Three tracks of PureSalem Mendiola, some of it through the Reuss Effects Understate clean boost pedal. This one's gentle and slower, after an intense week.

As usual, there's a send to convolution reverb on each channel, and compression/eq on the stereo mix. Also as usual, the panning is static--one track in each position.

The title comes from the meaning of the place name Cousane in Ireland, along regional road 585.

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.

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.

Kind of an intense week on a number of fronts. The slowness of this piece is a bit of a reaction to that, an attempt to maintain a bit of quiet and space. Guitar: 1960s Univox hollow body (likely a Coily model), tuned in a variant of John Fahey's C tuning. (His was CGCGCE; this is B F# B F# B C#.) Three tracks, just a bit of convolution reverb. A touch of grit from the UA Volt 1.

The title comes from the minor planet 496 Gryphia.

Much of my free time over the last week has been directed toward migrating my websites to a new cloud instance, which also (due to the age of the codebase) means redeveloping them. So it's a work in progress.

Even so, I found some time to track a little guitar-and-pedal-steel thing. PureSalem Mendiola and no-name 10-string 1970s pedal steel in E9 tuning. There's the usual convolution reverb and mastering plugin, but otherwise no funny stuff.

The title comes from the minor planet 489 Comacina.