Day 1: Other times, other places.

This is inspired by the first drawing I made for #theDaily in October. Every day, I'll make a new track after each drawing in chronological order (archived here:

My goal is to get a draft of the soundtrack for the cyberpunk-themed game I'm working on.

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Day 3: Reroll.

I realized my previous experiments lacked a bit of volume. I fixed it, and had a lot of fun. Sorry for your ears.

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Day 4: Cartographying your tears.

I couldn't help it, I had to add some crappy live finger drumming. Recorded a dozen of versions before calling it a day with this one.

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Day 5: Teenage Gods.

This one would have deserved a much slower progression and many tiny tweaks along the way, but I'm too exhausted to refine it further for now.

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Day 6: Feature creep.

Built around a synth lead made by my 3-year-old kid having a blast on my way older Kaossilator Pro. That was pretty fun, both to sample and to (re)compose afterwards.

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Day 8: The daily wonder.

This started as brutal techno, but the allmighty wub wub slowly turned it into, uh, something else. I'm starting to think I have more affinity towards more complex rhythms, since I seem to be unable to stick to a basic four on the floor, not to mention I keep microtiming pretty much everything. Playing the RAV Vast certainly has changed my approach to music, even on machines.

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Day 9: Humility network.

Yes, I've found the distortion settings. And I could have set it much stronger, because the result was really interesting when paired with the compressor, but I thought this blurry mood was nice enough. This will likely lead to a plethora of other noisy experiments.

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Day 10: Watch your back.

This is noisy as hell, and rather brutal. Some kind of gabber. It was fun at the beginning when I was in the zone, then it somehow totally emptied my mind.

It's strange how the dyonisiac, cathartic effect tends to vanish when you start to think about how to make it sound better. This genre is harder to make than it sounds, at least for me.

Day 12: Snakes in the walls.

Experimenting with LFOs and syncopated beats.

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Day 13: Sharing is caring.

The Gui Boratto vibe is strong with this one. No idea how nor why it came up, but it somehow materialized after a blurry memory when I saw him playing live maybe ten years ago on a beach in Cannes, France.

I don't remember which song it is, nor from which album it belongs to (and I'm not sure I want to) but the melody reminds me of one of his tracks that I loved, and that I haven't listened to in many years.

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Day 14: Cybersea.

I played with a noise generator to create a sea-evoking texture. This reminds me a bit of an old 8FM album that I loved back in the day, named "The Confused Electrician".

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Day 15: Failure is the default option.

This one took me ages to "finish". After numerous unsatisfying attempts, nothing is left of the idea I started with, except maybe the hypnotic vibe, which became more complex (and hopefully more interesting) than I had initially planned. There may be a faint hint of Dopplereffekt.

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Day 16: Chromed flesh.

Polyrhythms with chords, massive reverb and slight distortion, and LFOs doing random stuff in the background. Quite experimental, but with a rather warm atmosphere.

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Day 17: Moon dance.

I ended up jumping all over the place with this one and got disapproving looks from my cat. I had a lot of fun making it and didn't expect to build this kind of groove. I was aiming at something much more minimal (though it can certainly be minimal if I rework it to make a way longer track with proper progression, which I will certainly do.)

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Day 18: Falling is learning.

For once, I managed to tweak the synths in a way that suited what I had in mind. I like this mood. At some point I'll work on actually playing live, since all I'm doing here is muting and unmuting tracks on a single pattern and quickly recording the result, but I'll keep that for later. I'm already learning a lot regarding rhythmic structures and tracks interactions, which are the point of these short daily sessions.

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Day 19: Hello monster.

This one is very ambient, and reminds me of Stars of the Lid. It probably doesn't need a beat, but it certainly needs to be five minutes longer.

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Day 20: Your echo chamber.

Some kind of hip hop beat but with an ambient dub mood, or maybe the opposite. Massive reverb and warm vibes.

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Day 21: Engram.

I honestly never thought I'd say one day that I love the cowbell, but its sound has slowly grown on me, especially with loads of reverb. Not to mention the tom, which I'm also starting to like.

This one has an Analords vibe, and it's begging for a TB-303. Maybe I should actually look into this at some point...

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Day 22: Mind connector.

This one is on the ambient / down tempo side, even if it started as rather punchy techno. More cowbell, except I found the sweet spot to morph it into a pretty cheesy synth. It feels incomplete but I like this eerie yet warm mood, I think there's much more to explore in these cavernous spaces.

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Day 23: Data-starved.

Dark and groovy, at least for my standards. Maybe with a hint of Plastikman. That's the kind of techno I'd like to refine. It's funny how hard it was to keep it simple, and even then, it could probably still be stripped down. Minimalism require much more efforts than it may seem. SIlence is frightening.

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Day 24: Memory engine

I had a hard time with this one. I learned a lot about LFOs, yet I couldn't decide of the best way to use them. There's something I like in there, but every tweak brought new ideas. I could probably make two different tracks built either around the bass or the distant melody.

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Day 25: Temporal framework.

Quite happy with this one. It has a few dub-like elements, thought they came up unexpectedly. The bass reminds me a bit of a didgeridoo, I guess that's why the mood feels somewhat exotic to me. There's quite a few LFOs doing their random LFOs things over various parameters, I'm slowly starting to understand how to use them.

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Day 26: Electric birds.

This one has a seaside vibe, with a cheesy dreamy synth. Some kind of distant memory of a day at the beach. I like the beat, but the synth needs more work. But of course, as it often happens, the beat is the byproduct of the synth, which was supposed to be the core idea.

It's funny that my creative process often relies on isolating and developing interesting accidents while forgetting the initial goal.

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Day 27: Watch me watching.

That was painful to make. It started fine. Then I ended up changing everything but the beat so many times I've lost count. Now I like these dirty, exhausted sounds mixed with a rather brutal rhythm. It would still need a lot of work to be actually satisfying, but at least I now feel like I haven't lost my time. Ironically, it illustrates very well my mood since this morning.

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@ice Feels like music for a chase scene, or escaping from an alerted enemy in a stealth-based game

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