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.

PureSalem Mendiola and 80s Epiphone bass. Once again through the UA Volt, mainly just to try bass through that. There's still some EQ-8 low-end rolloff on the bass, but it doesn't have to be as extreme as some earlier tracks. Some of that may be from the Volt on the Vintage EQ setting, but also there's no kick drum here, so I didn't have to make room for that. Otherwise, just convolution reverb and the compression/EQ on the stereo bus.

The title comes from yet another minor planet, 495 Eulalia.

Another intensely busy week, so here's an attainable three-guitar piece. PureSalem Mendiola, a bit of convolution reverb, the usual compression/eq on the stereo out. This one has a middle section with a chord progression that's five beats long, which mixes things up a bit.

The title is from the minor planet 487 Venetia.

Tracked over the weekend, but I didn't have much of a chance to arrange it until Monday, and it required a bit of listening for editing. I'd started with some syncopated drum patterns (sounds from Ableton's 64 Pad Kit Jazz), and then I put down some sparse guitar with the PureSalem Mendiola through the Balls Effects KWB, and then bass. On listening, it made sense to move some of the guitar tracks to a different channel, so this ended up being a four-track thing.

There's a slight difference to how I'm approaching the bassline, particularly in the bridge, which makes this a bit of a departure, I think.

Inlines: Max Humanizer on drums. Guitars got high-pass Auto-Filter with some different cutoffs and different levels of drive, along with some Glue compression and different Cabinet modelers for air. (1x12 seemed to work best here.) Bass got the usual EQ-8 low-end rolloff, but also some compression as well. The stereo mix got Ableton's Wide & Warm effect rack for compression/eq.

Sends: two convolution reverbs (one large, one small) with high-pass Auto-Filter in front. Also a channel of delay on the 3.

The title comes from hepteracts having 84 penetrant 5-faces.