A departure from the just-a-bit-of-reverb approach. Having avoided obvious effects for a while, why not some echo? And instead of just three tracks, why not four? Of the four tracks, two of them have some sends to Ableton's Echo plugin, while the other half...don't. This one came together over three sessions: late Friday, late Saturday, and Sunday afternoon. Back on PureSalem Mendiola, one track for bridge pickup (with echo), one for neck (no echo), and two for both pickups (one of each).

The result...seems surprisingly hopeful, despite how the world is going. There's my usual practice of leaving some breathing space at the end of phrases, and a few phrases seem a touch familiar--maybe I'm ripping myself off a bit. Notably, some solo sections stretch out and go for the emotional expression, which feels less like an indulgence than it used to. (Some harmonies...seem a bit dissonant in places due to two scales in play, but...you know what, it seems right.)

The title comes from a little hamlet at the end of England's A605, though this does feel like the beginning of an outward expansion.

In keeping the weekly composition commitment, sometimes the composition and recording have to bend to fit the rest of life. This one started with a quick session late Friday, another late Saturday, and a few snippets recorded Sunday afternoon.

The composition process is essentially similar to what I'd been doing: record something, respond to it in two other channels, mute two, record two others, mute the first, record a third, etc. This tends to maintain an identity of an idea, and a piece can kind of flow from it. For this one, I let myself stretch out in a couple sections, and let a melodic thought continue for a while.

Lately I've been getting the sense that the Res-O-Glas guitar I'd built ten years ago wanted to speak more. Its neck is very comfortable, and (since I wired in a Varitone for the tone capacitor), there's a wide range of bassy tonal options. Sometimes, though, these can appear muffled, and a few parts could have used less rolloff.

No inline effects, but there are sends to a convolution reverb. (I'm getting the feeling to play with delays again, so next week might be a little more shoegazy.) And the multiband compression/eq on the stereo.

The title comes from British Columbia's Sea-to-Sky Corridor, in area code 604.

After a week concentrating on Max (studies for a performance), it's back to the guitar--in this case, one I'd built ten years ago, a Res-O-Glas Belmont body with an Eastwood neck and Lace Alumitone pickups. Slow fingerpicking, and a lazy bittersweet summer vibe.

There's nothing particularly special about the production--the usual convolution reverb sends, no inline boxes, concentrating on the fingers-on-guitar...but I can see that I need to get more practice in with this neck. (The width is great for fingerpicking.)

The title comes from the highest peak of the Huron mountains, which has a height of 603m.