“In physics, escape velocity is the speed at which the kinetic energy plus the gravitational potential energy of an object is zero. It is the speed needed to “break free” from a gravitational field without further propulsion.”
I had no intention of putting an industrial track on this album — or of ever writing one, to be honest — but serendipity is a funny thing sometimes. While working on oberth I took some time out to play with some patches on the Blofeld, and I found a nice arpeggiated lead patch that went mad when I started playing with the filter cutoff and resonance. It became a thumping kick drum, with higher notes giving a more subdued sound, and lower notes sounding brighter, so playing arpeggios resulted in some crazy, but interesting, kick drum patterns.
With some drums recorded, I wasn’t sure what to do next, but a distorted bass (TAL NoiseMaker with TAP TubeWarmth) seemed like a good idea. I then added an arpeggio part (TAL NoiseMaker with TAP TubeWarmth again), which was initially continuous, and then tried to add some progression by adding some cutoff automation and a breakdown toward the end. However, I wasn’t pleased with the results (that’s putting it mildly, in fact!), and I came very close to scrapping it and hoping that I’d have time to come up with something better to replace it.
Eventually, it occurred to me that adopting a two-bars-on, two-bars-off pattern for the arpeggio would help a lot. That pattern fit in well with the existing bass line, and it opened up some space that I could fill with random crazyness from the Blofeld. I created a patch featuring heavy distortion (almost to the point of atonality), and then just played a few notes that fit in with the bass and arpeggio, flipping the modwheel (mapped to the filter cutoff) back and forth to go from low, rumbling gurgles through to crazy screams.
I did like the breakdown in my initial cut, but I thought it needed something extra, so I tried a trick that I used on texel — I added a Decimator plugin and used automation to bring the “bits” value right down in some places, which causes some really wild, crunchy distortion. The final touch was to add some extra drums, and I went for the easiest, most cliched option — a 909 kit — but with an Invada Tube Distortion to give it some edge.
After the overhaul, I still wasn’t completely happy with this track, but it was definitely in much better shape, and good enough to go on the album. It was fun creating such distorted sounds, but I’m not sure if I’ll be in a hurry to follow up with more industrial tracks.