Streak Club is a place for hosting and participating in creative streaks.
Serial band and project starter, synth player who considers himself a guitarist, compulsive weekly composer.
Stylistically this is in keeping with the recent all-guitar pieces. I'd started with the thought of something sparser, but in the actual playing, things got a bit busier. Time for a change soon, I think.
Three tracks of microtonal Tele Deluxe parts caster fretted with just intonation intervals, going through the Reuss Effects Understate to give it a bit of sparkle.
In Ableton, there's the convolution reverb and a bit of compression/eq.
The title comes from the River Yarrow, which tracks alongside the A581 for a while.
Edit: updated the file to fix a couple too-obvious edits.
In a couple of short late-night sessions, I came up with a few themes that had a bit of a resonance. I was interested in doing something with varying levels, but abandoned most of that, with the exception of a pedal tone audible in a few places. (Maybe next week's will follow through with this.)
This one's three tracks of PureSalem Mendiola straight into the UA Volt, with some convolution reverb and the usual compression/eq on the stereo mix.
The title comes from a small town at the northern end of PA Route 580.
Quite a lot of activity this week, so this track is what felt achievable with the energy available. This one uses $60 Univox hollowbody in Bb F tuning, so it lends itself to fingerpicking and barred strumming. As I've been doing lately, I've tended toward phrasing with a rest or natural fade at the end. It's a bit sparse in places, and in two of them...it was a bit too sparse, so I added a some duplication of notes in the editing, copying one snippet and delaying it by a sixteenth note or two.
The world's a mess, particularly my country, and writing this doesn't directly fix any of those problems, but I hear a kind of hopefulness in this music, despite our surroundings. Let's find hope where we can, enough to keep ourselves going, so we can make things better.
No inline effects, but there's the usual convolution reverb and a bit of compression/eq on the stereo mix.
The title comes from the river in Ireland that in some places runs alongside the R579.
Last week, I was hearing the music channeled by the PureSalem Mendiola in standard tuning, and hearing it again this week. This past Friday was also the 50th anniversary of Keith Jarrett's famous concert in Köln, so I started this one with an Am7 > G motion, to see where that would take me. As it turned out, it took me somewhere melodic, through gentle expressions of several emotions. I could easily have made this longer...but thought to keep it under four minutes.
Three channels of PureSalem Mendiola with five-year-old strings, direct into the UA Volt. Some large-hall convolution reverb, and the usual multiband compression/eq on the stereo main.
The title comes from minor planet 578 Happelia, a tiny thing with (possibly) a tiny moon.
After several weeks with the microtonal Tele, I thought to return to the standard-tuned PureSalem Mendiola, and see that effect that would have on the music this week. The music that turned up was very clear about what it wanted to be--strong and assured. The first two themes here appeared Friday night, with the other sections appearing in a quick Saturday night session during which melodies just kept coming: I had to add a fourth part in two places. This was something of a homecoming--fingers happy to play on this guitar's neck. (Having listened to it multiple times, I'm unsure if I'm lifting some melodies from other pieces I've written, but that could just be the new parts becoming familiar.)
The signal chain uses the Reuss Undertone in two places: the first and second themes from Friday, but the rest of it is straight into the UA Volt, for logistical reasons. There's some convolution reverb send on each track, and the usual compression/eq on the stereo out.
The title comes from another name of Maryland's MD577, Reliance Road. I know I've been relying on music of late.
More all-guitar, and once again the Tele Deluxe fretted for 24-to-the-2/1 just intonation. I'd wanted something a bit more spacious than the last few, which manifests in the pauses for notes to fade out. Like last week, this also makes use of the (Reuss Effects Understate)[https://www.reusseffects.com/en-us/products/understate] for a bit of tone-shaping before it hits the UA Volt.
The title is from the River Allow, which is crossed by R576 at Kanturk. (I probably should have saved this title for piece 579.)
Happy new year! This one is similar to the last few years of guitar-only pieces I can put together in a few sessions, though there's a bit of a departure: I'd wanted to build a guitar with a neck fretted for just intonation, so I could experiment with precise intervals and precise difference tones. This piece started with the fingerpicking pattern you hear first, which foregrounds some of those difference tones, rather than sticking with consonance. Timing is a bit loose; I'd wanted to play with a little more elastic quality.
This ended up being a bit tricky to edit: initially, it was about six, seven minutes, though I reduced all of the sections to half, and took out a few. While I liked the suspension of time there, it maybe got a bit too meander-y at this slow tempo.
For this piece, I'm also reintroducing a pedal--in this case, the Reuss Effects Understate, which is a clean boost. The parts panned center and left get this, while the bridge pickup (panned right) does not. Otherwise, everything's straight into the UA Volt, which has a pretty good overdriven sound you can hear on some peaks.
There's some convolution reverb send, and the usual light compression/eq on the stereo channel.
The title comes from the somewhat arduous process of finding places with 575 feet of elevation above sea level. I ended up throwing in the towel and going with Presque Isle's Gull Point, which does have some patches surveyed at 575.
52/52! A return to three tracks of PureSalem Mendiola, recorded in two quick late-night sessions Friday and Saturday. It's been...a week. But here we are.
There's a bit of line hum audible in places; it's weird that that's not typically been the case for a while with this guitar. Bridge, neck, and both-pickup tracks, with some convolution reverb and the usual effect rack on the stereo out.
The title comes from a little town in Pennsylvania, on route 522. (Not far from week 475's namesake Meadow Gap.)
A couple late-night tracking sessions and a bit of aggressive editing resulted in this brief four-track piece. All PureSalem Mendiola, neck pickup, bridge (two tracks), and both. The starting point was moving around an arpeggiated 7, and it developed from there. Unlike some recent ones, there are opportunities for full rests here and there.
The title comes from the minor planet 521 Brixia.
Three tracks of $60 Univox hollowbody in modified Fahey tuning (Bb F Bb F Bb C, compared to CGCGCE). Fingerpicking, with the barred sections being played as one finger moving a barre around. Somehow this came together quickly, over two short late-night sessions. There's the usual convolution reverb and compression/eq on the stereo out.
The title comes from the interesting galaxy cluster Abell 520,
I'd wanted to do something slower with a bit more space. This one again is three tracks of PureSalem Mendiola, straight into the UA Volt 1. Slow, but there's a vibe. There's the usual convolution reverb and compression/eq on the stereo out.
The title comes from the minor planet 519 Sylvania.
The three-guitar-piece series continues. This time it's low-tuned Univox hollow body, in a variant of Fahey C tuning (in this case, Bb F Bb F Bb C--the same tuning, but a whole step down). I tracked this in two short sessions--one late Saturday and one Sunday afternoon...though finding the right through-line took a while. There's a sparse gentleness to this one.
No inline effects, but some compression/eq on the stereo out, and convolution reverb.
The title comes from the asteroid 518 Halawe.
This week's track is another intentionally shorter piece, trying to make use of some silences and space. Initially I'd tracked a lot of different phrases in a different key Tuesday evening, a more aggressive approach that I'd liked...but it didn't lead to satisfying development. Finally, a more sparse combination of phrases in a different key seemed to lead somewhere, so I followed those, abandoning the first set. (I did keep them, though they're not used at all here.)
Three tracks of PureSalem Mendiola, with the end of one phrase bumped over to an additional channel, to allow for a note to decay across the beginning of the next phrase. Straight into the UA Volt-1, bit of convolution reverb on the channels and compression/eq on the stereo out. There's a bit of a vibe to this one.
The title comes from a village along England's A517.
Guitar-only with PureSalem Mendiola, three tracks (bridge, neck, both pickups). Recorded in three short sessions, though a bit longer to edit into shape. There's the usual signal chain: UA Volt, Ableton, some convolution reverb, and some compression/eq on the stereo.
There's a short clip on a fourth track to allow one note to fade over the next phrase on the source track.
The title comes from Arouca 516, one of the world's longest pedestrian bridges.
Three tracks of fingerpicked Danelectro baritone guitar, with kind of...an Elizabethan vibe, maybe? No effects, but some convolution reverb.
The title comes from the asteroid 515 Athalia.
Three tracks of Danelectro baritone, with a contemplative vibe. Kind of digging it. The bridge pickup got the UA Volt-1 vintage circuit, while neck and both got the UA Volt-1 regular circuit. Bit of convolution reverb and the usual compression/eq on the stereo.
The title comes from the remote shell process, which is usually exposed on port 514.
Again with the three-guitar approach, done quickly in a few tracking sessions. This one's back to the PureSalem Mendiola, straight into the UA Volt 1. The signal chain in Ableton is the usual one: some sends to convolution reverb, stereo bus eq/compression, but nothing special in the channels.
Also again with the minor-planet-related title, though it's probably a better inspiration than Roman taxes.
Another three-tracks-of-Danelectro-baritone track, this one focusing mostly on fingerpicking. Straight into the UA Volt 1, but one section (right channel, 2:45-3:10) sounded weirdly lacking in tonal color, so I put it through high-pass auto-filter with drive. (Some of that lack of tone comes from where I was playing on the high strings: the 12th fret's a bit flat, so it's tricky to get a clean note sounding there, and several times the note sounded dead.) There's some convolution reverb and the usual multi band eq/compression on the stereo mix.
The title comes from the asteroid 512 Taurinensis
To switch things up a bit, this week's track uses the Danelectro Baritone. Three tracks (neck, bridge, both in series) straight into the UA Volt, no pedals. There's the usual convolution reverb and finalizing effects rack. I tracked in a couple quick late-night sessions Friday and Saturday; four clips didn't get used, but I ended up using everything else.
The title comes from the Indian astronomer Aryabhata, who developed many mathematical equations, including one describing the Earth's rotation, in (apparently) 511 CE.
This past week I had two live, in-person performances, and spent some time with tracks from earlier this year--it's the first time I've officially released any of the weeklies. Laodica is a collection of 10 guitar tracks from this year.
So...that all leaves not a lot of time for a new track, but I managed to fit in a three-track guitar thing. The usual signal chain, and PureSalem Mendiola.
The title comes from Ontario's Parry Sound, which has highway 510 running nearby.
Another three-guitar/no-drums thing, which fit into a busy weekend in two quick tracking sessions. Some weeks, I'll generate a lot of little motives that could fit in with something stronger, but end up being tossed. This one had only two bits that didn't get used: they could have worked, but I ended up tracking stronger lines over them.
PureSalem Mendiola into the UA Volt 1 (not on the vintage circuit), no pedals. A little convolution reverb, and the usual compression/eq on the stereo out.
The title comes from (again) the minor planet 509 Iolanda.
In and among a busier than usual weekend, I've managed to put this one together: a pleasant little all-Mendiola piece. Some of these figures were surprisingly difficult to nail, though they sound simple. (This was a balance between fingering choices and occasional converter drift distortion ruining the occasional take.)
The title comes from the number 508 apparently being the number of graphical forest partitions of 30.
Still with the guitar-only, this one four tracks of PureSalem Mendiola (bridge, neck, both, with one going through Uni-Vibe), This one's rather pretty, and has a bit of a vibe.
The title comes from the asteroid 507 Laodica--we're back to the celestial objects for this week.
With a very busy end-of-week and weekend, I was able to wedge in just a couple short tracking sessions, and a late arrangement/edit cycle. This one's just three tracks of PureSalem Mendiola into the UA Volt-1, with a touch of convolution reverb and the usual stereo compression.
I'm kind of neutral about this one--the stronger theme only came about in the last Sunday afternoon tracking, and earlier sessions had a bunch of wandering things that didn't make the final cut. It has a pleasant enough vibe, though.
The title comes from IC 506, an elliptical galaxy in the constellation Hydra.
This week's track came together in one quick Saturday-night tracking session with the PureSalem Mendiola and...a new-to-me stereo Uni-Vibe pedal.
There are four tracks of guitar, though the Uni-Vibe track is itself (of course) stereo, with chorus on the left and vibrato on the right. One can sum these down to monaural with the width control, but I kind of liked the stereo separation. Since I needed two inputs, I went into the Focusrite Scarlett instead of the recent UA Volt, and the slightly different sonic profile is a neat change.
As I usually do, I started with one little motif (the Uni-Vibe at the beginning) and responded to it on multiple tracks, then going back and repeating the process for new sections. There's even a bit of a key change in here, which is nice. Also, as usual, there's some convolution reverb and the wide & warm preset audio rack on the stereo out.
The title comes from the number 505 being the magic constant for the magic square and n-queens problem, for n=10.
joined 7 weeks ago
Streak: 1, Longest: 7
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Best streak: 52, Completion: 100%
weekly from
Best streak: 52, Completion: 100%
weekly from
Best streak: 52, Completion: 98%
weekly from
Best streak: 52, Completion: 100%