I need to get out of here.
welcome to snoresville population you.
Almost a week late.
Reception's bad. Can't hear ya, gramps.
RANDALL WHERE ARE THE PAN FLUTES?
played popcorn in an arcade.
played piano as studio in bowl as studio.
made a beat because that's all I know how to do.
bit-reduced the sample.
Piano strings and strangled light switches.
Witches with wire shoulders and lists
with "hammer, chair, and wedding ring"
UR GO TSHWAZ
I took 'Wkwrdns' and extracted my vocals back, put them through an arpeggiator for the spinal-rhythm. Then I resampled and played polyrhythms around the spinal-rhythm and it all seems to ascend-take-off, hence 'spaceheaven'. I recorded some more vocals and vocoder'd them, as well as placed a super high note from my vocal take into a broken antennae/12 bit sampler, which is that microwave sound dying out at the end. This is entirely composed from vocals.
Back to you, Will.
Can I have another? I can. Here is another and it has a single note drum fill and has been compressed only once. There is a single note synth line too, and a sample from Radio 4. I have taken the vocal track from Antosh's piece and pitch shifted it into a four note melody. There is also a key being run across piano string and a marble falling across flatware.
'CLLM' was pretty hard to manoeuvre inside. For 'cn i hve nther ne' I sampled 'CLLM' and slowed it down, cut it up a little, then layered some singing at different velocities over it, as we've yet to explore that noise within the Whispers. I buried a drum beat behind it all to give it some crunch.
Will, it's up to you to report on this disaster.
Branch and root, branch and root. There are seven of the same compressor here but they never meet each other. Only what they do. B.ranch this is called CLLM which is just how people say "calm" sometimes. There is a digital harp item. A recording of a woman trying to get a man into a car only the man is recently blind. There is a cassette tape loop and some noise that sounds like a tide but isn't/ branch and root.
I really liked how rhythmic 'Amara Baratasan' was last week - Will's put the Whispers in some silly tempo, like 94.54 bpm or something - I made the start of 'dawnings' by stuttering out his plucky bass rhythm and cranking some reverb on it. It's mixed with me accidentally recording the master track, which feeds back/screams like a wolf with a laserbeam howl, that ominous synth-howl-alarm that fades in and out. I then played some MIDI organ through a hollow looper and layered a field recording of my commuter train tannoy through a beat repeater, which rhythmically cuts the voice and redirects it's frequency at intervals, so it sounds like a half-broken robot trying to finish its phone call. I did this because I told Will the tannoy has an infectious drone to it and he told me to record it. I then put a beat in underneath the reprising organ at the end. The beat is in a grain delay setting that I can't remember.
You know what to do...
I took some beautiful wind from Suncream and put it in my sails for five overdubbed bass guitars. There are also drum samples from youtube. There is some mushing up which I did on a duplicate master track just by moving things around a lot. There is no mastering processing on this one because I wanted there to be an enormous dynamic range if at all possible.
I shot the Fyrenbown through a sampler and split and put an oscillator underneath, then sampled them both, split that, played the sample underneath that and then input some drums into a delay filter (the crushy shell sound) then I took the original sample, resampled with my sample underneath and ping pong'd it. Sounds like sun cream unleashed at a distance/difference, shelling the back of the person and cabling through them to the other side.
I went three seconds over because of delays. Week 2, already a rule break.
Back to you, Will.
January 6th, this piece features a percussive melodic line altered with Max for Live and side-chained against some one-shot samples of Cs, Gs, and C sharps on various plucked instruments and a flute. The one shots are then treated with reverb and combined with the percussive attack melody.
The whole piece is then reversed and played on top of itself in a technique I like to call "Absolute Canon".
Your move, Antosh.
Post Everything is obviously primarily the work of Antosh and Will. We tend to prefer working in each other's company but that is very often not possible and as such we have decided to create "Whispers". Here we are going to offer each other a piece of sound design each week in 2017 (totalling 52 pieces of sound design) in reaction to each other. Will (me) is going to start. All the sound design pieces will go up here on the Post Everything website.
Here are some rules for Whispers
1: each piece of sound design must total no more than one minute and no less than thirty seconds.
2: each subsequent piece of sound design must contain at least one component from the previous week's addition. It must not, however, solely comprise of the previous week's sound design. There must be a new sound.
3: no piece of sound design used in this project may be used by another project until the close of "Whispers" on 31st December 2017.
Feel free to play along at home with any art form and any interlocutor you like. We are, as always, fascinated to see what other artists make.