I liked this one a lot while I was working on it, but I'm afraid I overworked it a bit...

There are some ideas in this one that I might revisit later.

Rushed track. This time I experimented transposing stuff to different scales-roots using the QY100.

High quality on Soundcloud: https://soundcloud.com/trent-hawkins/20210830a

A noisy drone ambient set with lots of distortion and wall of sound. Performed live on the Eurorack. This was streamed, you can check it out when the VOD comes out at https://twitch.tv/emeraldarcaa/

Warning: long-ish (7 minutes)

I haven't done "traditional" music in a while, I might go back to that next week.

This week, I went for the Digitakt, which I hadn't used in a while. Oh, the sheer joy of making a beat on this box! This song is for my friend Toffge's birthday, hence the name and vocoder part. While the Microfreak was plugged in, I threw in a supersaw solo to lead the track out.

Here's a speedtrash this week. I had a few bits and ideas of tracks here and there but upon seeing a video of Instragram of Robin Finck (NIN guitar player) jamming in the desert with his Orange amp in the sand, I knew I had to do some Kyuss inspired stoner track.

This is raw, the sound is bad (i especially dislike the drums) but it works and I like this stupid prehistoric riff. I'll definitely bring it to the band when we're back to playing together in real life!

A track is a track is a track.

Note: no keyboard player was hurt during the recording of this track.

In a slight break from the guitar driven soundscapes of the past I have now tried the looping technique with a piano. I have expanded the loop length to 12 bars and it really gives an awesome feeling to the melody when it starts repeating, creating unexpected harmony and movement.

A very collage-like piece, tracked Friday night and Saturday. I started with an odd drum track with Ableton's 64 Pad Kit Special, added a few keys with PureMagnetik Rhodes (Berlin), and then tracked several loops with bass (new D'Addario half-round strings replacing the flats; there should be a touch more high-end) and PureSalem Mendiola through Reuss RF-01 and Vox Wah. The result? Kinda dense, maybe.

Sends: two convolution reverbs (with high-pass in front), Valhalla Supermassive, and Echo with modulated Auto-Filter in front, as a pouring-one-out in honor of Lee "Scratch" Perry.

Inlines: Max Humanizer on drums, EQ-8 for low-end rolloff on bass (still), some high-pass Auto-Filter and Cabinet on guitars. Wide & Warm audio effects rack preset on the stereo mix.

Title comes from 87 being the international calling code for (apparently) phone calls to Inmarsat.