2006 Wonday
1993 Songs to Sleep By
1997 Songs to Sleep By 2
2002 Sunday Sampler
2002 Dad's Picks
1999 Mix 1 (sy55)
2010 Mix 2 (triton vocal)
2010 Mix 3 (triton instr.)
1991 Archives
1992 College Collection
1993 College Collage
1994 The Hermit
1997 Where's My Muse
1999 South or Southeast
2001 In the Margins
2002 Renewal
2002 Re-treat
2002 Convenience
2002 Back Up
2003 So So
2003 So On
2003 So Long
2003 Baby Steps
2003 Baby Talk
2004 Schmocial
2004 Brroom
2004 Chuckadee
2004 Disco Hike
2004 Extra Extra
2005 Coma Pill
2005 Ourboretum
2005 Jaminy
2005 Padden Drift
2005 Gorilla Love
2005 Aminals
2005 Vegibles
2006 Fruitine
2006 Dignored
2006 Miner
2006 Mouseculine
2006 Yata
2007 Zipit
2007 Sixawon
2007 Halfdosin
2007 Whatcom Home
2008 What Roses
2008 Pho Kit
2008 Composed Pile
2009 Decomposed Pie
2009 Swaddlicious
2010 Lost Train
Soft Synths
2011 Out the Margins
2011 Redebut
2011 Reprogression
2012 Working Progress
2013 Tripico
2014 Aerosol Concrete
2015 Reduced to Clear
2016 Motions
2017 The Walking Dad
  • Title: Baby Talk
  • Artist: Tripecac
  • Timespan: 2001-2003
  • Theme: blaa blaa blaa triton
  • Length: 70:08
  • Tracks: 16
  • Lyrics: 0
  • MP3s: 16 play all locally
  • Rating: (none) rate this album

Track List

# title lyrics time download listen started recorded rating
1 Good Review - 7:36 download listen locally 2001-01-31 2003-10-07 (none)
2 Unquantize - 4:17 download listen locally 2001-02-01 2003-10-09 (none)
3 Preset - 4:47 download listen locally 2001-02-11 2003-10-13 (none)
4 Epiano Jam - 4:55 download listen locally 2001-02-22 2003-10-14 (none)
5 Slinky - 3:20 download listen locally 2001-02-24 2003-10-15 (none)
6 Crunchy - 3:36 download listen locally 2001-02-26 2003-10-15 (none)
7 Clarinet - 4:03 download listen locally 2001-03-08 2003-10-20 (none)
8 Got a Hook - 3:18 download listen locally 2001-03-10 2003-10-22 (none)
9 Dog Street Jam - 3:29 download listen locally 2001-03-20 2003-10-23 (none)
10 Piano and Bass - 2:41 download listen locally 2001-04-01 2003-10-29 (none)
11 Yeehaw - 3:55 download listen locally 2001-04-25 2003-11-04 (none)
12 Summerfine - 6:21 download listen locally 2001-05-02 2003-11-06 (none)
13 May Flowers - 5:15 download listen locally 2001-05-04 2003-11-11 (none)
14 May Showers - 5:04 download listen locally 2001-05-06 2003-11-23 (none)
15 Twins in Spirit - 4:31 download listen locally 2001-05-10 2003-11-24 (none)
16 Mama Day - 3:00 download listen locally 2001-05-13 2003-11-25 (none)
  Total   70:08 play all locally album rating: (none)


Baby Talk continues where Baby Steps left off. It finishes the rest of the songs that I started in Charlottesville during the first half of 2001. Unlike the PC-based experiments on So So and So On (from the same time period), these songs were all started on the Triton.


I used a Korg Triton as a sequencer, sound module, and effects module. In September 2003 I converted the Triton sequences to MIDI and Sonar projects, and then in October and November 2003 I edited, polished, extended, and mixed the songs for CD.


Good Review

This long, repetitive jam sets the pace for Baby Talk, which is more relaxed and indulgent than Baby Steps. It's also more muffled (bad) but sounds more like a real band (good). My favorite bit is the bass line, which is most audible at the end. The title refers to a positive performance review I received on my one-year anniversary at my job (the day I started the song).


Here's another repetitive jam with muffled drums, a decent bass line, and not much in the way of melody. The songs on Baby Steps had seemed too electronic to me; I wanted to get more into "live" sounding music. One way to do that was to reduce or eliminate the use of quantization (aligning the notes to beats). The title suggests that either this song was unquantized, or that I had accidentally quantized it and wanted to unquantize it.


This electro-ditty has all of the muffling, but none of the live feel of the previous two songs. It was based on one or more of the Triton's rhythmic presets (hence the title). It starts off sparse and bland, but climaxes well.

Epiano Jam

We return to the "live" feel with this muffled, clunky EP-centered jam. It starts a little heavy-handed, but segues into a much more subtle and trancy groove. Most of the bits with a cool, light touch come from 2003; I never got that sort of subtlety using the Triton's sequencer. Either my tools (e.g., Sonar) are getting better, or my techniques are getting better; it doesn't matter much to me, as long as the songs keep getting better!


This is an ultra-repetitive 12-bar blues/funk with lots of solos, mostly EP and brass. It has that Triton-sequencer feel: heavily quantized patterns, full-blast playing (including full-blast wrong notes), not much finesse or warmth. This sort of music (which dominated Baby Steps) is too mechnical and edgy for my tastes. The drums may have come from a preset.


Here's some more stale, preset-based trance, dirtied up a bit via moody synths and aggressive toms. I like the drums in the middle, but overall the song feels too nervous. The title was inspired by an old version of the song in which the opening synth melody sounded really "crunchy". After this song, I stopped experimenting with presets.


I wanted to get away from mechanical dance/trance, so retreated into gentle new-age. This focuses on clarinet and ep, with some quiet guitar arpeggios. When it came time to finish it in 2003, I liked the melody, but wanted to "beef" it up. I added drums, which develop into an almost drum-and-bass thing, plus a brief organ solo. The song had a lot of energy by that point, but it didn't really go anywhere.

Got a Hook

This is a funky, laid-back EP ditty with a "hooky" chorus. It's muffled (as are most of the "live" sounding songs on the album) and unevenly mixed, but has nice toms and some nice solos.

Dog Street Jam

Wow, the mix really opens up on this one. We can hear birds chirping, crisp snare drum rolls, an accordion, bells, tamborines, french horns, and laughter. I wanted to make an orchestral ode to Colonial Williamsburg using "period" instruments. I didn't do any research, so I don't know what instruments they actually used back then, but that's fine, because Tripecac has always been about [imprecise] emulation rather than authenticity. The title comes from Duke of Gloucester Street, the heart of Colonial Williamsburg.

Piano and Bass

This is one of the few Tripecac songs without drums. It's just piano, bass, EPs, and a clav. Despite the lack of drums, it has a nice momentum; I wish I had extended it a bit more.


I had done a song about Williamsburg ("Dog Street Jam"), and now wanted to do something about Charlottesville. My approach was to represent the mix of "redneck" and collegiate culture by blending country/folk music and rock/dance music. The banjo, "slide guitar", and accordion represented the "country" side; the rest was supposed to represent the college. The result didn't express my point as clearly as I wanted, but it's listenable enough.


This is my favorite song on Baby Talk. It starts as raucous, funky trance, gets jazzier and quieter, breaks down into a drum+bass reggae beat for a while, and then returns to the noisy funk at the end. Most of the coolness comes from 2003.

May Flowers

This is simple, mellow jazz, with zero funk-factor. It's soothing, but boring; just like flowers. The title comes from the saying "April showers bring May flowers".

May Showers

I figured if April could have showers, couldn't May have them too? Ugh, okay, so the title isn't that witty, but at least the music is upbeat. It's reggae/funk/jazz (standard Tripecac), not very polished, but with nice energy in spots.

Twins in Spirit

This gentle new-age drone is a follow-up to "Sisters and All". I added the funky ending in 2003. The title refered to the idea of meeting the "perfect mate": someone who's separated from you in blood, but nearly identical to you in personality; you're twins in spirit rather than flesh.

Mama Day

I started this for my mom on Mother's Day 2001. I don't remember which elements were there from the beginning, but I do remember that when I finished the song in 2003, I wanted it to represent a little bit of everything that I had tried on Baby Talk. There's elements of folk, jazz, reggae, punk, and pop in here. It isn't all that memorable, but it ends the music happily.