I've created some more music, and would like to share again.
About the album:
Lettuce Prey (2025)
Quick recap: For the "Making Noises I Don't Understand" project, I tried to stay away from using synths/patches/timbres that would be difficult to reproduce "live." Those tracks were written with live performance in mind—for traditional instruments in classic, modern styles. A moot point really, since it's too difficult to find (afford) a big band and string orchestra. My personal limitations on orchestration had more to do with the desired outcome than any hope of live reproduction.
For "Lettuce Prey," I still linger in the realm of typical rock timbres, but I toyed more with synthesis. I used the mixing process as part of the compositional palette, relying largely on the power of the DAW, sound design, filters, and effects—I approached it as if scoring for a video game or film, two things I've never done properly (regardless of what IMDB says). No compositional AI involved, only virtual instruments and live drums.
All of the titles, including the choice for the album, are non sequitur. Just word-play inspired by others' words, lyrics, or titles. My kid did the cover art (for both titles). All by hand (I have the receipts), no AI.
Music production: I've learned a tiny bit more since the first go, but there is still so much more to grasp. Once again, there is nothing ground-breaking in this music, but it is a departure from the retro-jazz of the previous offering. Some of the musical ideas in these tunes have been sitting in my backlog since the early '00s. They are simple ideas, so I didn't need to over-think anything musically while focusing on the alchemy of mixing. Track 1 is just a variation of track 3. Track 2 has new elements (mostly ostinato) but recalls some sketches I made in 2004. Track 4 is fresh (2023?), and was written before I came across its title. I found the Latin phrase in the book, "Lexicon of Musical Invective" by Nicolas Slonimsky, where he mentions that Erik Satie signed his 'Commandements du catéchisme du Conservatory' as "Erit Satis," which translates to "this will be enough." A perfect title for a final track with a Gymnopédies feel. The harmonies are actually inspired by Frank Zappa. The chord progression is almost exclusively pairs of sus2 chords a minor 3rd apart (AKA just a bunch of m11 chords); much of it is actually the same m11 chord in various inversions. The melody is Phrygian. I am not a composer of melody (Satie's Commandements... suit me well, in jest or not). So there. Last track for this project. I hope it's enough.
Much of what I mention in the About... for previous release still applies today: The MOTU webinars are STILL active as of the date of this post; and I still learn something new with each session. Thanks again to all who have helped me along the way. And a special thanks (again) to Matt LaPoint—webinar host—whom I hired for the final mastering of this project.
Next? Well, I'd like to realize some large ensemble works. I've had orchestral works performed in the past, but none of the recordings are worth sharing. Performances were all great—live—but the recordings were always meh. Since orchestras are very expensive, any available recordings I create will be virtually realized, and that's a whole new learning curve to get right—fun to learn. You'll never match the sonic beauty of live, breathing musicians working in congress toward a single goal, but many tools available can provide a good enough mock-up. More work than I have time, but I do hope to share the bigger stuff someday.
Just like last time, if gear-heads are interested in the tech specs, they are here. For those visiting from MOTUnity™ the whole project was done with DP10.13 (happy birthday Darrell, pay him) thru 11.35, on both Windows and Mac.
Once again, enjoy—or not. It's all subjective. Thanks for reading and/or listening.
—m