I wasn't able to come up with anything really new this week, so I took an old song and remastered it. The M8 now has instrument based EQ, so I went through each instrument and tweaked things to my liking. I then recorded it into Bitwig, where I added a bit of compression and a small amount of EQ to the entire song.
This is one of the best songs I've ever made on the M8, and was the result of lots of lunch-time editing last year. The success of this song prompted me to devote more time to music and ultimately to take part in this streak.
Glitchy, indoorsy sort of tune this week. Very hard to mix and master, these.
This is a bit of a departure from my usual no-effects approach. This one uses the microtonal just-intonation-fretted Tele Deluxe through the Reuss Effects Understate and Moyo passive volume pedal to take off the string attack. From there, the signal goes into a patch I've been working with in Max/MSP. The patch uses some tone-shaping (AudioThing Reels) and eight delays set to different long values, usually over 20 seconds and less than a minute. I'll assign each progressive note to a different delay, so the next repetition will have them appearing in a different order. Each delay has a send to a convolution reverb, here using an impulse from the Dan Harpole cistern.
The title comes from minor planet 582 Olympia
fieldrecorings, people talking, horse, ice and water, delay, reverb, birds, playground
this is more or less a stopgap for record production month. an introductory track to my album that also happens to be in G (very loosely)... because, well. january's tracks were all in D. so i guess we are going backwards around the circle of fifths.
the text is from the long-term nuclear waste warning message suggested by sandia national laboratories. https://en.wikipedia.org/wiki/Long-term_nuclear_waste_warning_messages
i found the geiger counter on battery. so that felt very appropriate to play with.
Another track that is more experimental than anything. One take guitar for each track (and that is indeed easy to figure out). Some wind foleys, horse foleys, whispers, and a heavily distorted guitar, to try to capture the eerie sense of being lost and confused in the strong in the wind in the dark in the middle of the great plains.
