- Log files for Weekend Astronauts -
 

In this thread is electronic music a friend and I make together as a group called Weekend Astronauts, details about production methods, and a free bonus downloadable clip or loop used in each project posted. Discussion encouraged, enjoyment required.

Our Soundcloud page:
https://soundcloud.com/weekendastronauts

So let's get to it.

First up is something I just finished mixing today, as the first "side" of a song based on what ultimately came to existence from playing with a softsynth and coming up with a lick I enjoyed. And it didn't even start that way. I was browsing through old projects and happened to love the tone of a synth I had in a project, and I decided to change the melody, then became something I wanted to follow through with. That melody is the first thing you hear in the song below:
(It's just a SoundCloud page, don't worry!)

>>>> Weekend Astronauts - Plastic Bells (Sunrise Edit) <<<<

Hear that intro? That's what inspired the entire song. In fact, in the next post, there's a different song based solely on that synth line. Although the song is VERY different in character.

PRODUCTION METHODS
My music buddy and I both use Sonar 8.5. The cool thing about this program is that you can export an entire project and the other person can open it up and work in that project. This helps us because we're geographically far apart. We use Dropbox to exchange projects and clips, and there's never any problems.

For this song, the main bell-type synth line is constructed in Dimension Pro in Sonar. However, you could get this sound with any software (or hardware) synthesizer because it's a pretty basic set of layers. Of course, in Dimension Pro, we don't have the ability to create sounds from the oscillator up, because it's not that kind of synth. It's based on samples that you manipulate and layer. But if I were to guess, I'd say that there's definitely a sine on the top for one of the oscillators, Maybe a lower one too. As far as the dynamics of it, that's all controlled in Dimension regarding attack, decay, etc.
The patch was made from various layers of stock sounds that ship with Dimension Pro and tweaked. If anyone wants it, send me a message and I'll upload it for you to use in Dimension Pro.

DRUMS...
Ok, this is the thing I'm providing for download. Mostly because it's awesome as hell, but also because I had absolutely nothing to do with those drums other than editing them to work right in my project. For the drums, you're hearing Bernard Purdie's famous shuffle. Here's the Youtube video I sampled them from:
Original Purdie Shuffle
Because he's drumming for real, and real people aren't completely and totally on time in terms of a programmed electronic music project, some work had to go into it in order to have the drums stay consistent. In the bonus download link at the end of this thread, you will have the main portion of what I edited in the song for the drums. They are EQ'd and processed, but that may not be to the fit of your project if you want to use them. In that case, well, you have the Youtube link.

The rest of the elements are rather straight forward. They're more "supporting roles", as it were. All are programmed in Sonar using various softsynths, both integrated and 3rd party. I do have to give a shout out to Waves, though. I use (extensively) Waves H-Delay. There's a feature in that delay plugin to do pitch modulation of the delay, which allows you to make really dreamy and almost dischordant ambience on basically anything you slap it on.
TIP:
If you don't have that plugin, you can hack it together by creating a delay buss for your track in question via a send, adding a normal delay, then adding a pitch adjustment plugin after that delay and automating the pitch knob. Once you have what you want, bounce that clip out and import it into your project, and run it parallel to your original track and EQ it in. (You may not hear this effect prominently in this song, but you will hear it in the next.)

OK!
Since there isn't much to this song, I'll just cut it short and provide the drum loop I've edited together, which exists quite naturally at 98 BPM.

LOOP DOWNLOAD - Purdie Shuffle

Bernard Purdie Shuffle - Edited - 98BPM

B side? Or A side?

This is the the other end of the yarn. The original post was the song that created the idea, yet this one improves on it in its own way. We're unsure whether it's a positive direction or not, but honestly, we don't care. Because we like it.

>>>> Plastic Bells (Moonlight Edit) <<<<

Totally different direction. Yet it's built on the same foundation. That synth.
It's slower, yea. That version of the synth clip didn't even start off with intent, but it got used.

Pianos are from Dimension Pro. "Alien Piano 3" with the fx part taken out.
I'd have to ask my friend about the source of the vocal weirdness. I modified it, but I don't know where it came from.

Here's a tip for more ambient types of music. Find your best synth line, make a copy of it, and reverse it. Then line it up so that it works with the main synth, just existing a little underneath it in terms of EQ and level. You can also create a buildup by raising its volume on an incline. It creates interesting interplay with its original, I think.

What about the download for this one?
Ok, I gotcha.

Loop Download - Wub Bass

Wub Bass... the whole thing.

It's always inconvenient when the world ends.

Ok, so here's something of an intermission. In fact, the previous sentence is so true, we actually called this "intermission". If you don't believe me, click on the link below:

>>>> Weekend Astronauts - Intermission 1003 <<<<

Got water? Batteries? Food? Cool. Ok, let's talk about this. Obviously the whole thing is set up on the nuclear clip. (That's your downloadable clip!) Everything beneath it basically follows the concept. Drums are composed in Session Drummer 3. Any sample-accepting sequencer will do, really. Not much to this song except for the ambiance. I'm not sure if I typed that correctly in context with what I'm talking about.

I do have to state, however, that iZotope Trash is used in this project. If you don't have it, you should find out how to have it. It's literally the top end of any bass or other element that needs a bit of grunge. Basically you just create a copy of the track you want to add some grungy sizzle to, and EQ all the low end out of the copy. Let it just live in the high range. Then throw iZotope Trash on top of it and cycle through the presets until you find something tasty. From there, adjust to taste. Also, don't forget to play with LFO-controlled filters either before or after your distortion, depending on what you want to do.

Loop Download - Spooky Nuclear Talky Things - Edited
Spooky Nuclear Things

I recommend you doing whatever you want with that clip, as it's pretty sexy.

Vocal weirdness comes from Free Loops Samples Acapellas Vocals Downloads Royalty Free Music.

I'm sure a few people are familiar with it.

Basically, it's a sample download hub. Tons of people upload free to use (some not free to use) vocal samples, and assorted other samples/songs.

The thing I like the most about it, is you can search vocals by Gender and Key.

If you want a female singing something in B#, you can narrow the search.

Just make an account, ensure that the person you're downloading from is granting permission to use it, and download away.

Some good sounds going on here Freeb. Very well explained too. I'm always on the hunt for some good drum tracks, so I grabbed Purdie and I'll see what I can do with it.

I've always enjoyed your music, but this stuff is absolutely fantastic.

Thanks gents. I'll get deeper into the guts of each track in the future. Particularly for sound-design things I experiment with or try the first time and feel like it's worth sharing with everyone. Patch notes. Etc.

Of course, if anyone has particular requests or wants to talk about certain aspects (or critique them), I'm down.
Also, Piotr_13 is the other half of Weekend Astronauts, so he'll chime in on aspects that he spearheaded where appropriate.

At least this level has decent music...

Don't die.

>>>> Weekend Astronauts - Water Level <<<<

For this one, it began with the main synth you hear in the intro, like most of our music happens to come about. A little on that. When we're producing stuff that centers itself on a particular type of feel or genre, the easiest way to build on an idea is to experiment with what would be the main idea, and for more ambient/mellow types of music, that tends to be the main synth that defines the melody.

In this case, I felt that the synth patch I used had an underwatery feel to it, so I kinda went from there. Of course, and it's probably obvious, the primary inspiration here is Tipper, but once that stage was set, additions were basically second nature.

For the beat, the primary sloppy sample is what I built the rhythm off of. That is the free sample for this song, because I did not create it from scratch. But I did edit the hell out of it. In the link below, you will have yourself the sample, at 120BPM.

The beat would have been ok by itself, but my partner added some life to it, and you'll hear this with the slight FX that put a bit of movement into the rhythm of the song.
As far as the bass, well, I'm not super familiar with NI Massive, but I gave it a shot and did a standard wobble, selecting the LFO rate that seemed to work with the rhythm of the song while not being too adherent.
For the processing of the bass, I did as I usually do and create a copy of it, then take the lows out of the copy and slap iZotope Trash on top of it and get some good distortion and layer that in on the top end of the bass.
The bends are within Massive. It's a matter of setting your voicing to monophon and then setting your osc to rate instead of equal, then adjusting the time of the pitch bends between notes.

The rest of the elements in the song are supporting characters. In the breakdown, you'll notice the main synth kinda morph into another one, then back to the main halfway through the drop. This is done with volume automation and also automating the mix knob of a filter on both tracks.

And for everything else, there's Mastercard.

Here's the free beat.
LagBeat

More good stuff Freeb. You get some great vibe with what you use. I worked something out with that Purdie track. I won't clutter things up here with my stuff so I just threw it into the showcase pit.

http://www.musicbanter.com/1498820-post469.html

Just uploaded this.

https://soundcloud.com/weekendastron...eautiful-anger

I'm far too drunk to do a commentary. Will update this with a sample and commentary when able.

Are you ever not drunk?

yo! been awhile. :) anyway. i've listened to the first two tracks you've posted here. so far it's kick*ss! so clean! i'm on my way out but i'm leaving this open for when i get back.

It's definitely a rare occasion.

Thank you! You seem very familiar. I've not conjured a context for that, so you may have to remind me. But your words are appreciated. :)

"Beautiful Anger" almost ties with "Variable 55" as my favorite Weekend Astronauts song.

As you probably already know from making "Beautiful Anger," the contrast and interplay between the beautiful classical piano/strings and the intricate, "angry" drum beats make the song fascinating to hear.

I've listened to the piece several times to trace the overall composition and notice all the different sounds. Each time I find something new in the song to concentrate on, but concentrating on one aspect is difficult because quickly some new sound is introduced.

I like the way the song begins and ends with the same piano passage. The passage's somber ending first transitions into the frenzy of the drums (a great moment) and then later serves satisfyingly as the actual end to the song. I also like how portions of the piano passage appear throughout the piece. I like how the notes of the percussion/bass beats relate to the piano tune.

I especially like a midway point in the song where there are well-spaced piano chords with an overlay of strings and drums, all meshed together.

The song has power as well as subtlety, which I appreciate, and it seems easier to listen to than some of the other breakcore I've heard (Igorrr) because it doesn't include *as* many odd elements. Your song leans quite heavily toward a pure classical sound, which I enjoy, but I like the funky percussion passages just as much.

The only thing I might change with the song would be to use real string instruments, if you had them, because I'm a purist when it comes to strings and like their less even sound. But I'm just quibbling, because the string sounds in the song are very realistic.

"Variable 55"

You haven't discussed this song yet in your thread, but I will anyway because it is my favorite of all the Weekend Astronauts songs you have posted so far, and I want to learn more about how you made the song, and tell you what I like about it (in the hopes of influencing you to make more like it).

"Variable 55" begins with a delicate, almost eerie melody of bell-like notes reminiscent of drops of falling water and so beautiful that it made me want to cry...especially when an undercurrent of lower sounds begins to swell underneath the bell tones.

My favorite moment is around 0:55 when the warm sound of several long, cello-like notes enters, creating a slight sense of resolution at 0:57 before continuing. A really lovely moment, it reminds me of how some classical music pieces contain a very short, unique passage lasting just several seconds that seems especially emotional, memorable, meaningful and beautiful...almost painfully beautiful. For me, that moment in your song is 0:52 through 1:06.

The song then subtly transitions to include lower notes and interesting rasps and clicks that sound very organic, like insects or woodpeckers, and finally the drumming enters, all over-lapping.

Again, each time I listen to the song, I hear something new, which is a great quality in all your songs. It encourages me to listen again and again to discover some new aspect I hadn't noticed before. The changes within the song rivet my attention.

The interesting panning of the sounds, for example, is one intellectual level I liked to consider, such as the panning of the bell-like notes around 3:15. The layering of different passages is another, such as when the cello-like sounds first appear and then reenter the song to help stitch the various parts of the song together into an integral whole.

This song also used an element I don't hear often in music: a noticeable tempo change within a song. The moment at 3:52 when the song slows down is especially intriguing to me, since it sounds like time taking a breath. I love when songs have tempo and time signature changes. This one pause was very surprising, which I like. At first I thought maybe the pause was a song glitch due to my computer, but I hear it every time, so I decided it was intentional. I'd enjoy hearing a song that plays even more with tempo changes to give the feeling that the song is sometimes holding its breath.

I'm curious which elements were sampled and which were original in both songs. I assume you and your fellow musician are doing the guitar work as well as the drumming and are modifying them with the computer to get the sound and speed you want.

I feel both of these songs are excellent because they stir my emotions and have an intricacy level on par with classical music, which makes the songs feel contemplative and meditative. The songs contain a high density of thought, and I can hear and appreciate that.

Thanks for your kind words, and I hope your holidays went well!

I don't usually post on here, but I frequently stalk Freebase, and this thread.

I can't really speak much of Beautiful Anger, as it was Freebase's brainstorm and absolute drive to create something. Maybe he can get on here to discuss it more in the future.

Variable 55 was created a few years ago. Back when I used to use FL Studio. I've since upgraded to Sonar so Freebase and I can exchange projects with ease.

The main bit was majorly a synth from a program called Synplant. At the time, it was a new and exciting thing for me to use. It started with the tingly sound, and then I added some pingy synthesizer sounds that blended together quite well.

I sent the intro to Freebase, and we went back and forth for a few days creating it.

Around the time the "time bend" happens, was a drumming idea. I had a stock beat loop that I glitched using "Gross Beat" with some automation.

In the beat, there was that "vinyl time dip" that you hear. It wasn't intentional at first, but I thought it sounded cool.

Freebase took that sound, with his own beat, and emulated it along with the atmosphere creating an entire time dip that I think sounds fantastic.

For Variable 55, everything you hear, was sampled. There are no instruments involved that were physically played.

As for the title, "Variable 55?"

Well it's quite simple. The original project tempo was 110 BPM. So in order to create things more brooding, we halved some of the sounds to 55 BPM. Hence the song being in a Variable 55 tempo.

You've actually provoked me to look into my old FL Studio project folder, and low and behold, I actually have the original draft of the project!

Of course, a lot of the sounds have been deleted, misplaced, and lost in random browser cleanups, and one hard drive crash, but I've uploaded the main bell part for you to check out.

https://www.mediafire.com/?d3da467vt6v2x2p

Enjoy!

Variable 55 and Equation for Sundays is my fave! Actually, it kinda changes as new songs come out. I have emotional ties to 55 and Equation that have kinda been around for a while, but newer songs like Plastic Bells edits are getting up there. That's basically our approach. We just try to make music we like. If we like it, we have succeeded. If others do as well, then that's icing on the cake. So, thanks for the icing!
Yea, I agree about the realistic strings thing. Unfortunately I don't have much access to them. I do have a few patches in Dimension Pro that are actual recording of strings, but I think I went with a patch that is my go-to solely for the ambiance of it. The piano is actually from the same synth, which is a sampling synth, so the sounds are generally sampled from the real thing. However, the patches themselves modify those sounds to achieve something of a hybrid approach. Basically giving you synthesizer control over real sound.

Anyway, I enjoyed working on that song. I'm always a melodic person by default, and I love classical, so I like to play with the things about music I love and put them together to see what happens. Igorrr is a bit of inspiration for that song, for sure, but like you said, he's a bit more complicated. But I think there's something to say about simplicity as well, even if it comes in moments.

As Piotr said, the song is all created in synths or using found samples creatively. I realize that there is a respect for performance, however, I feel as though the production of a song using either found material or creating material using a program... well, that's kinda the performance. To me, it's like being a director in a way. Except you not only shape the way the song happens, but you are creating the melodies and progressions by hand using sound that is already recorded. I guess you already understand that part, but I just wanted to say it.

I'm about to post a new song that we've had in the works with my buddy's guitaring, however, so perhaps this will be a nice change of pace? We're thinking about incorporating actual instrumental performances into our music lately. The song I'm about to post is the first of the bunch, should it become a thing.

If I can't see you, you can't see me.

Here's a song just completed.
The other half of Weekend Astronauts is on the guitars. Just a little tune that could mean anything.

Weekend Astronauts - Hidden Faces

This one follows our typical approach, except we used an actual (not perfect) recording of his guitar licks for the main idea then built around it. This is another song that I utilized sidechain compression, using a copy of the kick as a trigger. You should hear it in most stuff, barely. I have the entire music routing through that sidechain. It ducks the kick only. More of a creative effect, I guess, but it does make the kick more apparent what with not being drowned out via frequency overlapping.

All plugins are either stock in Sonar or Waves. Synths = stock. Signature rise/dropper, of course that's in there. I've been using it since 2004, I'm not going to stop now! Oh!! I did finally get to use Waves Z-noise. Originally the guitars came to me with quite a bit of noise because the partner is basically just recording directly into a computer from a pedal. I knocked a lot of that out, but you'll still hear a bit of squeal and buzz in the parts that actually contain significant signal. Z-noise is a beast though. Lets you "learn" the primary frequencies of the audio over a span of time and then raise the noise reduction threshold so that only frequencies that are not part of the primary sound in the recording are then reduced. Worked wonders.

As for the free loop, I don't know which one to provide. You guys tell me!

Thank you, Piotr_13, for the description of how you and Freebase made Variable 55, and thank you also for the main bell part!

The vinyl time dip in the song *is* cool. I also feel that halving the tempo of parts of the piece was a good choice to give it a more contemplative feel, so I'm glad you both decided to go with Variable 55 rather than stick with 110.

The song is lovely and I'm tickled to have the main bell melody. It's beautiful.

You're welcome for the icing, but honestly I think we listeners are the lucky ones because we get to hear and enjoy the song, cake and all. I don't find many songs that I really like immensely, so when I do, I feel fortunate to benefit from someone else's creativity.

Your way of merging what you like about music into your songs and bouncing ideas and sounds off each other is resulting in unique, memorable pieces.

I agree completely and understand what you mean about the performance being the use of synths and sampled sounds to produce your own songs. What I like about musician-created sounds (like Piotr_13's guitar playing) is purely psychological: I like that the sounds are the residual left from the musician's physical motions interacting with the resonating object, much like the motions of an artist are imprinted in the brush strokes of paint on canvas.

I'm curious to hear what you both come up with next!

May First

I started this song on May 1st. Yea, there really isn't anything meaningful in the title. Often times when I start a project, I don't know if it's actually going to become anything, so I title the project with the date in mm-dd-yyyy format. Most times if a song does materialize, I listen to the song and name it whatever sticks in my head from an impression if the song isn't themed from the outset. In this case, I forsook the format and just titled it May First. Now you have this:

Soundcloud Link To Song

Ok, so, I started the project off with just a piano. I didn't know where the song would go, but as I hadn't made any music in some time, it's sometimes cathartic to just sequence some sounds that you'd like to hear at the time. This happened in Dimension Pro, which comes with Sonar and is a sample-based synthesizer.

After the piano riff was nice and loopable without being *too* samey, I dug down into the Dimension patches and found the trusty Batman Score patch, which was used for the strings. It's a great patch. There's literally nothing else on the strings track other than the MIDI that's triggering the synth and some low cut from the strings, with a little low-mid carved out so it wouldn't muddy things up.

After that point, I still didn't know if it would be a song. I didn't think about drums or whether they should be in there at all, but at the same time, I didn't want to "commit" another song to our catalog that was reminiscent of a score for a movie scene, so I shot the project over to my buddy Piotr_13 to see if he wanted to add anything to it and spark an idea for the song's direction.

He sent it back with the drums you hear, but in full time. After a big ol' stamp of approval and a warning that I'd be changing the beat to half time, I got to work and did some mad science experiments and got it fitted in. From there, the song sort of built itself.

I was looking for some sort of movie speech clip to put in there to give everything some momentum and ended up sampling a speech from Picard in Star Trek: Next Generation, and only now as I write this do I notice that this thread is titled "log files for weekend astronauts", so it's rather fitting.

OK. Now there's supposed to be a thing where I give away something from the song. Only, I don't know what it should be, so if you want something specific, let us know! I will cut a sample for you.

And of course, since this post wasn't very descriptive in terms of the engineering process, feel free to ask anything or make scathing remarks at the horrid balance or lack of reference track usage!

Enjoy!

It's deep and emotive. I was gonna say "It needs a guitar solo" but that's just snide, and it really doesn't. Maybe at 3:12 would be a nice touch, but it's pretty stellar as it stands.

Ok, fine.

What do you want to name the song?

I don't know, you pick.

Ok Fine.

So it's our latest track. Wasn't really sure how it would turn out, if it would even see the light of day, but with some gentle back and forth between the two of us, we came up with the song you hear now.

How did it start?

On the rebound of May First, (our last song) this one, I was quite worried about. Weekend Astronauts generally doesn't do two songs one after the other unless the mood is right and a certain chord (no pun intended) is struck.

Well, I recorded a couple of chords in which you can hear in the intro. Wasn't too much of a special thing, but simplicity sometimes is the best way to create.

After recording those chords, I put a stock drumbeat to it, and cut out the mulitude of kick drums in order to let the music breathe a bit.

My approach is generally "If you can't think of something, play it"

So I did. And once I had those simple chords down, I was able to layer more on top of it to create more of a structure.

I took a bit of a liking to it. Didn't really warm up to it at first, but then put my head in it and started getting engaged. Mostly mixing at first, but then I looked to my left at my long-abandoned, sad guitar setup and thought "I should probably dust it off".

Added some underneath guitar and fixed things up, finished the structure and outro'd.

All the pieces were there. It's not a usual thing where I get a project that's pretty much done. Usually we back and forth things from the outset, but this time the whole idea was basically there. There wasn't much to add except support and a few mixing decisions.

All in all, I think it came out well. Of course, I'm straying from our original promise of a sample, but I'm feeling more like we're not really in a position to throw something out there without your input, so, if you want something... let us know.

And as always, enjoy!

Funny enough "OK, fine." is honestly a great name for that track and if you hadn't told that little story about how it got it's name I would've been like damn that's brilliant :P

Sick track all around though, great work

Sleepgunner

https://soundcloud.com/weekendastronauts/sleepgunner

I have a Digitech RP500 that has a pretty neat patch that lets you whammy an octave, and I was playing around with it when talking to my music partner and came up with the main riff, trying to screw it up a little. I knew what I wanted the end result to be, and I kind of placeholder'd some drums in there at first to show him the mode I was going for, but he had to go on a field excursion, as he's still in the Army, so he didn't get to contribute anything what with my lack of patience.

I couldn't really wait for him to get back. I kinda went all out. In fact, as I write this, he hasn't even heard it. He heard the initial guitar stuff with the original placeholder drums and that's it.

So, hopefully he likes it, and you guys as well.
Let me know if you want me to sample something from it for you guys.

Really cool Dmin (Db G) progression to jam over (although it's killer as-is of course). Bending up from the Db to D and back gives it a nice eerie touch. I was hanging out in the E F G D Db area mostly.

Nice track.

I like this.

Like the name you gave it, "Sleepgunner" creates a drowsy, mellow, yet alert mood with its calming beat and all those intriguing, little cricket-like rasps panned left, center, and right, chirping along without any clear pattern (that I can discern).

The chirps and rasps help breathe life into the song and keep me alert during it, wondering what will happen next. The arrangement does that, too, with the phasered guitar duet section that continues as a solo when the other sounds drop out mid-song.

I especially like the moments at 1:01 and 1:56 when you insert a small hiccup of silence. Lovely.

Two mental images come to mind when I hear the song, which I imagine would be great in a movie score to accompany scenes such as these:

The first scene is of sitting on the porch swing on a summer night, rocking back and forth while watching the distant lightning strikes and cloud flashes of a passing storm, far away on the horizon, while the crickets nearby chirp unseen in the yard.

The second scene is of driving alone at night on a raised interstate through a city around 1:30 AM, when few people are on the roads and almost all the city is asleep. The highway stretches ahead and curves gently above and below other concrete roads in the inner city as you cruise past hunkered brownstone buildings occasionally winking their lit rectangular windows at you due to the few people still awake.

I can imagine hearing your song in both situations.

[An aside: when you say the word "placeholder," I can't help but snicker impishly as I remember your "Placeholder Trilogy."]

BTW, I like your newish Weekend Astronauts image. I imagine the astronauts are you and Piotr lovingly holding your music-baby.

Where's a recording??? :D

Thanks for the cool analysis! To be honest, my thought process behind the whole thing kinda differs (not that yours is in any way invalid!) but I thought it would be interesting to show. I was more in the mode of a Western setting, kind of a gun-slinging showdown that no one showed up to, getting late, the sun is setting, and we're on the border of a Spanish town. But something is off. Train rolls in, the beat, but it's from some other place. Doesn't belong, nor do some of the other elements. Sort of a dissonance against what would otherwise be a congruent scene. Like a dream where you're in a setting and something else comes into the picture, not belonging there, but somehow existing without too much alarm to wake the dreamer. The sleepgunner stays there with the scene around him but not existing in it in any real fashion.

At least, that's the emotional impression I get when I was thinking about it.

My picture of the landscape in this case is ultimately that of an old, empty battlefield being used by ghosts in a dream.

Lapse

Latest thing.

We like pitch automation.

Weekend Astronauts - Nameless

This one came a bit easily. I think maybe a bit too much so. Usually when that happens, you're doing a lot of the things you usually do and not experimenting. However, this time was a bit different. The bass had a slide to it and I really enjoyed that, so I bussed basically everything to a channel that had a pitch plugin on it and modulated the pitch control via an envelope in various places. I've done that before, on bass, but not much on the entire track. I think it kind of set up the theme for the song in a way.

So, this song started as a random idea my buddy Piotr was working on. He sent the project to me with the ideas in it as far as some individual sounds were concerned and I started building something with it. Normally I might add things of my own, but in this case I thought less was more and tried to work with what was essentially the skeleton of a beat and a few pad type synths and a lead.

A day or two later, it became a song, I think, and I dig it.
How 'bout you?

Any requests for samples, I can throw them your way.

Dope shit as always man, pimped this stuff out on facebook.

This is so ****ing good.

O sh*t guys, thanks!

Any music makers out there want some of our sounds, let us know.

Oops!!! We accidentally did it again.

Weekend Astronauts - The End

It is the weekend, after all.

I'll be gone for ten days in another field excursion.

Hope everyone enjoys what we've created!

I'm certainly happy that we got a chance to finish another song before I disappear for the next week and a half.

Happy listening, music banter people!

Very nice.