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I didn't have a melodic idea for this week, so I decided to add to the drone setup a little.

This time around, we have the Stylophone DS2 on drones and FX, the Monotribe is back but just for noise sweeps with FX via the DS2, and now there are pads from the MicroMonsta 2 (controlled by the Pocket Scion), with THAT whole live jam dumped into the M8 for an extra drone, some percussion, and sample & hold.

The noise is too loud. It's supposed to be too loud at the end, but it starts too loud and does not have any room to ramp up. Since it's mixed with the DS2's signal for FX, I can't turn it down. No time for a second take! Deadline is in 15 minutes!

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In anticipation of seeing The Midnight on the Saturday before this beat was due, I made yet another track with samples from The Midnight sample pack. It started with some sample chopping of a chord sample, then I made a drum kit with their drum samples and made a synthbass with Ableton and a synthbass sample. The main chopped sample kinda reminds me of Pogo. The lead synth is a very Nintendo-y sounding with Cradle Audio State Machine BitFlip synth VST. I was a bit too ambitious with some transposing / key changes on the sampler. I have a bunch of different basslines / motifs and some weird melodic key changes that are kind of interesting but ultimately I don't feel very strongly about it. I took what could have been a straightforward lofi synthwave beat and made it a bit too weird, ha. I don't really love the vibe of this track so I wonder why I kept on it. Perhaps the sunk cost fallacy? I need to have fun making stuff rather than just finish something for the sake of it.

* Synth chords and drum hits from The Midnight sample pack

* Synth bass from Ableton bass + The Midnight sample pack

* Lead synth from Cradle Audio State Machine BitFlip

* Ample use of Transit, Valhalla, RC-20 plugins

* Gullfoss and Ozone Elements for mastering

Total time: 6 hours

2026 Copyright All rights reserved

May flowers here in Washington state!Fun little trivia, I travel all along the westcoast as a freelance animator / musician. That's what I do as my job, making beats is self flatulatory. Well okay it -might- become something.

Whipped something fast and completely new, used a mix of Eli Derp and Underbelly old samples for this one.

I got hooked on Blue Prince the game, and instead of commenting on other people's music like I said I should I spent it hanging out with friends. Darn me! I really want to give a lot of my commenter's a listen and drop a few nice words.

Anyways, have a lovely week, hope you all are doing well, beat makers!

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This week's track is also my contribution to this week's Disquiet Junto project. The assignment: Record the final third of a trio. I look forward to participating in this asynchronous collaboration every year. I was reminded again this week that I love collaboration, async or in sync. We all have our skills and perspectives. Nice to bring them together. I could not play this bass line, and I loved listening to and playing along with it.

The collaborators are: Daniel Diaz's part 2 or 3 "Cordyceps Dub." He said: "I initially wanted to push it into a dub direction — not sure it fully works — but I had fun adding delays and plate reverbs to bring out that feel." and Benn DeMole's 1 of 3 "Cordyceps". It looks like he didn't post any notes, but his part is the tubuler(?), resonating and bell like main percussion. 

This isn't the first year I have async collabed with these artists, they are great, check them out.

I also thought dub direction, but also, not sure what it really is other than what it is, the thing that it is. I played drums, added rhythm chords, voices, percs, and other little bits of auditory mycelium. Spread verb and delay. Used a comping drum process I like when playing on a new song with limited time. Looped phrases and recorded multiple takes, then using Ableton's take lanes to pick which is best and repeating through the song. Best to stop as soon as something tickles.

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"fms+fx"

fms by @ess is so much fun!

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Not much time to work on the mixing, so not really sure how this sounds outside of headphones.  Started this one with a VCV patch using a looper called Tehom, originally I had a really dark sound which I wasn't feeling with the sunny vibes outside.  Changed up the VCO to a brighter warmer sound and the rest of the track unfolded from there. The Tehom module has a little fish that randomly roams around and crossfades between 4 simulated tape decks.  The track was to emulate the little guy exploring the lake as the sun shines to melt the ice above.  Hope everyone had a great weekend, as always thanks for stopping by for a listen, appreciate it.

2026 CC0 Creative Commons Zero (Public Domain)

I've actually been messing around a lot on my keyboard this week but still need to find a good way to get that into the M8 or my computer. I have a tiny apartment and already feels like I'm playing tetris with gear at this point so let's see. So this was kind of last minute and thrown together in about an hour. I decided to go back through the last 7-8 weeks and pick a tone from each song I liked the most. I also grabbed just two samples I was at from a party earlier today (which are in the very beginning). Hopefully next week I can get an earlier start!

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Ableton Live with mostly Casio CZ-101, Roland D-50, and UAD Polymax.

Arranged live with mostly Session View.

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I'm starting a new long form multi-week piece again.

Beat Collective collected 7 short Searching for Sound samples for this month's challenge.

Simón Mejía is a founding member of Bomba Estéreo, a folk-electronic fusion band from Bogotá, Colombia.

In 2018 Red Bull commissioned a documentary series for Apple TV "Searching for Sound" featuring several artists including Simón.

I instantly recognised that these samples are perfect for a classic Incrementalism style. In this week, I've use two of the samples, with the third being introduced for the next movement. My goal is to use all 7, but never more than two at a time.

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