Still chasing that all-guitar thing. Here's a four-track piece with just PureSalem Mendiola (done after an attempt with all-pedal-steel didn't go anywhere good). There's Balls Effects KWB on all these, and one track (the single-note pseudo-bass-line) got high-pass auto-filter.
There's Valhalla Supermassive on one track, and a church-sized convolution reverb on the rest, as well as an audio effect rack on the Wide&Warm preset for eq/compression.
The title comes from M97, the Owl Nebula, in Ursa Major.
This one began with the syncopated drums (Ableton 64 Pad Kit Jazz) and not much else of a thought behind it, though a few electric piano chords with PureMagnetik Berlin Mark Two kind of pointed the way. I added the usual 80s Epiphone Embassy II bass, tracked a bit more of the electric piano, and then finally tracked pedal steel. I'd tuned the 9th and 10th strings down a bit, from their usual E9 values (so the tuning is now A C# E F# G# B E G# D# F#), and that gives me a bit more of the notes I want on the low side of the board. (I track pedal steel with a Moyo passive volume pedal.)
Inline processing: a bit of Max Humanizer on the drums, Glue compressor on the pedal steel, and the usual EQ-8 on bass. The usual full-chain multi band compression on the output.
Sends: Ableton Echo, convolution reverb, and Valhalla Supermassive.
Title comes from NGC 70, a distant spiral galaxy.
I've had a run of busy weeks, this one even busier with the addition of an Elvis Costello cover for friends' covers project. So this week's track...was somewhat simpler in writing and slightly less complex than usual in production.
Six passes of Res-O-Glas guitar straight into the Focusrite. Tracks all got some Auto-Filter with drive for processing, but otherwise no funny stuff. Sends: one convolution reverb and one echo on just one channel. Panning is static. Full-chain Master on the output.
Title from one of the early names ("tectum argenti") for bismuth, this week's element.