1999: West Coast1999: Europe1999: Middle America1999: East Coast2000: Found Sound2000: Akapella2000: Seventy-Five Seconds2000: Philter Phrenzy2000: Bluezette2000: Ambitative 12000: Ambitative 22000: Object/Videogame2002: Source2002: Product2001: Acoustic2001: Location Volume 12003: Percussion2004: Location Volume 22004: Where We're At2005: Film2005: Poem2006: Live2006: Great Speeches2007: Papermusic2007: MRI2007: Caligari2007: Teisha is now banned2008: Birds2008: Birds and Men2008: Acoustic II2008: Bugs2008: Zodiac2008: Nature2009: Generative2009: ReUse2009: Quartet2010: Reverb2010: Counterpoint2011: Harmonics2012: Domestic2012: One Minute2017: Where we're at 2017
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  Tim Nelson    

email psychle62@yahoo.com 
url https://www.facebook.com/timothynelsonmusic  
addressCape Elizabeth, Maine  
aboutTim Nelson is a film composer, sound designer and multi-instrumentalist session musician/producer who lives on the rocky coast of Maine. He has since 2007 been a frequent collaborator with award-winning filmmakers/animators the Quay Brothers.  

Tim Nelson coordinated these CT projects:
Live Percussion Acoustic Seventy-Five Seconds

The copyright to each song belongs to the respective artist.
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stream all tracks stream all tracks
  (ct) album stream / download mp3 min
1 Quartet
stream track The Four Stags of Yggdrasil
The Grímnismál, a Norse mythological poem from the 13th-century Codex Regius manuscript, describes the four red deer (Dain, Dvalin, Duneyr and Durathror) that nibble at the branches of the Tree of Life, Yggdrasil. The Scandinavian archaeologist Finnur Magnussen interpreted these harts to be representative of the North, South, East and West winds; here the deer are
assigned to flute, oboe, clarinet and bassoon, a wind quartet manifested mellotronically using a double harmonic Byzantine/Charhargah mode that is also believed to have been used in ancient Icelandic music.
4:00 
2 Nature
stream track Cloud Cover
I abruptly changed direction with my track when it looked like a series of circumstances beyond my control (mostly impositions on my schedule, the weather and computer problems) was conspiring to prevent me from making deadline with the location-recorded ocarina/native american flute/peeper frogs piece I had planned. So I jettisoned the peepers l'd already recorded and revived the field recordings l'd made of water splashing in a run-off onto Crescent Beach, about a half mile from where I live in Cape Elizabeth, Maine. Onto a bed of these waves, splashes and birdcalls I layered a few excerpts from a live concert I played on a very rainy night three weeks ago in an old church in Somerville, Massachusetts. (Guitar, mellotron, looping devices.)
4:58 
   
comment 15.10.2008: raul bonell (www.myspace.com/theplayingorchestra)
  very intense and true sounds, gentle tim.
something is hardly to find among the dreamy stuff nowadays.
far from furniture!
   
comment 20.10.2008: Nick Robinson (www.looping.me.uk)
  The balance of the natural to human sounds is perfect - they complement each other perfectly
   
comment 16.10.2008: Adam J Wimbush (www.myspace.com/ascsoms)
  never fails to satisfy

3 Acoustic II
stream track milkweed
Larivee parlor guitar, cello, gongs, cymbals, field recording of peepers. Recorded at Fertile Croissant, Cape Elizabeth, ME, Autumn 2007
3:59 
   
comment 25.03.2008: Adam J Wimbush (www.myspace.com/ascsoms)
  this has such a sensual momentum, and the quiet splashes in the background just delightful, i wish i could play guitar like this
4 Caligari
stream track Soundtrack 2, Act 3
Prior to the Caligari project, my film scoring experience was limited to a number of short films done both by myself and by other student filmmakers in the early 1980's. An important difference, though, was that Caligari was the first time I ever attempted to score to an existing image, rather than fitting the image to the music. As several of the other composers noted during the process, it's harder than it looks!

My plan of attack was to first watch my segment several times, noting the overall mood and the dynamic progression throughout the scene. I plotted the onscreen events out onto a long timechart, notating significant visual cues, the times at which they occured and then scrawling notes all over the timechart regarding moods, textures and possible instrumentation.

As Act III seemed to me to be characterized more by a vague mood of apprehension and angst rather than by specific actions, I chose to build my piece around the idea of a bed of unresolved chords and languid progressions with circular movement, motifs that would rise and build but never actually get anywhere, thus winding the spring for the climactic events of the following acts.

Instrumentation was limited to various gongs, cymbals, wrenches, bells and chimes with cello and an old Yamaha 'Portasound' keyboard. I had originally done more Foleying, but most of it was mixed out of the final version, as it seemed to clutter the mix; the exception is the babble loop heard when the accused killer is being questioned. Recording was split between a Tascam 488 analog 8 track recorder and a desktop PC running Sonic Foundry's Acid v. 1.0, which is almost old enough to have been used on the original Caligari.
12:00 
5 Live
stream track sinusoidal stake
There's a video for this one on YouTube. (speleman62)
03:23 
6 Live
stream track sunyata
tim nelson: guitar, loops, mellotron, gong
sean byrne: drums
There's a video for this one on YouTube. (speleman62)
06:23 
   
comment 10.09.2007: tim nelson (http://www.myspace.com/nimbletunes)
  A video for this track can be seen here
7 Poem
stream track Incantation
Come, horizon, hold...
Be not fidget-gadgetry
on gray dot spirit waves.
Your ghosts are omnipresent,
blizzard-blur god, black and white...
Glorious, You ride the air and extend
Your wiry tendrils to touch our lives, sing
sitcomsitcom celestial sponsor priests
sell sacred macaroni and nirvana behind
curtain number three, altar of plastic
faux woodgrain messiah, chant
lux-in-livingroom, we have come
to worship

You, we kneel
in reverence before
Thee, cyclops saviour...
Dormant divinity, You rest as
we prepare the ceremony, first light
of Saturday, as altar boys race reverent
down the stairs to lie prone before Thee, waiting...
Pajama virgins gather, clutching sacrificial
barbiedolls,
eager for your teachings, innocent disciples
giggle-witness cereal ritual, red, green, blue,
the Trinity:
snap,
crackle,
pop...
Freak Wednesday modulated god
we freeze, content
in dull adoration, watch
over us with Thy steel gray eye, anoint
us electric, accept our minds and children...

There is unrest in the temple;
sneaking nova Cains enabled
plot to steal the sacrificial lambs, as books
lobbed by the savage PTA mob
strike Thy cathode martyr face,
as crucified You bleed electrons for our sins
and radiate that haunting gameshow smile,
serene in immortality.



voices, processed theremins, bell, shortwave heterodyne and manipulated static...
03:23 
8 Poem
stream track Lupine
I stand on one foot
Petals scattered all around me
Losing my balance


voice, cymbal, dumbek, djembe, flute, cello, air traffic controller voice samples...
02:44 
9 Film
stream track Foreign Film (Camera Bag Theme)
Acoustic guitars, fretted & fretless basses, 60's Halifax organ, dumbek, bongos, flute, cello, cymbal, airport and vintage telephone samples

Scene synopsis: Set in late 1960's Europe, "Foreign Film" might have been made by Michelangelo Antonioni, but wasn't. In this scene, our protagonist Ingrid (an extremely attractive former airline stewardess who now runs her own very hip travel agency) has just completed a location shoot with freelance photographer Erik when she notices that Erik has left behind in the Amsterdam airport departure lounge a small camera bag containing a flash attachment. Trying to be helpful, she gives the bag to Jane, her stewardess friend (who is also very attractive) to bring to London on the next flight where it can be returned to Erik by Ingrid's eccentric sculptor friend Steven. What Ingrid doesn't realize is that Erik is working undercover for Interpol, and has intentionally left the bag (which contains microfilm) to be picked up by Bruno (a shady character whose allegiances have not yet been made clear to the viewer) for delivery to Erik's partner Peter who is deep undercover investigating a crime ring. What follows is a madcap chase as the camera bag follows a circuitous path around Europe.
05:00 
   
comment 02.04.2006: Tim Nelson (http://www.myspace.com/nimbletunes)
  This track was featured on Swedish National Radio's 'Eldorado' programme
   
comment 29.12.2005: rob switzer
  Loved this track -- I'm a sucker for a nice fretless bass melody. It's also very evocative musically of the imaginary scene described. Great work, Tim.
10 Percussion
stream track Whacked Ecstatic
Sawblades, drumkit, cymbals, gongs, bongos, windchimes, maracas, open-end wrenches, bells, dumbek, cookie sheet, broken wooden tongue drum,
03:54 
11 Acoustic
stream track Xylem
During the production of CT-Acoustic, there was a HUGE debate amongst contributors about whether or not signal processing was true to the spirit of an all-acoustic project. (By the original guidelines, only acoustic instruments could be used, but electronic enhancement was OK.) On this track, I did it both ways; the nylon-string guitar was recorded completely dry, while the two tracks of flutes (shakuhachi and Boehm) were recorded with lots of reverb.
There's a video for this one on YouTube. (speleman62)
03:53 
12 Product
stream track Rana Catesbeina
When Matt Davignon originally posted this track on his mp3.com page, it had a long story about a bullfrog on some railroad tracks who drinks a dubious potion and has a run-in with jungle shamans or something. I wish I still had the text...
05:11 
13 Source
stream track ahhhhcapella genuine acoustic phase shift (1981)
Vocals, a Shure mic and an Akai GX4000D open reel tape recorder, with sound-on-sound (-on-sound-on-sound-on-sound-on....). No effects at all. OK, so I listened to a lot of Brian Eno back then...



[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]

00:16 
14 Source
stream track 2 part laser beam thing
1971 Fender Precision bass, Roland and Yamaha synths



[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]

00:19 
15 Source
stream track Cyberbiker
1971 Fender Precision bass, Roland and Yamaha synths



[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]

00:13 
16 Source
stream track Organ Donor
[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]
00:17 
17 Source
stream track Somewhere near the clavicle and moving lower
[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]
00:08 
18 Source
stream track Stagger 'n' Lurch
Faux drums, played manually on a keyboard.



[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]

00:20 
19 Source
stream track Whack a Mole
[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]
00:16 
20 Source
stream track Sneaky Bongo Lounge
[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]
00:18 
21 Source
stream track Do spacesuits have zippers?
[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]
00:15 
22 Source
stream track Robert who?
Fender Stratocaster, Akai Headrush



[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]

00:33 
23 Source
stream track Crackle (Floydian Slip)
[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]
00:16 
24 Source
stream track Tubular Smellodrama
[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]
00:33 
25 Source
stream track Some Words from Bill
Hail to the Chief. What IS the meaning of the word 'is', anyway?



[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]

00:44 
26 Source
stream track Bite the wax tadpole (Yueh Chin: Chinese "moon guitar")
[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]
00:12 
27 Source
stream track "Sheik & Baked" (Oud and Dumbek)
I began playing oud in 1988. In 2004, I learned I'd been holding the plectrum completely wrong for 16 years. D'oh!



[Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...]

00:10 
28 Object/Videogame
stream track it's hard to ride a bicycle in the desert
All sounds on this track came from my daughter Chloë's bicycle, a small purple one with fringes on the handlebars.
There's a video for this one on YouTube. (speleman62)
06:22 
29 Ambitative 1
stream track Sfumato 9-99
Dedicated to the memory of Phillip C. Nelson

On September 20th, 1999, my father passed away suddenly and unexpectedly. The next morning, I improvised this track live and in real time, one take, mistakes and all. I didn't even tune the guitar or set recording levels. The playing is nothing to brag about, but the emotion is genuine.
The setup is a Fender Stratocaster through an old Guyatone overdrive, a Boss FV-50 volume pedal, a Boss DD-3 delay, a SansAmp, an Akai Headrush and a Korg SDD-1000 delay in the aux sends of a Spirit Folio board. The synth in the loop was played with my elbow.
04:15 
   
comment 01.11.2004: Krispen Hartung (http://www.krispenhartung.com)
  Great piece, Tim. With genuine artistic expresssion, where the emotion is real-time and sincere, there are no mistakes in my opinion. If there are, then it means the player is thinking too much about the piece and the notes rather than pouring his heart out through the fretboard.
30 Bluezette
stream track Muddy Puddles
*Everything* on this track, percussion and high notes included, was played on a 1971 Fender Precision bass.
03:02 
31 Seventy-Five Seconds
stream track (Introduction)
00:50 
32 Seventy-Five Seconds
stream track Ice Dam
01:22 
33 Seventy-Five Seconds
stream track (Intermission)
00:31 
34 Seventy-Five Seconds
stream track Spiderbite
01:23 
35 Seventy-Five Seconds
stream track (Thanks for listening)
00:23 
36 Seventy-Five Seconds
stream track Barber Pole
01:17 
37 Seventy-Five Seconds
stream track Subversive Pet
01:21 
38 Seventy-Five Seconds
stream track Cheeseburger
01:14 
39 Seventy-Five Seconds
stream track Hip Check
01:23 
40 Seventy-Five Seconds
stream track Scratch My Itch
01:20 
41 Seventy-Five Seconds
stream track Mnemonic
01:15 
42 Seventy-Five Seconds
stream track Taut
01:20 
43 Seventy-Five Seconds
stream track Alloy
01:26 
44 Found Sound
stream track Beethoven's Fifth Remix
[This track, which was constructed entirely of public domain samples of a very old recording of Beethoven's 5th Symphony, was featured on Italian National Radio]
04:58 
45 Found Sound
stream track View From a Window Through Teakettle Steam
When I was in college studying filmmaking, I think I was the only student in the classes who didn't want to be a director; I wanted to do soundtracks. For this track, I started with an unused 2-track field recording sound collage I'd done for a film project in about 1983/84, and completely deconstructed and remixed it, running samples from it through looping devices onto multitrack. Hear a 2006 remix of it as the score of an experimental film at Youtube.
02:57 
46 East Coast
stream track Mesmer
The basic track is a 2 minute or so loop of a Roland SH-101 (sequenced), a Roland Juno-6 (arpeggiator/hold), tree frogs (minidisc), a Yamaha DJX through a Korg SDD-1000, and an E-BOWED Fender precision bass (also through the Korg and a Boss DD-3) doing a lot of what sounds like guitar. Onto this, I overdubbed a minidisc loop of my bad drumming with fills played on the pads of an Alesis SR-16. Extra credit to anyone who knows the source of the female voice sample! The pseudo-dub bassline (part of which got erased: AAARGH!) is also the P-bass, and the guitar is a Tele split two ways: one (R) through a 1960 Gibson Ranger with no effects, the other (L) through a Boss TR-2 and a SansAmp
06:16 
   
comment 17.10.2004: Krispen Hartung (http://www.krispenhartung.com)
  The backdrop in the beginning of the song is beautiful....and the bass groove that eventually comes in is very tasteful and catchy, almost old Terje Rypdal sound in nature. Nice! Give me more of this and some "outside" melodic work on the top and I'll be in ecstasy. Nice job.

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