While I did start with drums this week, I removed them in the spirt of continuing last week's (more successful) guitar-only approach. This one was quick to track (a half hour total), but editing was difficult--I'd recorded snippets, with the thought of stringing them together in a spacious structure. In doing the actual editing...getting it to hang together as an identity was tricky. I had to balance repetition and variety, and I'm not convinced it worked. But...there's a kind of endless-aimless summer-day quality to this, as summer recedes.
Guitar: home-built Res-O-Glas, with tonal variety coming from the bridge-or-neck-or-both pickup selection. This went through the Balls Effects KWB for a bit of drive, but not the distortion of last week. Then some tracks got the Moyo passive volume, to take the attack off.
Two channels got inline auto-pan, and all of them got lesser or greater amounts of sends to a church-sized convolution reverb, and Ableton's Echo plugin. There's the now-usual Wide&Warm compression/eq preset on the stereo mix.
The title comes from there being 92 days of summer.
Another quick-recording/long-editing piece. This one started just as some drum syncopation, with a few atmospheric keys...and then kind of came together with bass and guitar.
Drums: Ableton 64 Pad Kit Jazz, with Max Humanizer
Keys: PureMagnetik Berlin electric piano
Guitar: PureSalem Mendiola through Vox Wah; one channel with Auto-Filter drive
Bass: 80s Epiphone Embassy II with EQ-8 low-end rolloff
Sends: convolution reverb (with high-pass Auto-Filter in front), Echo, Valhalla Supermassive
Master full-chain audio effect rack on the output.
Title comes from Messier 76, the Little Dumbbell Nebula.
This piece came together from some syncopated drum lines and little compositional direction. I put down some Electric and Operator lines, tracked bass around a few repetitive figures, and guitar (Res-O through Vox Wah) on top...which didn't coalesce until I copied the guitar lines to another channel and reversed all the clips in that channel. Then it kind of came together. Very little inline processing except for M4L Humanizer and Drum Buss on the drums, Auto-Pan on the keys, Auto-Filter with drive on the forwards guitar. Sends: two convolution reverbs, Delay, Echo. Full-Chain master on the master channel. Kind of floaty.
Title from associations from this week's element, uranium. I'm a fan of the work of the late sculptor James L. Acord, who was the only private individual to have earned a license to work with radioactive materials, including uranium (which he initially gathered by leaching it off of mango red Fiestaware). He'd planned a series of sculptures--reliquaries--designed to contain radioactive materials, which he'd wanted to install at the Hanford Reservation, a project he didn't live to complete.