Serial band and project starter, synth player who considers himself a guitarist, compulsive weekly composer.
Early in the week, I had a funky drum beat in my mind, and threw it together with Ableton's 64-pad rock kit. I didn't have a chance to put guitar on it right away, so I temporarily filled the track in with a looped field recording from my back yard. Gradually, keys went on (filtered Analog), and I added bass. Finally, late Sunday, I had a few minutes to put guitar (Res-O-Glas, Vox Wah) on, and then I cut down the field recordings significantly, as well as slowing speed and dropping pitch.
Drums: Drum Buss, vinyl distortion. (I'd got it into my mind that this would add character.)
Bass: EQ-8, with bass rolloff.
Guitar: Auto-Filter high/low pass with drive.
Field recordings: Auto-Filter high/low pass, auto-pan
Sends: convolution reverb, Echo ("A Bit Tipsy" with time changed and noise/wobble reduced). Full-chain master on the 2-bus.
Title from Fermi's name for element 94 (plutonium) when he'd thought he'd discovered it--"hesperium." (He didn't.)
Suddenly, instrumental power pop. This week started with the little legato line you hear in the left channel, and the rest followed along: drums (the Ableton 64-pad rock drum rack, percussion from a maraca sample), three channels of Res-o-Glas guitar (a couple of them through the EH LPB2ube), and Epi P-J bass. A fair amount of auto-filter on guitar, and EQ-8 on bass. Sends: two convolution reverbs. Full-Chain Master on the master channel.
Title from this week's element, Neptunium.
This piece came together from some syncopated drum lines and little compositional direction. I put down some Electric and Operator lines, tracked bass around a few repetitive figures, and guitar (Res-O through Vox Wah) on top...which didn't coalesce until I copied the guitar lines to another channel and reversed all the clips in that channel. Then it kind of came together. Very little inline processing except for M4L Humanizer and Drum Buss on the drums, Auto-Pan on the keys, Auto-Filter with drive on the forwards guitar. Sends: two convolution reverbs, Delay, Echo. Full-Chain master on the master channel. Kind of floaty.
Title from associations from this week's element, uranium. I'm a fan of the work of the late sculptor James L. Acord, who was the only private individual to have earned a license to work with radioactive materials, including uranium (which he initially gathered by leaching it off of mango red Fiestaware). He'd planned a series of sculptures--reliquaries--designed to contain radioactive materials, which he'd wanted to install at the Hanford Reservation, a project he didn't live to complete.
This week's track was an in-the-box kind of thing. I'd been thinking of doing something house-influenced, so put together 606 samples, percussion samples, hand-claps, Ableton Analog synths (bass, lead, pad), and then threw some Simpler grand piano through a low-pass and high-pass Auto-Filter with drive for a tiny-speaker feel. Sends: one convolution reverb and one Echo (tweaked to be less noisy and wobbly, and with a longer delay period.) Master channel got some pseudo-mastering assistance from Izotope Ozone 8 (free at the moment) on the more-depth preset.
Title from the crystalline shape of one isotope of this week's element, protactinium.
This week's track was about playing with some syncopated rhythms, which then coalesced into something funky. Drums: one Drum Rack with the Crossroads Kit preset, one 808 Status Quo, one with some tabla samples, and one set of handclaps. Operator on the Funky Organ preset. One track of Epiphone P-J bass, and two of Res-O-Glas guitar (one clean with Vox Wah, and one with Reuss RF-01). A bit of Drum Buss and M4L Humanizer on the Crossroads kit, and EQ-8 on the bass.
Sends: one convolution reverb, one Delay, and one Echo. Full-Chain Master on the mixdown.
Title from the way that thorium-treated lenses will darken over time.
While busy weeks are common now, this one was notably busy. But here's a track anyway. I had kind of a dub idea in mind, thinking of space and interplay...which I kind of got away from, but perhaps not unlistenably.
Drums: Ableton's Borella kit, with Drum Buss, little tiny synth noises from the Ableton DrumSynth kit, and hand claps with Impulse. Epi P-J bass, and Epi Moderne guitar (through Vox Wah). Operator for the organ part. I tracked some fretless guitar that I didn't end up using...but the fretless will probably reappear soon.
Sends: two convolution reverbs, one Delay, and one Echo.
Title from the etymology of this week's element, actinium.
Lots going on this week, so this came together quickly Saturday night and Sunday. Started with reverse-gated 606 syncopated line, adding hand claps. I then tracked three different sets of lines with Res-O-Glas guitar (Balls Effects KWB -> Vox Wah -> Ableton Auto-Filter -> Ableton Cabinet), Epiphone P-J bass (EQ-8 to roll off lows). Then I went back to add a line of percussion, which sounded wrong, so I bitcrushed it. This one was very intuitive--just tracking little improvised phrases that seemed to work with each other.
Sends: two different room sizes of convolution reverb, with one channel of echo. Full-chain master on the 2-bus.
Title from the inspiration for radium's name. Kinda obvious, but there we have it.
Kind of a mood piece. Much of my musical activity this week was focused on the monthly covers project (Black Sabbath this month), so my work on this one was a little later than usual, and more intuitive and reactive than planned.
Drums: reverse-gated 606 and 808, straight 808, and Ableton Cashon kit. Bit of Ableton Electric piano, and Epi bass, with two tracks of Res-O-Glas guitar (Balls Effects KWB pedal into Vox Wah). Bass got the usual EQ-8 low rolloff, while one channel of guitar got the low-pass and high-pass Auto-filter treatment. Both got Cabinet. Lot of send automation to a channel of Ableton Echo (with LFO band-pass Auto-Filter in front of it), and two different room convolution reverbs for space.
Title from the fact that this week's element, Francium, was the last to be discovered in nature, instead of being produced synthetically.
Another all-in-the-box week. Drum machines: 606 (reverse-gated), 808 Aristocrat, 808 Startup, Impulse hand claps. Strings are from Ableton's African sampling project--Zeze, two tracks of Adungu, and finally a Puremagnetik Mellotron cello.
Title from this week's element radon's tendency to seep into buildings from below.
I built this one up out of little snippets of rhythms across four tracks, and ended up with an all-in-the-box piece. Drums and percussion all got reverse gating for a severely clipped envelope--three drum racks (Cassette 606, 808 Depth Charge, percussion) and one Impulse instrument of hand claps. There are two channels of Operator, one for bass, and one for swells, and one track of distorted Puremagnetik Rhodes. Sends: two convolution reverbs (ambience and a weird space) and Echo. Full-chain master on the master channel.
Title from the instability of astatine, this week's element.
A more "intuitive" approach on this one: I threw together a few drum beats during the week that had some ambiguity, and then tracked bass (Epi P-J) and guitar (Res-O) Friday and Saturday, not having much of an overall architectural plan, other than cutting parts out of the bass for the start/stop feeling in the beginning. Gradually it came together with Ableton Simpler grand piano as glue (Auto-Filter high- and low-pass with drive to make it grittier). Auto-Filter overdrive on guitars, EQ-8 on bass. Sends: Echo (Analog Triplet Dub) and two convolution reverbs.
This week's element was Polonium, which...is pretty negative as a subject. Apparently mid-20th-century, Firestone produced polonium spark plugs, which seems...like a bad choice.
I've had a run of busy weeks, this one even busier with the addition of an Elvis Costello cover for friends' covers project. So this week's track...was somewhat simpler in writing and slightly less complex than usual in production.
Six passes of Res-O-Glas guitar straight into the Focusrite. Tracks all got some Auto-Filter with drive for processing, but otherwise no funny stuff. Sends: one convolution reverb and one echo on just one channel. Panning is static. Full-chain Master on the output.
Title from one of the early names ("tectum argenti") for bismuth, this week's element.
This week's track started with the two drum patterns (Electro Dub kit and 64-pad rock kit) that together had a slow, off-kilter groove with each other. I didn't get around to tracking until Friday evening (one whole set of Fahey-tuned guitar that I didn't use, fake Mellotron that I didn't use, either). Saturday I did bass and Epiphone Moderne (Reuss RF-01 and Vox Wah, and also a track of non-distorted Moderne with wah). I extracted a track of unintentional sounds from the fuzz channel, and arranged them throughout for some texture; I'd toyed with the thought of building the piece around them, but opted to go for something less outside this time.
Sends: two convolution reverbs (room ambience, weirder room ambience on the fuzz guitar) and one echo (automated send on the one drum). There's a lot of EQ-8 to roll off low frequencies on the bass and on the electro-dub kit. And some M4L Humanizer on the drums. Full-chain master on everything.
Title from one of the earliest uses (fishing sinkers) for this week's element, lead.
Very busy week including travel to the spatial audio workshop at RPI, so this is a quick little improv with Max/MSP. [cycle~] into the pitch/delay/pan/degrade network, a bit of convolution reverb, and Full-Chain Master in Live.
Title from the use of this week's element thallium in photoresistors.
Very busy week, including prep for a Max/MSP show with mic feedback, so this week's submission is one of the test runs through the Max/MSP patch, with guitar. Kinda ambling and chaotic.
.aiff file captured to the drive, then brought into Ableton for level correcting, a touch of convolution reverb, and Full-Chain Master. And there we have it.
Title from the discovery of liquid mercury under this temple in Teotihuacan
This is a weird one. For a while I've been thinking of doing a piece composed of gestures on guitar, rather than playing notes--building a piece out of a vocabulary of incidental sounds. So this is a step toward that. I did several passes of Res-O-Glas (direct into the board) and several clips of Moog guitar through Vox Wah for drone texture. Arranging it...I shortened a lot of the Res-O clips to focus on scrapes and clicks (leaving in the switch-pop of a pickup selector switch, which still kind of sounds wrong...), time-stretching some clips, compressing others, and looking for repetitive patterns in them.
Four Res-O tracks are panned to fixed positions, while the Moog got auto-pan. Sends: two different convolution reverbs--a smaller room for the Res-O, and a concert hall for the Moog. Full-Chain Master on the 2 buss.
Title from this week's element, gold, apparently formed in the Earth's mantle.
A very intuitive piece--I cobbled together three drum kits with syncopated rhythms, and composed a keyboard line...which I threw out after I picked up the Fahey-tuned Univox hollow body. There are three tracks of that, with varying degrees of fuzz. Not a bad hook...though very simple.
Sends: convo reverb and a delay; full-chain master on the master, and drum buss on the drums.
Title from the derivation of this week's element, platinum.
Carved out a little time this week for a track. My initial thought was to do something shoegazey, and then I immediately started making this vintage-y funk thing. Apparently my internal aesthetic compass is a gyroscope.
Drum racks of Acoustified 15 and Emperor kit (through Drum Buss), Operator with a triangle wave and a hint of 3rd harmonic, Electric on the MkI2 crunch preset, Epi P-J with bass rolloff, and Epi Moderne through Reuss RF-01 and Vox Wah. Sends are a convolution reverb and Echo on Dub Syndicate preset. Full-Chain Master on the master channel.
Title from the iridescent quality of iridium (which gives it its name).
Another busy week, but this track still came together. I've been listening a lot to John Zorn's The Book Beri'ah, and wanted to do something with a syncopated danceability like many of the pieces there. I put up a Drum Rack (64-pad jazz) through a severe gate (influence of the new Burial there), and then...just responded to it on bass. Then I responded to that with more bass, added hand claps and percussion, and then a layer of baglama-tuned Heit Deluxe guitar. A touch of reverb and a bit of automated delay on the drums/percussion...and here we are.
Title from one of the properties of this week's element, osmium.
Very busy week with travel, but here's a rhythm-driven track that I managed to put together. Three drum racks, an Impulse device (hand claps), two Electric instruments for keys, bass (direct), and Res-o-Glas guitar (direct). Standard signal chains; more notes soon.
Title from a use of this week's element, rhenium.
Lots going on with work and show prep, but I did carve out some time for this week's track: two drum rack kits (64-pad jazz and Emperor), a bit of electric piano (MkI2 Crunchy), Collision (modulated vibes), Operator on a triangle-wave organ tone, Res-O-Glas guitar (through Auto-Filter and Cabinet), and Epi P-J bass (through EQ-8 for low-end rolloff). Sends: Delay (10.1 flavor) and Convolution reverb. Full-chain master on the mix.
Title from two uses of this week's element, tungsten.
A busy week, but I managed to get a track together. Three different drum racks (64-pad jazz, 64-pad special, Carbon kit) with Drum Buss, handclaps, two relatively untreated tracks of Res-O-Glas guitar (though through EHX LPB2ube and Vox Wah) and a track of Epi P-J bass (through the Balls KWB). Not a lot of time for tracking, so this one's collaged together quickly.
Sends: two Echo channels and one convolution reverb. Full-chain master.
Title from the use of tantalum in capacitors.
A very busy week, including beginning prep for my upcoming performance in Chicago, so I've had my head in Max/MSP (particularly developing performance interfaces I can use on the iPad with Cycling74's Mira). So it was fairly natural to do some improvs with the input shifter patch, and this is one of them. Max/MSP -> file, Ableton Live for tweaking levels and compression, and adding a bit of convolution reverb to the mix. (And it's a rehearsal opportunity.)
Title from one of the uses of this week's element hafnium--as the electrode in plasma cutting.
This one was difficult to finish--I didn't want to fall into a retread, and some aspects are similar to a lot of other this-tempo guitar/bass/keys/drums things I've done. So...what to do? I started editing stuff out, and this start/stop approach seemed to pull it into having an identity.
64-pad jazz drum rack, 64-pad special kit (both with M4L Humanizer and Drum Buss, two Puremagnetik Rhodes instruments, Epi P-J bass through the Balls KWB (still pulled down bass with EQ-8), two tracks of Res-O-Glas (KWB and not, one with Auto-Filter drive and not), Sends: two Echo and one convolution reverb. Full-chain master on the master.
Title from the difficulty of extracting this week's element lutetium, but also kind of a difficult track to extract, so it fit.
Kind of a chill-out vibe this week. I was hearing some syncopated drumming, so put up a 64-pad jazz drum rack, then some Puremagnetik Rhodes as chords and leads. Saturday night I tracked Epi P-J bass (through the Balls Effects KWB, and with EQ-8 and Cabinet for tone shaping) and Epiphone Moderne (through Vox Wah, both with and without Reuss Effects Repeater Fuzz. Without involved high-pass and low-pass Auto-Filter with drive.). A last pass involved adding some percussion and balancing some chords that weren't quite compatible...and here we are.
Sends: two different Echo plugins (based on vintage presets) and a convolution reverb. Full-Chain Master on the master channel.
Title from the meaning of the name of the village of Ytterby, site of the mine where this week's element (ytterbium) was discovered.