Trait Guide + Instrument List. Originally published on Medium.com on Aug. 12 2022.

Scape.Radio is a collection of 10,000 algorithmic songs built for Scapes. The original Scapes pixel art is composed layer by layer, and assembled on-chain.

Magical 8-bit Synthesizer, Operator, Analog Lab V

The only trait that appears in 100% of all Scapes. Atmosphere are chord progressions played by various synthesizers. The color of the atmosphere determined the mood & progressions; darker atmospheres resulted in darker more complex progressions and the same for the inverse. All progressions were written in, or close to, the key of D.

808, 909, Drum Samples

The sky trait looks a lot like midi drum patterns, so the sky trait is represented by the drum track. Each loop is composed as a 32-bar loop, with an arrangement that opens at measure 16. I tried to explore different drum styles, and use a variety of patterns throughout the trait category.

Operator, Magical 8-bit Synthesizer, Analog Lab

Celestial traits are dominant melodies. They occur in 73% of scapes. I chose synthesizers that had sympathetic energy with the celestial objects, and melodies that reflected the feeling of time of day. I used reverb to push them spatially towards the back of the listeners’ field, because that’s where they reside in the Scape.

Tal Bassline 101

Planets are the ground we walk on, so they were composed as basslines. Stylistically, they were built in the spirit of ‘krautrock’- sort of hypnotic meditations. My intent was to keep them simple and unobtrusive, but texturally interesting. A solid foundation was important for the SoundScapes, but if the basslines were too busy they ended up stepping on the toes of other traits.

Analog Lab V

One of the very best traits, IMO. Topology are pads (ambient chords) and they occur in the 2nd half of each SoundScape. Each topology has a slightly different chord structure and timbre — glaciers feel cold, and deserts feel sandy.

Tal Bassline-101, Analog Lab V

Cities are frenetic, so I chose synth sequences to represent that quality. They are each composed using different step-sequencing techniques, and are more ‘awake’ depending on the state of the city.

Audio Samples, Field Recordings

Fluid was another obvious trait. I used recordings of bodies of water from places that I love in real life — “Lake” is a recording of Lake Superior in Minnesota. “Ocean” is recorded at the beach in Lynn, Massachusetts.

Piano Samples

Landscapes were the last trait to come together. They are represented by various chopped up piano samples. I wanted to add warmth and an organic feel to the collection and piano (my first instrument) made the most sense to me. This trait plays with the arrangement of the SoundScape; they appear 2 bars at a time from measure 11 to measure 25.

Samples run through SoundToys Effect Rack

All surfaces are samples, and appear in the 2nd half of the SoundScape. They are occur every 4 bars, and are thrown through an effect rack with a heavy reverb and echo. I wanted the surfaces to communicate energy and mystery, so I chose little synth and vocal fragments.

Oberheim SEM, TAL-101 Bassline, Samples

Buildings are atmospheric sound effects that appear at measure 9 and 25. Each one contains characteristics of the building type from my perspective. For example: houses have doorbells, so they ring. Each level of a mansion contains one vocal and one note; level one is just a solo voice, while level 5 is a full choir chord. Hut is a recording of a tent zipper.

Various SFX, Tal Bassline-101, Operator

Each of the monuments were composed as sound effects appearing throughout the SoundScape. The coins appear at the very beginning of the piece & 16th bars, while “Skull” and “Statue of Liberty” appear at the 5th and 20th measures.

SFX

The portals were one of the most obvious traits to compose; they are created using sound effects from various synthesizers. Portals appear at the beginning of each SoundScape, and also at the halfway point.

Samples

Each rocket has a launch sequence associated with it, or a flight path sound effect.

Field Recordings, SFX

Trees appear at the beginning of each SoundScape. The majority of trees are a combination of wind SFX and wind chimes — each tree determines the wind chime material & melody. The palm tree is a steel guitar, and oasis is a steel drum.

Sampled Vehicle Audio

Another straightforward trait. One particular vehicle has an easter egg 🐶 please enjoy responsibly!

Oberheim SEM Synthesizer

Unicorn/Fox both use mystical, spiritual synth patches, appearing throughout the SoundScape. The animals needed to feel alive, so I chose synthesizers that felt whimsical and expressive, and moved throughout the piece.

Trait Guide + Instrument List. Originally published on Medium.com on Aug. 12 2022.

Scape.Radio is a collection of 10,000 algorithmic songs built for Scapes. The original Scapes pixel art is composed layer by layer, and assembled on-chain.

Magical 8-bit Synthesizer, Operator, Analog Lab V

The only trait that appears in 100% of all Scapes. Atmosphere are chord progressions played by various synthesizers. The color of the atmosphere determined the mood & progressions; darker atmospheres resulted in darker more complex progressions and the same for the inverse. All progressions were written in, or close to, the key of D.

808, 909, Drum Samples

The sky trait looks a lot like midi drum patterns, so the sky trait is represented by the drum track. Each loop is composed as a 32-bar loop, with an arrangement that opens at measure 16. I tried to explore different drum styles, and use a variety of patterns throughout the trait category.

Operator, Magical 8-bit Synthesizer, Analog Lab

Celestial traits are dominant melodies. They occur in 73% of scapes. I chose synthesizers that had sympathetic energy with the celestial objects, and melodies that reflected the feeling of time of day. I used reverb to push them spatially towards the back of the listeners’ field, because that’s where they reside in the Scape.

Tal Bassline 101

Planets are the ground we walk on, so they were composed as basslines. Stylistically, they were built in the spirit of ‘krautrock’- sort of hypnotic meditations. My intent was to keep them simple and unobtrusive, but texturally interesting. A solid foundation was important for the SoundScapes, but if the basslines were too busy they ended up stepping on the toes of other traits.

Analog Lab V

One of the very best traits, IMO. Topology are pads (ambient chords) and they occur in the 2nd half of each SoundScape. Each topology has a slightly different chord structure and timbre — glaciers feel cold, and deserts feel sandy.

Tal Bassline-101, Analog Lab V

Cities are frenetic, so I chose synth sequences to represent that quality. They are each composed using different step-sequencing techniques, and are more ‘awake’ depending on the state of the city.

Audio Samples, Field Recordings

Fluid was another obvious trait. I used recordings of bodies of water from places that I love in real life — “Lake” is a recording of Lake Superior in Minnesota. “Ocean” is recorded at the beach in Lynn, Massachusetts.

Piano Samples

Landscapes were the last trait to come together. They are represented by various chopped up piano samples. I wanted to add warmth and an organic feel to the collection and piano (my first instrument) made the most sense to me. This trait plays with the arrangement of the SoundScape; they appear 2 bars at a time from measure 11 to measure 25.

Samples run through SoundToys Effect Rack

All surfaces are samples, and appear in the 2nd half of the SoundScape. They are occur every 4 bars, and are thrown through an effect rack with a heavy reverb and echo. I wanted the surfaces to communicate energy and mystery, so I chose little synth and vocal fragments.

Oberheim SEM, TAL-101 Bassline, Samples

Buildings are atmospheric sound effects that appear at measure 9 and 25. Each one contains characteristics of the building type from my perspective. For example: houses have doorbells, so they ring. Each level of a mansion contains one vocal and one note; level one is just a solo voice, while level 5 is a full choir chord. Hut is a recording of a tent zipper.

Various SFX, Tal Bassline-101, Operator

Each of the monuments were composed as sound effects appearing throughout the SoundScape. The coins appear at the very beginning of the piece & 16th bars, while “Skull” and “Statue of Liberty” appear at the 5th and 20th measures.

SFX

The portals were one of the most obvious traits to compose; they are created using sound effects from various synthesizers. Portals appear at the beginning of each SoundScape, and also at the halfway point.

Samples

Each rocket has a launch sequence associated with it, or a flight path sound effect.

Field Recordings, SFX

Trees appear at the beginning of each SoundScape. The majority of trees are a combination of wind SFX and wind chimes — each tree determines the wind chime material & melody. The palm tree is a steel guitar, and oasis is a steel drum.

Sampled Vehicle Audio

Another straightforward trait. One particular vehicle has an easter egg 🐶 please enjoy responsibly!

Oberheim SEM Synthesizer

Unicorn/Fox both use mystical, spiritual synth patches, appearing throughout the SoundScape. The animals needed to feel alive, so I chose synthesizers that felt whimsical and expressive, and moved throughout the piece.