More rearranged drum-and-bass, almost becoming...dubstep. The "profit" pad is from the Synth Mania website, also rearranged.

Variation 1 / Variation 2

This short atmospheric techno stomper includes a looping guitar-and-Moog sequence by John and Brad Moody (my nephew and brother, respectively).
They just sent it to me today and it meshed/contrasted nicely with the drum patterns I was working on.

"H.M.M.J. 3" [8.3 MB .mp3]

Kind of tribal-sounding, with kinetic and varied percussion from Travis' gear. The reverb makes us sound like a Varese ensemble playing in an abandoned factory somewhere, if that's not too boastful.

"H.M.M.J. 2" [20.6 MB .mp3]

Nine minutes long, more tunes to work with here and the musical ideas run the gamut. ("The Charles Iveses of repurposed '80s synths" - Post-Hipster magazine)

The process, as explained last May:

A desktop computer plays MIDI files that we prepared in advance. One channel goes out to my gear: the Sidstation synth and Mutator analog filter. All the rest of the channels go to Travis's setup, which includes a midi mixer and Roland MT-32 sound module (see YouTube demo and this diagram).

So it is a live performance in the sense that the computer is dispensing a stream of MIDI on-off notes and we are changing settings on our gear in real time.

I was recording the performance, and did some minor post-production mixing, mostly for EQ and levels.

More from my collaboration last year with Travis Hallenbeck: he came to my studio and we played a "live MIDI" set. This is the end of a longer section I am working on. This does something sort of Debussy-ish at about :23 that I really like.

As explained last May:

A desktop computer plays MIDI files that we prepared in advance. One channel goes out to my gear: the Sidstation synth and Mutator analog filter. All the rest of the channels go to Travis's setup, which includes a midi mixer and Roland MT-32 sound module (see YouTube demo and this diagram).

So it is a live performance in the sense that the computer is dispensing a stream of MIDI on-off notes and we are changing settings on our gear in real time.

I was recording the performance, and did some minor post-production mixing, mostly for EQ and levels.

Travis' part got some heavier reverb this time around.

"Trollz" by Glass Popcorn [Soundcloud] Mr. Popcorn "redefines dubstep" in the defining deviancy down sense of making it louder, grittier, and funnier. By the end this song is just square waves. What the home computer revolution should be about.

Young Turds, cover of "Tapeworm of Love" [2:38 min. - 3.7 MB .mp3] (1979)

summer beach waveforms http://www.youtube.com/watch?v=_E6PngNyOMY (found accidentally while searching for waveform "drifter"--not bad)

bonus, not drum and bass (rather, techno-house):

repeat orchestra "springtime" http://www.youtube.com/watch?v=Z9kZtTcBv5E

"Love Reconstituted" [6.3 MB .mp3]

It's kind of an "atmospheric techno" bit with analog synth burbles and a "rave hit" ending consisting of some early '90s house piano stabs. Those were reconstructed more or less note by note from this nutty remix* somebody did of this pop tune.**

As you can hear, the remix* consists of "vocal science" made from clips of the diva's voice over minimal banging piano chords. I've always really liked the energy and simplicity of it. And thanks to the miracle of YouTube (the poor man's iTunes), I recently found the "original" hit that mix was taken from, Bizarre Inc.'s "Love in Motion."** It's pretty lightweight (unlike moi) but not unenjoyable.

*"Love in Motion (Unknown Mix)" [7 MB .mp3] (sound quality is dicey because it was cassette-taped from a radio mix show in '92)

**"Love in Motion" [YouTube]

As a public service I removed a horrible middle section of this lovely dance floor tune that featured an abrasive electric guitar and some atonal stuff completely out of step with the mood. Will take down if anyone objects or if there is too much bandwidth.

A saxophoneless "Theme Nine for Saxophone" with a Sound Club tune of Travis Hallenbeck's sutured into the middle. The pads are from Project AKO (a 4Hero alias), mid '90s. The drums are cut up Les Baxter.

Title inspired by the inner sleeve of the first King Crimson LP (1969 - vinyl release), where almost all the songs had "including" in the title: "21st Century Schizoid Man including Mirrors," "Epitaph including March for No Reason and Tomorrow and Tomorrow," "Moonchild including The Dream and The Illusion," and "The Court of the Crimson King including The Return of the Fire Witch and The Dance of the Puppets."