A not at all brief description is in order: Our no longer little Boomstar S.E.M. continues its variations on the drumming, "synthing," "percussioning," and processing external sources theme (well that bit is new); in this case a Roland / Rhodes Mk-80 playing a rather straight forward free .mid file, whose handlers promised a Frank Sinatra rendition of Cole Porter's all-knowing, all-seeing, thoroughly hypnotic and rapturously lovely "Pop" Eye (no pun...) of "Begin the Beguine," just one of those two hits from Porter's Jubilee (1935) which have long since become standards (he continued on pretentiously).
Interestingly (a worse inclusion than "the reason is because") the song here is the Eye of Horus!--but all of you caught that already.
The triplet feel was created by just the right amount of Boomstar VCA release that I fell upon and sagely did not adjust. It has its way with four rhythm tracks: hard left: a soft overdrive, hard right: an FM synth sound care of OSC crossmod (I think), mainly center: a muted bit of magic, and 2:00 high: a ZZ Top/Gorgio Moroder agro crunch plays at Alpha Male--the dominant chordal thrust, if you please.
This track was mainly constructed and the bright idea of adding latin percussion--Drew Neumann's synth-genius-latin-percussionn-touch. Of course I was oblivious to the rigorousness of the triplet feel and what that demanded of the bongos, clave, quica (used as a call for the male lion in Africa, I read somewhere), güiro, big drum, guar drum--just checking if you're paying attention--and the 16th century triangle (our own Cajun "tit fer"), but Drew was nobody's fool, and simply marvelous at using subtractive synthesis and his deep rhythmic knowledge-base to parrot classic percussion fixtures––completely imperturbable when I modified, mangled and morphed… I did get into the triplet swing of things eventually, and threw in some straight time kicks just to prove a point. The real challenge was cooking up a funky, earthy soup where individual flavors prone to "notice me" bravado wrapped their often curmudgeonly coiling waves around a collective of conscious consanguinity. Ha! I was just trying to "Bolero" my way through it. Perhaps I was successful at tackling this 108 bar "maverick... unprecedented experiment"* (32 was the hallowed length at the time) bar form and masterstroke.
A bit about the 'Star leads: There are five in total. (#1) 11 o'clock, "Accordiana" Lead, pumping the band pass and notch; (#2) 10 o'clock, "In Search of Glide" Lead, bringing the classic '70s Nimoy TV color; (#3) 4 o'clock, "Wormcloud" lead, for that upper octave cream; (#4) 8 o'clock, "Good Warming" Lead, adding essential electone harmonics and thickening agents; (#5) 5 o'clock, "Wildcard Line" Lead, for the Badfinger/Bangladesh effect.
What else? Oh yes, no compression, limiting, or gain maximizing used apart from the alchemy of DP7 under cover of darkness in its mix console. A few native DP plugins were employed to provide a bit of depth to the MK-80 among other culprits - screenshots available upon request.
Near lastly, this piece is tuned to the concert pitch of the crickets, winged singers and chirpers (the wind in the leaves in all likelihood) of Stevenson Ranch, CA: 432 Hz, which is why they sneak into the back door at end, perfectly attuned and welcome, solitons be praised ;)
Brilliant 432 read: http://omega432.com/432-music/the-importance-of-432hz-music
See it: http://www.cymatics.org/
Hey, if "DNA is a cosmic musical score operating triplets of rhythm at over 3000 beats per minute," I'm in good company with my serendipitously generated Boomstar S.E.M. triplets!
Performed by a now lost .mid source, Marc St. Regis, Drew Neumann and the inspiration of CP 1.
Produced, mixed and edited by Marc St. Regis.
SE .wav file: http://studioelectronics.com/assets/Audio/boomstar/Boomstar-the-Beguine.wav
*American Popular Song: The Great Innovators, 1900-1950. Alec Wilder.
- Analog Synth