Man, the last few weeks have been crazy, but finally, my job search is over! Lots of work into that this week so I only worked on this song the past two days. It's pretty fun though, trying to write more prog. house stuff this month so let's see how it goes.
All sounds are made from one VST Synth as I finished the classes it provided to learn synthesis!
Another really busy week, so I only had time to do a sort of ambient/drone treatment of an excerpt of the recording of the show the duo I'm in played last Tuesday. Two parallel chains of mostly low end hardware effects (some underclocked) plus a bit of Airwindows MV, also in parallel.
Credit to the other half of the duo for the polysynth stuff; I was playing guitar, x0xb0x and drum machine. The dry recording (which is almost completely absent here, this is pretty much 100% wet, live tweaked effects chains) is from the most abstract part of the set.
Thanks to THawkins for hooking me up with the Boss CE-300, without which this would have been impossible, for better or worse.
Most of my available evenings this past week involved working on a house-style Tom Waits cover for a tribute project, so I didn't start doing anything with this until Thursday and late Friday evenings. Mark Hollis's passing fresh in my mind, I thought I'd try something kind of organic and sparse, though inevitably this one got more dense over time.
I put up a simple beat in Ableton's 64-pad drum rack and did some light fingerpicking on the Fahey-tuned Univox hollowbody, and later did a pass on bass. I added drum variations, and then put down a few passes of Res-o-Glas guitar through a tremolo pedal, and put one channel of more chordal playing through the cistern convolution reverb--with no direct signal.
Toward the end of mixing, I thought I'd use Auto-Filter for distortion on one of the guitar lines, but dropped it on bass by mistake. That actually sounded pretty good, so I added an effect rack on bass with two parallel chains: one with EQ8 for sub-100Hz rolloff, and one with the auto-filter distortion on the high end.
Sends: two convolution reverbs (cistern and room) with auto-filter low-end rolloff in front, and one Echo on guitars. No dub-style automation on this one.
Title comes from one of the properties of the rare element Promethium.
I performed this live in front of an audience of maybe 25 at the New England Winter Synthesizer Festival on March 2. I forgot my recorder so the quality sucks, my partner recorded it on the phone instead. There was a little bit of an attention issue (room setup was non-optimal) so there's a lot of chatter and background noise so sorry about that.
Performed live on a Eurorack synthesizer - it's a 7u 104hp system with a lot of Cursus Iteritas, Dixie II+, E352 Cloud Terrarium, Plonk, Basimilus Iteritas Alter, Stillson Hammer MkII, Steppy, Morgasmatron.