I had a thought to do all-in-the-box this week, partly thinking of Daft Punk retiring their collaboration, but then departing from that initial idea. There's still 808 as the drum machine (via Ableton's 808 Startup Kit), 4-bit Redux on the handclaps, and Ableton's Analog for bass and two synths. I also went for WaveTable (Juno Organ Wave, with the filter cutoffs brought way down).
Inline processing: I made use of Live 11's clip randomization with a narrow range of velocity variation in the drums here and there, as well as some in the bass. It might not be very audible. There's also a touch of Max Humanizer on the drums, which kind of defeats the purpose of using drum machine voicing...but maybe not.
Sends: Hybrid Reverb (the jury's still out on how useful I'll find this; I think I just prefer convolution reverb alone, rather than blended with an algorithm, and I'm not all that sold on the impulse I used here), Delay, Echo with LFO Auto-Filter in front, and Spectral Resonator, which is responsible for that little sparkly mechanical flourish every so many bars.
There's also the usual multi-band compression on the output.
Title comes from 61's status as the smallest proper prime
I wanted to go in a different direction this week, and picked up the bağlama-tuned Heit Deluxe (like this one, but not as clean and in a red-burst), and came up with the main riff. I recorded that to the shaker, and ended up with about three minutes. During the week, I added percussion (tambourines, hand drums), hand-claps (MIDI), and a trap-set kick drum in an effects rack with two parallel high-pass filters--one to accentuate the beater, and one to accentuate the resonance of the shell. I also recorded a number of other guitar lines to respond to the initial one, and to extend its length a bit, editing them into a structure.
Tuning: GgDDAa, played with fingers. Each guitar channel got different degrees of Auto-Filter, one of them bandpass, two high-pass, with different degrees of drive. I also used a bit of filtering/drive on the hand claps and hand drums. Rather than auto-panning most things, I left most things statically panned, and just auto-panned hand claps and some percussion in time with the track, to set up a call-and-response effect. I did add a bit of delay on the claps, but most atmosphere is from two convolution reverbs (one small space, one larger)--my idea was to keep it as much like a field recording as I could.
The master channel got Full-Chain Master for compression/limiting.
Title comes from the history of the bağlama--since it comes from the saz used by the Azerbaijani Ashiqs, whose name is related to the Avestan root iš-, which means "to seek" or "to search."