HAARPWAVE la methode des femmes

After reading SnakeAppleTree’s attempt at describing “HAARPWAVE genre” of post-20K urban music, I decided to give it a go too. 

To me, Haarpwave is more about taking the vibrating section of a dub step bass loop and looping that indefinitely, and putting it through staged series of compressors. SnakeAppleTree is a good studio tech because he showed me how to do all of this and explained not only the intended purpose of the techniques but also how they can be used to mangle the sound into new forms. 

The way to go about it changes depending on the DAW (digital audio workstation) platform being used; in some it is possible to program the changes in, while in others it must be done manually. I decided that the sounds from my collection of vibrator sex toys is generally too high pitched and ‘pink’ to be useful in haarpwave music, although SnakeAppleTree suggested that the mid- and hi- frequencies is really where it’s at with this genre. What do men know?

He uses tribal drums to add the bass tones, which is all organic sounding. Haarpwave should sound mechanical as if the machine god that programmed the matrix is using this musical style to program everything in it by blasting a rigid grid construct through space. It is dehumanizing; Haarpwave needs to be more properly technological, verging on machine made dirge. It should sound like a washing machine which is a great place to have sex on especially during a spin cycle if you can find a guy tall enough or get your bloke to stand on a sturdy box. As with most things worth pursuing, it takes some practice. 

So already there is debate as to the proper and correct way to go about making haarpwave and what it should sound like, and the studio processes behind that. I agree with him that dropping the 4:8:16:32 regular rhythm associated with techno, house, dance, club, a lot of styles which rely on it as format, is the way to go with haarpwave.

Instead, it is made of sections of simple continuity of slow-flanged loop; the shift comes after the pressure has built up sufficiently. It adds a necessary steampunk edge to the sound. Remember that it is supposed to emulate the harp machine in action; electronic stimulation of particles of metal pumped into the air by chemtrails, to cause the weather to change. 

And as equally to that, haarpwave is thematically about remote electronic mind control which also uses electronic stimulation of certain radio frequencies harmonic to the human brain, to override it. 

So I am taking the tribal drum rhythms out of the equation and replacing them with dub step samples, monotonous on a dirge with a gradual rising of the cutoff, up until the place where it cannot rise any more and this causes precipitation and evaporation turns into cloud, cloud turns into rain, the lightning of the storm breaks, in psychological terms this is where the individual loses control of his or her now body and mind and carries out whatever program the agent is programmed to perform. 

In my case that is to turn all men listening to my music into sex slaves, I am sure SnakeAppleTree is creating the counter-technology even as you read this, not to liberate people from mental slavery as he promises but to turn all women into his sex slaves; which is what I have programmed him to do although he doesn’t consciously know it. Hey it sure beats killing people. 

SnakeAppleTree’s sound is very dry, does not have much rhythmic bass frequencies at a range you can dance to, so I decided to remedy that. He uses LFO to re-structure people subliminally and open up portals in their light-body so ghosts can come through. 

I prefer to keep things a little bit safer so you can probably regard my approach to making haarpwave as slipping a condom on his nastier edge. Vibrant bass dirge to replace subsonic LFO and jungle drums, but keeping the higher frequency whirrs and pressure-intensity build ups. 

He needs showing, and if this doesn’t work I’m going to have to teach him the good old fashioned way.