

I love this pedal, it can be an all day pedal even if it's considered as a modulation device.


- Pedals:

** For the Waldorf Nw1 wavetable generator:

-I've added the Times Shadows pedal with the filter

(The Dba side is in negative polarity therefore male.

The Eqd side has a female polarity and therefore positive).


-Strymon BlueSky Reverb in “Room” or “Spring tank” type, and for the mode: Shimmer all the time, including the variations with the high damp mainly.


** For the Moog Werkstatt01: Strymon Dig Dual Delay , Type 24/96 with Light or Deep mod

(depends of the frequency of the Waldorf Nw1 Wavetable for the final mix).

This last one is perfect for variations and short delay and medium feedback, in order to making great rythmic patterns.


Nb: The Sequencer Korg Sq1: Moog (Sequence A) & Waldorf Nw1 (Sequence B).


-Calculation of the tempo:

* Offered by a Seagull on a Thursday morning (its chant was 200bpm fast initially),

**Funny fact but real, i was recording the birds, and the Bpm was cleary of 200bpm in the key of D with the software i'm using with my phone, it allows to record the rythm of a sound, animal or anything if it's turning on a loop or something.

So i've taken this as a basis.


*This bpm evolves of 25bpm for each title, until it returns to 200bpm for the first track

(at the basis, i just needed 10 new songs, so the rythm for each was easy to calculate.

**Very fast bpm are pretty interesting to work on, because you can vary the lengths of the songs, the parts and reduce the steps if necessary with the sequencer.


-The length of the parts is calculated with the Pythagora reduction table.

*I've written down the number corresponding to each letter of the title, then doing the sum of each numbers,


-For the Slide on the Sequencer Sq1: concerning the additional notes (part of the harmonic triad), i've taken the interval of the dominant note (again from the Pythagora table).


Example:

For "Manahya" song

It was 5/4 as a consequence,

the 5th step will be chosen for sequence A (plugged into the Moog)

the 4th step for the sequence B (linked towards the Waldorf Nw1 wavetable generator).

**So each synth are sychronized to the sequencer.

It's easier, and more fluid.

The multitude of presets possible can makes one confused sometime...

**Thats the reason why, when i was recording, i've sold half of my gear pedals.

First: because when you focus on a pedal you have many possibilities, and a lot of parameters, so if you try to be just in time for eveything you become crazy and your brain is melting.

Second: Envelopes and filters are present in many pedals when you put counterclockwise the Rate toggle,

or even the depth control.

->For Wavetables, it's really good to build harmonics with extra Fx.


-As for, the Polarity for the instruments.

*It's a parameter i've included for the Moog Werkstatt01 and the pedals.

It includes the “Regen” setting of the flanger (- Counterclockwise & + Clockwise),

or the filter mode in the Time Shadows pedal as on the DBA (Death by Audio Side) mode is in negative polarity.

**The Moog Werkstatt01 in the Vcf Mod can be in positive or negative.


Structure & Text

-I've taken the interval of the dominant note on the Pythagoria Pedagogic Tab:

For example for song number 9:

Note F as Dominant.

F has a 8/5 interval.

->So 8 sentences for the verse and 5 sentences for the final/second part of the song.

(Each song contains only two distinct parts but retains the drone of the Nw1 wavetable and therefore the note stays throughout).


*This dominant note being modified by the Time Shadows pedal with the filter followed by the Strymon BlueSky reverb pedal in Shimmer mode.

**This mode allows you to multiply the harmonics, which is beautiful and can create really "fairy" unexpected results.


-For rhymes and syntax:

* If the polarity is negative and masculine, i've chosen to write in English.

* If the polarity is positive and therefore feminine, the rime must end with the letter e

and therefore, i've written the lyrics in French. (Very personal process for this part ^^)


Lyrics :

* Adjustment of the vocal effect with the "Ohm Boyz Delay" plug-in and the "Reverb Ambience" plug-in.

(This is the combination that will be applied to all titles).

I only use this effects for the voice, the rest od the musical parts are external.


Kj