First track of the new streak! Welcome, everyone!
This one continues the one-guitar approach from last year: this past week and weekend have been rather busy, and a one-guitar approach helps me finish a track. For this one, I tried a faster click tempo, and on initial recordings used a pick. I used to play with a pick exclusively, but I've come to dislike the tone of them with my recordings, so much of this is fingerpicked. (Though the pick is audible on some sections.) The guitar is my very comfortable PureSalem Mendiola in standard tuning, with a track for the bridge pickup only, one for both pickups, and one the neck pickup only.
There are no inline effects on the guitar lines, but I've used a convolution reverb as a send, and multiband compression (via Ableton's audio effect racks) on the stereo mix.
The title comes from the venerable 741 op amp.
This week's track started out of an impulse to do something sparse and improvisatory like the last couple of Talk Talk records, but inevitably I made it denser. I'd started with a sparse syncopated drum line that didn't make it to the final mix, but the guitar parts are in response to that.
Saturday brought us the awful news of Tom Verlaine's passing, so one of the guitar parts has a heavy vibrato in tribute. (Tom's playing is a fundamental influence for me; I've been a listener and fan for decades, and I've been fortunate to attend several performances over the years as well.) RIP, Tom.
Guitar: inevitably, it had to be the Jazzmaster-shaped PureSalem Mendiola.
No inline effects, but there's a room-sized convolution reverb on everything, and the usual Wide & Warm audio effect rack for compression/eq.
The title comes from the galaxy NGC 474, which has dramatic glowing shells that might be tidal tails.
This one's an example of what happens when I'm not feeling as though there were ideas, and then finding at arrangement/mixdown that there are musical ideas here.
I'd started late Friday night by tracking some bass, which...didn't work. Saturday night, I tracked three different tracks of baritone guitar parts (bridge pickup, neck pickup, both pickups) and wasn't sure how they were working--the 6/4 meter seemed good, but there's a pause at the end of some phrases, and some parts played with that start/stop quality, coming in at different beats, rather than regularly.
Listening back to it all just now...it kind of works. So I'm going with it. It's kind of an unexpected gift from the process of sitting there and tracking.
The title comes from the Ōmiya district of Saitama, where Hikawa Shrine was founded in 473 BCE.
For this week, I'd thought of doing something with bass and percussion to switch things up a bit. Having put down some MIDI drums and tabla, the bass parts were suggestive of some guitar parts...so I added two tracks of PureSalem Mendiola for something more fully arranged than recent pieces.
There's EQ-8 on the bass to roll off low end, and a touch of M4L humanizer and M4L velocity randomizer on drums. Everything gets a bit of send to convolution reverbs, and there's the usual Wide&Warm preset for compression/eq on the stereo.
The title comes from Octoraro Lake, over which PA-472 travels.
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