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Day 2

from Sketchtober by Patrick McMinn

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From 10/2/2015

I’ve been re-reading David Bryne’s “How Music Works,” and I’ve been really excited about the way he described recording Remain in Light by setting a series of grooves against one another and then using the mixer as an instrument to drop tracks in and out of the mix to create distinct sections. I didn’t really end up doing that at all, but it was the thought underlying a lot of the recording process. The main texture was made by recording snippets of a piece I’m working on into a looper I built in SuperCollider and then changing the play-rate and loop points in real time. I then looped that loop until I found a groove I was excited about, then added a series of other grooves, some in the same time signature, others in conflicting ones that will only line up every few measures or so. I set the loops against each other, each one with different, slow modulations that bring the tracks in and out of focus against one another. The end result doesn’t sound anything like the music I usually make, but I’m kind of fond of it anyway.

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from Sketchtober, released November 1, 2015

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Patrick McMinn Baltimore, Maryland

composer, trumpet mangler, and multimedia artist interested in feedback loops both physical and conceptual

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