I built this one up out of little snippets of rhythms across four tracks, and ended up with an all-in-the-box piece. Drums and percussion all got reverse gating for a severely clipped envelope--three drum racks (Cassette 606, 808 Depth Charge, percussion) and one Impulse instrument of hand claps. There are two channels of Operator, one for bass, and one for swells, and one track of distorted Puremagnetik Rhodes. Sends: two convolution reverbs (ambience and a weird space) and Echo. Full-chain master on the master channel.
Title from the instability of astatine, this week's element.
This one coalesced while I was thinking of other things, and ended up becoming a kind of atmospheric low-key dubsteppy kind of thing. Then when I went to track guitar after having tracked bass successfully, I had to embark on a 45-minute exploration of why my USB converter didn't seem to be passing audio. (In the end...it was a bad cable. But I had also spent time messing up the converter settings, so I had to fix them again.)
Instruments: rack of dry funk single drum hits (lots of filtering on here to roll off highs), hand claps, Linn percussion, two different electric pianos, Mellotron samples, Epi P-J bass on P, and home-made Res-O-Glas guitar.
Two convolution reverbs (one short, with auto-filter to roll off lows one long), and typical delay cascade.
Title from the fact that 27 is the prime reciprocal magic square of 1/7.
Whoops, didn't realize at first that our deadline was Saturday night. Here's one I'd been working on this week, out of the desire to hear a Laswell-dubbified Jesus-Lizard kind of thing. Not sure I got there, but it's an interesting direction. Drums: rock kit, some high-pass auto-filter on the kick to boost it, low-pass auto-filter with drive to roll off some overall highs and give it some grit, and I put 24ms of M4L Humanizer on there to give it a bit of breath. (Any more than that felt too slow and sloppy.)
Bass: 80s Epiphone P-J (P only) with flat wounds into the board, some Cabinet plugin to give it air, and a convolution reverb send.
Keys: Clavinet with LFO bandpass auto filter into delay for that hypnotic thing, and Operator (Funky Organ) to give some pad effect.
Guitar: two tracks of Epiphone Moderne through EHX LPB2ube (cranked, two sides cascaded) and Vox Wah for tone shaping.
Sends: two different convolution reverbs (one with a high-pass filter to keep the kick from getting boomy), and three different filter delay combos, some with simple delay, one with band-pass LFO auto-filter for the dubby drum effect.
Also, Full-Chain Master on the 2-mix.
Title is a reference to the Jesus Lizard.
(Edit: brought one of the guitar motives back in toward the middle and end.)