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| Tim Nelson |
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| psychle62@yahoo.com | ||||
| url | https://www.facebook.com/timothynelsonmusic | |||
| address | Cape Elizabeth, Maine | |||
| about | Tim 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: |
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The copyright to each song belongs to the respective artist.
Right-click audio player and then click "save as" to download a track
| The Four Stags of Yggdrasil |
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| 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. |
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| Cloud Cover |
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| 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.) | |||||||||
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| milkweed |
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| Larivee parlor guitar, cello, gongs, cymbals, field recording of peepers. Recorded at Fertile Croissant, Cape Elizabeth, ME, Autumn 2007 | |||||||||
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| Soundtrack 2, Act 3 |
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| 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. |
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| sinusoidal stake |
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| There's a video for this one on YouTube. (speleman62) | |||||||||
| sunyata |
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| tim nelson: guitar, loops, mellotron, gong sean byrne: drums There's a video for this one on YouTube. (speleman62) |
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| Incantation |
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| 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... |
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| Lupine |
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| I stand on one foot Petals scattered all around me Losing my balance voice, cymbal, dumbek, djembe, flute, cello, air traffic controller voice samples... |
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| Foreign Film (Camera Bag Theme) |
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| 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. |
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| Whacked Ecstatic |
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| Sawblades, drumkit, cymbals, gongs, bongos, windchimes, maracas, open-end wrenches, bells, dumbek, cookie sheet, broken wooden tongue drum, | |||||||||
| Xylem |
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| 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) |
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| Rana Catesbeina |
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| 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... | |||||||||
| ahhhhcapella genuine acoustic phase shift (1981) |
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| 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...
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| 2 part laser beam thing |
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| 1971 Fender Precision bass, Roland and Yamaha synths
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| Cyberbiker |
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| 1971 Fender Precision bass, Roland and Yamaha synths
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| Organ Donor |
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| [Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...] | |||||||||
| Somewhere near the clavicle and moving lower |
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| [Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...] | |||||||||
| Stagger 'n' Lurch |
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| Faux drums, played manually on a keyboard.
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| Whack a Mole |
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| [Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...] | |||||||||
| Sneaky Bongo Lounge |
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| [Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...] | |||||||||
| Do spacesuits have zippers? |
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| [Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...] | |||||||||
| Robert who? |
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| Fender Stratocaster, Akai Headrush
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| Crackle (Floydian Slip) |
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| [Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...] | |||||||||
| Tubular Smellodrama |
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| [Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...] | |||||||||
| Some Words from Bill |
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| Hail to the Chief. What IS the meaning of the word 'is', anyway?
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| Bite the wax tadpole (Yueh Chin: Chinese "moon guitar") |
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| [Please note that Source was a sample disk, and that the tracks thereupon are not necessarily intended for standalone listening...] | |||||||||
| "Sheik & Baked" (Oud and Dumbek) |
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| I began playing oud in 1988. In 2004, I learned I'd been holding the plectrum completely wrong for 16 years. D'oh!
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| it's hard to ride a bicycle in the desert |
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| 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) |
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| Sfumato 9-99 |
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| 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. |
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| Muddy Puddles |
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| *Everything* on this track, percussion and high notes included, was played on a 1971 Fender Precision bass. | |||||||||
| (Introduction) |
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| Ice Dam |
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| (Intermission) |
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| Spiderbite |
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| (Thanks for listening) |
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| Barber Pole |
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| Subversive Pet |
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| Cheeseburger |
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| Hip Check |
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| Scratch My Itch |
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| Mnemonic |
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| Taut |
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| Alloy |
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| Beethoven's Fifth Remix |
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| [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] | |||||||||
| View From a Window Through Teakettle Steam |
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| 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. |
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| Mesmer |
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| 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 | |||||||||
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