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ChipMusic.org / Forums / Posts by failotron
failotron - Low-Bit Ostinato | 2009-2010
collection of tracks made between December 2009 and February 2010
released 18 February 2010
composed and performed by Áron Birtalan
album artwork by Alex Bond
last track is a cover that might serve your interest.
I realized I might be making an ass out of my mouth, so here are some examples (all LSDJ)
church space (from ~1.20)
https://soundcloud.com/failotron/track-340
monophonic PU1 channel + analog echo + reverb - recorded live
https://soundcloud.com/failotron/ash-tree
same thing, but with harmonic modulations
https://soundcloud.com/failotron/hawthorn-tree
@Downstate:
About Aron's (Failotron / Kanagawa) recording & production process, I remember him saying:
"I recorded with a reverb I decided I wasn't satisfied with. So I rented a church."
somehow picking this up:
For me, handling reverb and reverberations/reflections and echo is almost identical to architecture. You practically create spaces, relations, narratives of a landscape, composing not just in time, but in 3D as well. Reverberations have the extreme power to suddenly contextualize sound, since it scales out it's surroundings on a multitude of levels. This I think is really important to take into account. Using these tools will for sure completely strip your sound from any of those features associated with the algorithmic coldness of electronic music - but then again, perfect silence only exists inside the machine, so from the point on you play anything from any speaker or headphones you already have reverb.
What I see with a lot of artists, that they have absolutely no patience in getting into these tools, meanwhile using them all the time without any brain whatsoever. I'm not talking about the techy side, but rather letting the time to compose and build these spaces - playing with decay, diffusion, reflections, overtones and such, and alternate them throughout the soundpiece. If it's not done right, it's no different for me than an out-or-proportion architectural design or bad typography. The space between the elements is what truly makes your work awsum : 3
two practical advises:
> For warm, spacious sound, try putting your sounds in a space with acoustics you like and record them again with a mic. I used bathrooms, churches, concert halls, stables, gardens, hangars, a kebab joint, all sorts of silly things. It's a nice way to experiment and who knows, you might catch some funky extra sounds on the way.
> If you prefer using artificial reverb, I'd recommend going for a cheapo digital effect unit (early Lexicons, or even a Nanoverb), since these machines are not as delicately calibrated as the big guys - meaning you can tweak them more. If you are a tape/space echo nerd, I'm not gonna stop you - it has a fantastic sound for a lot of things, but it lack the flexibility to really compose in space.
hope this helped - wanted to say a few words about the 'why' rather than the 'how'.
SketchMan3: the recording of those synths was done in a small chapel in Holland. that can be a clue.
for the tech savvy: every electronic sound you hear (except for the synth pads in track 2 and 7 ) was a GameBoy at some point.
the rest is magic.
Dear Ultrachip
i sent you a message just now. i just wanna make sure if you can check it, so we can be best friends
love
áron
nvyllund is a meaningless word, it denotes Gábor Gyulai, a laconic twin peaks fan who makes chipmusic and likes gy!be, though it's not perceptible in his music. With basic piano skills he uses the Nintendo GameBoy to create bittersweet, sometimes melancholic but still cadenced melodies, mixed with classical music clichés and loads of half-notes. Dada likes him.
contact: nvyllund at gmail dot com
next show: 4 December at Tűzraktér, Budapest, Hungary.
Download his first EP, for free, here:
budapestmicro.org/rouge
just to ease the wait:
a new song from the EP, entitled 'Steve Harris' was premiered this thursday in Budapest:
http://www.youtube.com/watch?v=YBx8BheSlrE
dear all.
i'll be in Paris from october the 16th to the 20th and would be super glad to play some shows.
if you're interested, please hit me up at:
aaron (at) failotron (dot) org
and
info (at) budapestmicro (dot) org
thanks in advance
áron // failotron
i love how any topic / blogpost / facebook comment about alex and me turns into this verbal brokeback mountain reenactment.
btw: what the hell alex? do you have MORE pictures of us?
enso wrote:
this shoudl either be a single cover.. or a t-shirt. omg it's seriously awesome!
i know rite? our secret homoerotic bond with alex (bond with alex bond, get it?) always produces masterpieces. that is he produces masterpieces to make up for the crap i make.
Ain't Youtube grand? You should embrace this. Make it your official music video.
In all seriousness, though, if the low point of your career doesn't involve you waking up in a pit of your own vomit, surrounded by drugs and dead people, then you are doing pretty well for yourself.
too late. visit the link again.
some guy montaged his vacation over my song, ‘Tristan’.
check the part from 2.40 if you don’t have the time for the whole thing.
i’m crying so bad.
i'm not sure if someone cares about this as much as i do, but here goes:
i'm moving to Den Haag, The Netherlands from late august for a couple of years to study.
so if your only boundaries of booking me was my distance from your fair west-european country, here is the never returning chance.
regarding the future of Budapest Micro, i'm not really sure. we are hoping to work something out, probably the co-organisers will take the lead from now on.
so if you're planning to perform in Budapest, let me know still and we'll do our best to hook you up.
that's about it, see you guys around.
áron
http://www.youtube.com/watch?v=pTcnE6fO43g
missed this blokes.
ChipMusic.org / Forums / Posts by failotron
