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A little flageolet never hurt anyone: Preacher Man
‘Preacher Man, he preach at midnight in the old ruined church, to a Congregation of cockroaches and coffin beetles. The book he reads from ain’t no bible…”
Turns out a penny whistle, aka a flageolet, sets you back about fourteen quid these days, but that’s inflation for you. Said whistle, played live into AUM on IPad using the ipad mIcrophone.
It’s still a pretty bargain price for another wind instrument (that I can’t play), hot on the heels of my Melodica experiment a week or so ago and a diversion from the C Major scale on piano when I can’t face another go round of that. Tagging for the interest and amusement of the Forums’s proper wind player, @jimhanks 
I built a dusty backing loop first out of some random tootling, using AUM file players and sundry tape FX, then played the main leads in two overdubs on top of these through FAC Alteza. Triggered some loop fragments in live from Koala, live mixed toAudioShare as usual. Everything you hear is manipulated penny whistle, no other instruments used.
Preach!
Comments
Wow, I wouldn't know where to begin to produce something like that. Impressive.
This sounds great.
The pennywhistle is a great addition.
Don’t worry about Cmajor on the piano.
Irving Berlin could only play piano in the key of C. He had this complicated mechanical device built into his piano that would transpose into other keys.
The teenage Bob Dylan blew his audition with Bobby Vee because Dylan could only play piano in the key of C.
This is brilliant!
Well done.
Freaking sick! Love this. Great job as usual. Makes me wanna break my old Penny whistle out. The iPad microphone is doing a good job picking up the penny whistle. Which tape effect are you using?
Also are you recording directly to Audioshare from AUM? Is it individual tracks or the master bus?
I Heard it this morning (europe time) and It was such a pleasure to heard. Music is freedom and emotional
Thanks all, for your comments and kindness. Especially @jimhanks , for that - * politic * - response!
Full disclosure: I wouldn’t either. Like all my, er, ‘improvs’, like all my tracks, because I can’t actually play any of these things, it is always completely unrepeatable. What you hear is a one time, one mix deal. I could never play the same track the same way twice. That’s why I have to always be recording it as I do it, in case there is lightning in need of a bottle to catch it in. I’m calling it the ‘random jazz method’, m’kay? 
@JeffChasteen : that’s heartening, and interesting. I didn’t know that about Berlin and Dylan. Maybe there’s hope for me yet! @jwmmakerofmusic, @BerlinFx :thank you!
@HotStrange : Which tape effect? All of them!
No, seriously, Chow Tape featured heavily, as did RE1 Tape Echo. I also used Brusfri almost as an EQ/effect, to take the edge off some of the loop channels - it works lovely to ‘soften’ some harsh frequencies. I bus all the individual channels into a master bus inside AUM, then that (usually with the magic Tripleband preset of Bark Filter also beloved of @rottencat on the output channel, sometimes FAC Bandit Final Exciter too) goes out as IAA as a single input into AudioShare, with monitoring turned on.
Then I set it running in record, bop back into AUM, and (in, ahem, ****the absence of automation****…) manually live mix and mute the running tracks into AudioShare, and let it sound out at the end if I want to capture the effect tails. That’s it. A little tidying of silences starts and ends in AudioShare itself, and I’m done. I find it very quick to set up, and it works well enough for my noises, 90% of the time, without needing all the business of porting individual stems, messing with DAWs etc.
brilliant! Loving it !
Thanks! I need to start doing that for jams I want to record as a finished product instead of screen recording it taking the stems and dumping them elsewhere to mix down. Not sure why I haven’t done that yet 🤦🏻♂️ I’m a big fan of barkfilter as well. Great app!
Brusfri I don’t have yet but I’m planning on getting it during their summer sale. It seems like a necessity that I don’t have at the moment.
Which exciter do you use? RRS?
Amazing atmosphere! Compliments.
And not a strain of ‘Danny Boy’ in sight! Definitely a cool take on something that has so many associations with certain styles of music, and the processing is really inventive.
Puts me in mind of some 80s Cabaret Voltaire.
@HotStrange : FAC Bandit, ‘Final Exciter’ preset.
@michael_m : thank you, that is high praise indeed! I was always a fan of the Cabs back in the day. I want to dig more into the whole dusty, dense textural thing that really came together on this track if I can. Listening critically to the Dark Ambient artists I most like, e.g. Allseits, The Moment Before You Fall Asleep:
it is their ability to create deep, massive, textural soundscapes that moves me the most. Same thing in a different context with Portishead, Tricky etcetera… a dense prehistory of sound, something archeological, haunted. Like the noises have been dug from the earth, and come possessed by ghosts.
A touchstone for the idea for me is Nigel Kneale’s still astonishing, still spooky tv play The Stone Tape,
playing with the idea that sounds from a deep past can be retrieved from the structures which witnessed them. ( The story btw has a lovely double beat twist where what seems scary at first is only the start of things), but the idea of this - excavation - of sound is very influential with me, a lodestar to orient my experiments toward.
This all sounds a bit pretentious, I know, but I do mean it. It is the standard against which I rate my stuff. I have yet to fully achieve the noises I can hear in my head, but, with time and practice, I might get there. And definitely no Danny Boy!
That TV play looks/sounds interesting. I just scanned through it as I’m getting ready to go out, but will spend some time with it later.
I doubt I have ever heard every Cabaret Voltaire recording ever made (probably the same for any of the projects that Richard H Kirk has been involved in), but every time I hear something new it amazes me. Some people just know how and where to delve into the huge array of sound available to us, and I think your word ‘excavation’ is perfect for that. Maybe that excavation of something deep in us is what makes music like this moving, but it takes a certain perspective as a listener to appreciate it, as it’s sadly all too common that we hear phrases such as “That’s not even music”. Still, if I (and a few people around me of a similar mind) appreciate it, I’m not going to proselytize to those who don’t already have at least a partially open mind.
Ah I see misread it as 2 different apps. Thanks!
Very nice indeed! I only knew about flageolets created with the guitar, something new added to the bank of knowledge
Another absolutely great track!
This is just wonderful. And I’m of the “whatever it takes” persuasion with respect to how it’s accomplished. Your method plainly works very well!
Ouch! (In the good sense)
I remember watching The Stone Tape when it was first broadcast and watching the YT clip reminded me how frightening it was at the time.
I think you’re on a winning streak with your new instruments. Amazing work as usual and looking forward to the next one 👍