Tag Archives: Original Music

2-hour music video project: “Auric Strands”

I’ve gotten on a bit of a roll with my Saturday music video projects lately, and I’m starting to get just the slightest iota of traction on my YouTube channel — mostly because of silly stunts I shamelessly promote in the comments on more popular YouTubers’ videos, but possibly people genuinely being interested in what I’m doing — and I’m sure that some if not most of the, as of today, 46 (!) subscribers I have are people I don’t know personally. (I always find it easier to get people who don’t know you to engage with artistic endeavors.)

Anyway… I wrapped up my last video project, and with holiday season in full swing, I knew I couldn’t devote (counts on fingers) 17 hours to this like I typically do, so this time I managed to pull it off, start-to-finish, in two hours. Here’s how it came together.

I had a couple of inspirations at work in this. First, my ongoing interest in the broad, nebulously-defined “Synthwave” subgenre of electronic music. For me, it just means instrumental electronic music with a steady beat and sounds that are evocative of the early- to mid-1980s. (1984 is the magical year for me, YMMV.) There’s a sub-subgenre called “Outrun” that generally features a more driving beat, whereas some Synthwave music tends towards ambient or at least “moody.” It’s named for Out Run, a popular car racing arcade game released by Sega in 1986. I never really played Out Run much, if at all, because at the time (I was in middle school) my parents bought me a computer instead of the latest video game console, and I didn’t have the endless supply of quarters (or transportation to the mall) that I would’ve needed to spend a lot of time in the arcade.

Now, things are different. For the past couple of months I’ve been playing a lot of retro games on my Anbernic RG353M, and last night, after burning myself out on Mother 3, I decided to give the arcade version of Out Run a try, mainly to pay attention to the music. I found it interesting, with some surprisingly jazzy chords, an unusually complex song structure, and of course the driving beat I expected.

Earlier yesterday, I had restrung my Precision Bass with some new La Bella gold flatwound strings, so this morning I wanted to play the bass, and more specifically, I wanted to record the bass. So I picked it up and just started noodling around to come up with a bass line that used a driving 8th note pulse. I knew I was kind of inventing a chord progression as I went, but at the moment I was just focused on the sound and the shape of the bass line. I knew I needed to play with a pick — something I rarely, but not never, do.

Once the bass line came together, I knew I had something good going. It was just after 10 AM, and I decided to see how much I could accomplish by noon. I wanted to write and record an entire song, and produce a video, but I wasn’t sure I could do it all in 2 hours.

tl;dr I did. (OK, this is already way too late for a tl;dr but… anyway, just keep reading now that you’re this far.)

I retreated to the “padded room” in the basement with my bass, my laptop, and my MIDI controller keyboard. At that point I had mentally sketched out a plan to record the bass first, and then drums in the form of LinnDrum samples, and then I would just see where inspiration took me from there.

After the drums were recorded, I layered on two more MIDI synth parts using Alchemy sounds in Logic (first a pad and next an arpeggiator). And then I switched over to my Yamaha Reface CP keyboard to lay down some melodies. The melody in the A section is played with a Rhodes electric piano sound, and the B section with a Hohner clavinet sound.

And that was it! I wrapped up recording by 11 AM, had the mix done in 20 minutes, and spent about another half hour putting together the video in Final Cut before posting it to YouTube at 12:05 PM, roughly 2 hours after I had first picked up my bass with only the vaguest idea of a song in my head. Here’s the end result:

Let’s talk a bit about the structure of the song, as it’s a bit unusual. The chord progression in the A section is a 6-bar loop. The keyboard part is just alternating between a G major chord and a D major chord, but with the bass changing the root under the chords, the progression is effectively:

Emin7 /// | % | Bmin7 /// | % | GMaj9 /// | D/F# /// :||

This is repeated 5 times at the beginning, and 4 times when it returns, then 2 times (I think… I’m writing this from memory!) at the end. Overall this section is essentially in E natural minor (or E Aeolian mode).

The last time the A section is repeated, transitioning into the B section, the bass line goes up to a B, instead of returning to E. The B section, a 4-bar loop with some syncopated chord changes, shifts the key to B natural minor (B Aeolian), introducing C# in the melody, where the A section used C natural. Here the keyboard is alternating between D major and B minor chords, with the bass playing A, F# and B, making the chord progression:

Bmin /// | % | D/A // D/F# | //// :||

Once the overall audio-visual production was done, I just needed to add some title screens. Which, of course, meant coming up with a title. My working title was the somewhat literal and boring “Golden Strings,” which got the point across but was a bit uninspired. So I scanned my brain for synonyms. Immediately the word “Auric” popped into my head. As in Auric Goldfinger. Perfect. But then I needed a synonym for “string” as well, and there I resorted to an online thesaurus. Not because I couldn’t think of another word on my own so much as I couldn’t think of a good one fast enough as my noon deadline was fast approaching. There amongst a bunch of real clunkers — twine, cord, rope… thong, seriously? — I spotted the perfect choice: “strand.”

“Auric Strands” it is. It wasn’t hard, then, to find a font in my library that fit perfectly. (It’s Big Shoulders Inline Display, if you’re into that sort of thing.) And so the project was done, and just in time!

If you like the song, you can download it on Bandcamp. Thanks for listening! And watching! And reading!

New synthwave-y album: Cyan & Magenta

I’m not sure why I’ve gotten out of the habit of promoting my new music here on the blog, but anyway… in addition to a bunch of crazy videos I’ve been posting on YouTube since the pandemic started, I also just finished up this new synthwave-y album called Cyan & Magenta, out now on Bandcamp!

Stravinsky on that chord

Up to now I’ve only really been documenting it on Facebook (for some reason), but over the past 3 months I’ve been working on one of my most ambitious music projects yet, a prog/post-rock interpretation of Stravinsky’s Rite of Spring. It’s been an interesting exercise that has helped me to get very (very) familiar with the piece, and encouraged me to research more about its origins.

Today I discovered this delightful video of Stravinsky humorously recounting the early history of the piece. Specifically, demonstrating the chord at the beginning of “Augurs of Spring” to Sergei Diaghilev, the ballet producer who had commissioned the work.

I like very much this chord. It was a rather new chord, you know? An 8-note chord. But the accents were even more new. And the accents were really the foundation of the whole thing.

When I finished composing The Rite of Spring, I played it for Diaghilev, and I started to play him this chord. Fifty-nine times the same chord. Diaghilev was a little bit surprised. He didn’t want to offend me. He asked me only one thing, which was very offending. He asked me, “Will it last very long time this way?” And I said, “’Til the end, my dear.”

And he was silent. Because he understood that the answer was serious.

What is that chord? I think just to mess with us, Stravinsky notated it rather absurdly with F♭s and C♭s. From the bottom up, the notes are: F♭ A♭ C♭ F♭ G B♭ D♭ E♭. So, that’s… um… well, if it were written as E instead of F♭, with ♯s instead of ♭s, it works out to an Emaj7/♯9/♯11/13 chord. Another way to look at it is an E (F♭) major chord with an E♭7 (in first inversion) stacked on top of it. Since Stravinsky was exploring bitonality, this is the most likely explanation, but really there’s no good way to notate it. Over a hundred years later, this is still difficult to grasp.

Covering Kraftwerk: the process (part 2)

A couple of weeks ago, I wrote about the first steps in my process of recording an EP of Kraftwerk covers using solely the Pocket Operator series of micro synthesizers.

This weekend I returned to the project. I am not yet recording anything with the Pocket Operators themselves, but I am continuing the process of recording rough versions of these covers using software instruments in Logic Pro X. There are three reasons behind doing this:

1. Learning the basic structure of each instrumental part in the songs.

2. Building my overall arrangement of each piece, so I have a framework to work from as I record the Pocket Operator parts.

3. Determining which keys to transpose the songs into (since the Pocket Operators only have a 2-octave diatonic scale and can’t play chromatic notes), and having recorded versions of the parts in the new key to work from on the Pocket Operators.

As of today I have the rough mixes from Logic Pro X of all 4 tracks, so my next step is to actually get the Pocket Operators going and start recording the real parts.

The links below are rough MP3 versions of these Logic Pro X arrangements. None of the sounds you hear will be on the final versions; these are simply guide tracks for me to use in recording the real parts. Also, there are a few “open” sections in the middle of the songs (especially “Ruckzuck” and “Tour de France”) where I’ve left room for additional improvisations or manipulations.

I did not try to perfectly reproduce every part, or exactly follow the structure of each song. These are my interpretations and I’ve taken some liberties — especially with “Ruckzuck”, since I’ve never been a huge fan of the aimless noodling of the improv section in it, nor of its ever-increasing tempo.

1. Ruckzuck

2. The Man-Machine

3. Pocket Calculator

4. Tour de France, Étape 1



I haven’t yet decided if I’m going to try to record any vocals. But I think if there’s anyone whose singing I can handle imitating, it’s Ralf Hütter’s.

Covering Kraftwerk: the process (part 1)

As my Twitter followers know, I’ve concocted a harebrained scheme to record an EP of Kraftwerk covers, using solely the Pocket Operator calculator-esque synthesizers from Teenage Engineering. This project was inspired by my love of Kraftwerk and my assumption that Teenage Engineering was directly influenced by Kraftwerk (especially the song “Pocket Calculator”) in creating the Pocket Operators.

I’m taking a, let’s say, judiciously-paced approach to this project. Partly because I don’t have a lot of free time at the moment, and partly because I need to let this thing fully gestate in my brain. Also because I’m still learning how the Pocket Operators work. They’re ingeniously designed, but not exactly intuitive. (Then again, I don’t find any electronic devices besides computers intuitive. Let’s not even get started on fax machines.)

I’ve identified the four Kraftwerk songs I want to cover:

  1. Ruckzuck (1970)
  2. The Man-Machine (1978)
  3. Pocket Calculator (1981)
  4. Tour de France, Étape 1 (2003)

My first baby steps into the project were in the form of some brief tinkering with the Pocket Operators themselves to lay down the basic foundation of “Ruckzuck”, which I did from memory. (It was easy to do this one from memory; after all, I watched a lot of Newton’s Apple as a kid.) I commemorated this with a brief video posted to Instagram:

A video posted by Scott Anderson (@room34) on

This past weekend I took my second step, which went a bit further. I have decided that part of what is challenging to me with playing these Kraftwerk songs (as simple as they are) on the Pocket Operators is that I don’t have any written music to work from. So I’m introducing a second step in the process, but one that will not at all make its way into the final product. I’m creating versions of the songs entirely with software instruments in Logic Pro X, just so I have my own transcriptions (really, adaptations, because I’m not trying to get it perfect) to work from when I program the Operators.

Here we have the beginnings of my rough Logic Pro X interpretation of “The Man-Machine.”


I am excited about this project! Just hoping I can find some time in the near future to keep pushing it forward.

What will the end results be? I’m not sure. While I’ve dabbled with recording covers before, I’ve never taken them through to completion and released them into the world. I’m not even sure how I want to go about that. But so far it’s still a long way off.