PHOTO LP: The Super Soul Orchestra Singers - Songs of Stevie Wonder (Windmill)
'Superstition', wonky drum break ofcourse.

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PHOTO LP: The Super Soul Orchestra Singers - Songs of Stevie Wonder (Windmill)
'Superstition', wonky drum break ofcourse.
7 Popular Songs That Use The Same Sample
Tommy Edison talks about one of the most famous music samples - a drum break from The Soul Searchers' song "Ashley's Roachclip" and seven popular songs that use it.
Relatively normal drums: Akemie’s kick, Daiko snare, gated noise hats. Patterns come from Marbles with a slight jitter. Audio is mixed and goes into Data Bender for slight glitches then Polydactyl for saturation and compression.
The fun parts: I patched a bernouli gate with Cold Mac with a slight variant on the patch outlines in the official documentation, so the snare is either just output 2 of Daiko (wavefolded) or a combination of both outputs, at random. Adding more variation, I have 0-ctrl (!!!) with all three channels affecting the timbre of the drums: waves on Taiko, and waves and release on Daiko. There’s a 2/3 chance every 16 steps to advance the timbre pattern. Finally, gates are patched from Basicus to give manual control over accenting of each of the drums, which are played in addition to some parameters on the effects.
I really like the sound here! I should’ve added a low voltage sweep on the T bias of Marbles to change the pattern a little more for variation, but there was a lot going on and I had to calibrate 0-ctrl which ate into my patching time. I’d also like to add some melody over the top with Subharmonicon. There’s plenty more time to explore, but I’m very satisfied with how my percussion case is shaping up (which is good as it’s almost complete - just Xodes ABD and IDUM to go.
(Newton Clementine voiced by the wonder @thisbelongsto-nohbodys )
Here’s a WIP demonstrating how I intend the soundtrack and line reads are work off each other for the production of The Tavern Barz Story.
Animation is usually animated before the soundtrack and sound design are added. I’m wanting to do the opposite... use the sound design and soundtrack to set the pacing for the rest of the film, in a process I’m dubbing audio-first animation.
The big benefit here is that I can get a good idea of the films pace before the animation is even finished, which means I don’t have to worry about deleting too many scenes or hyperfixating on details that might not even make it into the film. An added benefit to this workflow is that I don’t have to let the sound design, line reads, and music fight for attention... now there basically one and the same.
For this particular segment, I took some inspiration from the ongoing trend of “musical dubs” on Youtube, where the dialogue of a video or rap acapella is given some eccentric musical accompaniment... it’s basically Mickey Mousing but done based on existing audio. Some good examples I can think of include the work of Finn M-K and David Dockery. Adam Neely also has a few good videos on the subject (here and here), and it was through one of his videos I was introduced to the musical project JKXCM, whose work is just straight up awe-inspiring.
I don’t play any instruments though, so the musical backing piece is entirely electronic, utilizing an old school hip hop drum break and a fake sample made to sound kinda vaporwavey. The “Live Performance” aspect is kinda lost as a result, but hey, it still sounds super cool.
my album is out now
https://song.link/album/i/1448057032
Here’s to hoping 2018 is better than 2017.
Papa Was Too - Joe Tex
DJ Grandmaster Flash breaking down "the break"