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Stone Soup

from Changing Season by Sklib

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about

There was a small town.
They had been prosperous, but, with the war, they had sacrificed for the war effort, and had opened their town to the soldiers who travelled the road, returning from strange and terrible battles. Finally, sick of their declining state, they decided to hide all their remaining valuables, their phase shifters and their planar filters, their polyphonic arpeggiators and their chromatic synthesizer emulators, that they would tell the passing soldiers that they had nothing left. They spied, the very next day, a passing soldier on the road, and so they went into their act.
He came into town, looking completely starved for entertainment. They took to the streets, wailing that they had nothing. He looked from face to face, saw their sadness, and said, "Good People! I will help you. In my travels, I learned a terrible secret. I will now make a track called Stone Soup, and I will use only a single Jason McGerr break."
The people were astonished. "A break from Death Cab for Cutie," they asked.
"No," he replied. "I will use only a lesser-known Jason McGerr track."
And, with that, he put on his headphones and laid down the track. As he sat listening to it, some curious townsfolk came near.
"Is it any good?" they asked.
"Well," he said, "It's OK, but it could use a bass line. If only I had an envelope filter, maybe a multi-compressed 12 & 24 band, dual-parametric EQ envelope filter, with a distortion processor, maybe I could fake a bass line out of the drum line. But there is nothing like that to be found, so it will have to do."
"You know," said a woman, "I might have just a bit of multi-compressed 12 band low- and band- pass filtered dual parametric EQ envelope filter back in my barn. Would that do?"
"It might," said the soldier, so she ran back to her house and filled her apron with multi-compressed 12 band low- and band-pass filtered dual parametric EQ envelope filter, and came rushing back. The soldier ran a doubled drum track through the filter and created an automated frequency shift, to create the illusion of a bass line. He sat, listening to the mix.
"It is a fine mix. If only it had a pad, but ah, in hard times, one makes sacrifices. I suppose, if I had an extremely compressed tape-loop and dual oscillated delay units, I could cobble something together, but that would be a lot to ask."
A man nearby grabbed his son and ran back to their house where, under the floorboards, they had secreted their tape delay emulator with oscillating dual delay and compression, and the two of them brought it back to the soldier. He ran another duplicated drum track through it, and stood, listening to the mix.
"Well," asked the people, genuinely anxious now, "how is it?"
"It's fine. It's a fine song, really. I mean, if I had a compressed formant-shifting reverb unit, I could emulate a sampled vocal line, or if I had such a simple thing as a CV splitter patched to dual phase shifters, I could add a little dimension to the drums. But again, in this economy?"
The people, who had gathered around, were now sick of the game, which was really just a way of framing a relatively boring technical description of an exercise in song-building, and so they just piled all this musical crap at the feet of the soldier, who was not actually a solder, but who was actually the literal voice of the author, in this case, the musician, and he just went to town on that Jason McGerr drumbeat.
Tee Ell, baby. Dee Are.

credits

from Changing Season, track released May 28, 2012
Contains drum sample from the Jason McGerr library and effects patches including several from Filter Research, www.nucleus-soundlab.com.

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Sklib Texas

It never isn't Spring, in some places around here. So, let's watch sunsets and scream into berry patches, and see if something good comes out of it.
Feel free to browse. You aren't hurting anything.

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