No birds were harmed in the making of this audio file.
The source material for this track was provided from these two samples:
http://www.freesound.org/people/UncleSigmund/sounds/30266/
http://www.freesound.org/people/reinsamba/sounds/32480/
Changed length of birdsong » songthrush_17_03_07.wav to 1 hour, 7 minutes. Pitched up 2 octaves. Sent to 40 tape delay bus.
Changed length of A_c#minor_bminor_E_chord_progression_on_guitar_with_echo.wav to just over 5 minutes, keeping pitch intact. Re-EQed and sent through 40 tape delay bus.
The “40 Tape Delay Bus” exploits only the tape modeling and does not provide any wet/dry mix of the audio sent through it. This basically just adds some warble, warmth and slight timing/tuning distortions.
Once I got the two tracks nestled in a mix, sounding roughly the way I wanted, I uploaded this “beta” version to Soundcloud to play trough my iPhone and into my Harvestman modular. The audio went into one Double Andore channel and direct into the Polivoks VCF. The signal split there, as I sent the LPF out to Tyme Sefari; the bandpass out back to Double Andore channel 2, which then led to Qotile Ultimatum (which is being used as mixer) before hitting the Stilton Adapter (which is my main output). Both of the Tyme Sefari’s 2 outs were used: Mix Out led to the Piston Honda (in Table Addressing mode) straight to that same Qotile Ultimatum; DLY Out took a trip through a Kuzminorgel sub-octave divider before hitting the Qotile Ultimatum. Double Andore’s Mix out was also sent directly to the last of 4 inputs on the Qotile Ultimatum. These 4 channels were summed and some very light delay and reverb was applied to the master as it ran through the Stilton Adapter and back to Logic Pro. The Hertz Donut (LFO), Double Andore (envelopes) Stillson Hammer and Zorlon Cannon were used to manipulate the signal path as I manually controlled various settings.
More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info
