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One Scotch Long (azo_osl.it)

Info Summary

  • azo_osl.it is a IT format module. Uncompressed, it is 2.49MB in size and has been downloaded 5060 times since Fri 17th Mar 2000 :D

Info Info

  • Mod Archive ID: 34527
  • Downloads: 5060
  • Favourited: 5 times
  • MD5: 4c275e9840452afce4233d9e931f24c8
  • Format: IT
  • Channels: 38
  • Uncompressed Size: 2.49MB
  • Genre: Orchestral

License License

artists Registered Artist(s):


Rating Ratings

  • Member Rating: rating (9 / 10)
  • Reviewer Rating: rating (Unrated)

Favourites People who like this tune

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Comments Your Comments

member Posted by Unstruct on Mon 20th Jun 2011, rated 9 / 10.

Awesome orchestral work, anyone that succeeds with this in trackers are per definition skilled. The piece itself is varied, just when you thought it's repeating itself, a whole new direction is thrown in and it's really not hard to listen to it again and again, especially not after reading the story in the comment of how it came to be called "One Scotch Long" :)

member Posted by Arne Puszelski on Thu 5th Nov 2009, rated 10 / 10.

Very great ambient/orchestral. Highest level composing. Very great music over half an hour with sooo many parts, ideas and feeling. Only great this music - it´s a real masterpiece!

member Posted by TMA Placeholder Account on Fri 3rd Nov 2000, rated 10 / 10.

This song is not only the longest song I have ever heard but also one of the greatest. This song goes through so many transitions that I never find myself bored with it even after its more than thirty minute length and its many transitions. The additional ability of these trackers to maintain a progressive melody throughout the long length of this musical masterpiece is amazing. This song is a recommended download for anyone interested in this musical style. This song is professionally tracked throughout. The numerous samples in this track are realistic sounding, well chosen and placed for maximum effect. The transitions in this song are impressive and these trackers ability to maintain a coherent and progressive melody throughout this lengthy track is technically amazing.

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Info Internal Texts *

                              One Scotch Long
                             A Modern Symphony
                        by: Jesse Worley & Phil Brown

                          conception: July ??, 1999
                          completion: March 6, 2000
                             playing time: 32:02

     Of course, I never intended for this track to grow this large.
Several months ago, I selected instruments that would allow me to explore
a different genre. The initial goal was to create a track that closely
resembled music of the Turks. My co-author Phil consistantly reminds me of
the Gypsy influence in the track, leading me to believe that I
accomplished my inital goal. As the track began to take shape, several
elements of different musical tastes began to show. I realized that it was
becoming a large work, and asked Phil to help.

     In November of 1999, Phil Brown joined the project. There was
about 4:00 of continuous music completed, and another minute (give or
take) of ideas spread around. He acted as not only a co-composer, but also
a catalyst in the ideas generated for this track. After our initial
session with this, we both realized that something large was in the
shadows, and the music merely needed to be discovered. Time and time
again, Phil and I sang melodies back and forth, looking for that perfect
transition or lead. It grew obvious after a couple of working sessions
that our ideas were leading to the completion of a massive track, bigger
than we originally believed. I believe that no one composer, especially
not myself, could have put together so many musical movements, and linked
them so seamlessly through a common thread. Phil was instrumental in the
completion of this, and for that, I will be eternally grateful.

     This piece has spanned months and months of preparation, though the
original concept never once wavered. I knew early that the track was going
to end up close to the 30:00 mark, and Phil set himself to the challenge.
Over countless beers and carton after carton of cigarettes, we constructed
this piece. The hours poured into this track are many, and the feelings we
share upon its completion are great. I believe that the track would have
continued to grow if we had not run out of patterns to utilize. The
project eventually got to a point in which it was better closed.

     There will be more, however. Believe me, there will be more. Even
now, a new project is beginning to take shape.


Some History:

     The track's original concept came to fruition while I was still
living in Dallas, sometime around July of 1999. It was not heavily pursued
until October of that year, when it became one of three pieces I spent
time on. When Phil joined the effort in November, this track became top
priority, and I worked on nothing else until February of 2000. In that
month, I began a small offshoot of this very track, which is under
construction even now.

     I asked Phil to join for several reasons. Not only do I consider him
one of my best friends, but he also has a great knowledge of music. Having
lived in so many places around the world, and experienced different
cultures, he is what I would consider an expert on genres. We both share a
love of music and knowledge that allows us to work well together, even
though he is close to twice my age.


Optimal Playing Environment:

     I haven't had the opportunity to play this track on a lot of systems,
but I can tell you what sounds best here. It was written in Impulse
Tracker 2.14, with a Sound Blaster Live card, and a surround-sound
environment. I reccomend playing this track on an MMX machine with a
minimum of 4 speakers and a good subwoofer. It should be played in Impulse
Tracker and ONLY Impulse Tracker, with the Virtual Server running. It
sounds terrible in ModPlug, and even worse in WinAmp. If you don't have
the system, make a wav file out of it.


Other Stuff:

     Special thanks go out to Soul-H, who has been all too kind through
the final phases of this track. Sorry I didn't answer all of your emails
man, been kind of busy here. You've been great, thanks for the support and

     Thanks also to LittleElk, who always has something to say to brighten
my day. Thanks for the listen, and I appreciate the comments. Part of this
track is yours, Elk. You've been the best critic a tracker could have, and
a wonderful friend as well. Oh, and thanks for the samples =)

     Divion, thank you for the pre-listen. I appreciate your comments
greatly. As of yet, there is no story associated with the track, but we'd
love for you to write one. Have at it, my friend.

     Big greets to the people who make the scene happen. TiS, MA, UT, and
now ModRev. Keep up the great work!

     I'd also like to say thank you to my family. My brother Cole isn't a
fan of this style, but still listened and commented on the piece. I don't
know who else would have done that. Thanks to my parents, who always
pushed me to be better and more creative.

     And above all, a huge thank you to Phil Brown and his family. Without
Phil, the track would not be as you hear it. Thanks to his wife Sandy, and
his son Byron, who listened intently several times, and always stroked the
egos enough to keep us moving. His youngest son Devin was nothing but a
nuisance most of the time, but that kid is gonna be a musician, I can
already tell you.


     We wrote the track for ourselves. Phil and I wrote what we wanted to
hear, and that's what is playing. If you like it, then let us know. If you
don't, then let us know. Feel free to send us comments, suggestions,
flames, beer, money, naked pictures...anything we might enjoy.

     Some memories were forged during the completion of this track that I
think will remain with me for all time. Phil and I both poured our very
souls into the music you're hearing. We laughed a lot, we complained a
lot, and we rewrote each section no less than a couple of billion times.
When it was all said and done, only one thing remained. We had not
discovered the title of the piece.

     As we set the song to play one last time before release, I poured us
both a shot of celebrative 25-year-old scotch. We began drinking as the
track began playing. When it was complete, we looked at one another, and
claimed the masterpiece finished. Roused from our chairs, Phil noticed
that we were both taking the last sip from our scotch. As he collected the
glasses, he named the track.

"You know, this song is one scotch long."

Thanks for listening,
Jesse Worley (A.K.A. Azo)      - jworley_bitstreet.com
Phil Brown (A.K.A. Punk Bitch) - sandfill_camalott.com
March 6, 2000


"This is a fuckin' Gypsy War Song, that's what it is..."
                                -Phil Brown, March 6

"Do you think it would sound okay with a Cha-Cha section?"
                                -Jesse Worley, February 25

"So you want to get together around...hang on, I have to beat the
children...DEVIN!!!"            -Phil Brown, every other day

"You know what I just realized?! We haven't written in 6/8 time yet!"
                                -Jesse Worley, February 11

"I think it's the violin that does it."
                                -Phil Brown, March 3

"I think you're crazy. The metal drum rocks."
                                -Jesse Worley, March 3

[lead] strings
[lead] piano stacatto
[lead] piano
[lead] oboe
[lead] violin
[lead] flute
[lead] guitar long
[lead] guitar short
[lead] dulcimer
[lead] flute short

[harm] choir aahs
[harm] short string
[harm] pizzicato strings
[harm] orch hit

[bass] bass guitar
[bass] low strings

[perc] percussion kit 1
[perc] percussion kit 2
[perc] ride in
[perc] slam
[perc] snare slam
[perc] bongo
[perc] agogo
[perc] bell
[perc] castinets
[perc] loop
[perc] hit
[perc] kettle drum
[lead] strings
[lead] strings
[lead] piano 1
[lead] piano 2
[lead] piano 3
[lead] piano 4
[lead] piano 5
[lead] piano 6
[lead] oboe
[lead] violin
[lead] violin
[lead] violin
[lead] violin
[lead] violin
[lead] violin
[lead] violin
[lead] violin
[lead] violin

[lead] dulcimer
[lead] guitar
[lead] flute

[harm] orch hit
[harm] choir
[harm] short strings
[harm] pizzicato

[bass] low strings
[bass] bass guitar

[perc] roll in
[perc] large hit
[perc] snare
[perc] tom
[perc] bass
[perc] snare
[perc] closed hihat
[perc] open hihat
[perc] crash
[perc] twinkle
[perc] ride rymbal
[perc] tom
[perc] bass
[perc] snare
[perc] closed hihat
[perc] open hihat
[perc] crash
[perc] ride cymbal
[perc] bongo
[perc] agogo
[perc] bell
[perc] castinet
[perc] loop
[perc] hit
[perc] kettle

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