Three tracks of Danelectro baritone, with a contemplative vibe. Kind of digging it. The bridge pickup got the UA Volt-1 vintage circuit, while neck and both got the UA Volt-1 regular circuit. Bit of convolution reverb and the usual compression/eq on the stereo.

The title comes from the remote shell process, which is usually exposed on port 514.

More one-guitar, this time with the home-built Res-O-Glas straight into the UA Volt-1. There's a bit of convolution reverb and the usual eq/compression on the stereo mix.

Title comes from exoplanet Gliese 504 b.

A return to three tracks of guitar without heavy editing or effects, largely to test a new USB converter (Universal Audio Volt 1). There's some crunch on here, from the converter's preamp itself--it's a bit more musical than clipping on the Focusrite Scarlett. There's the usual convolution reverb and compression/eq on the stereo bus.

The title is from the minor planet 494 Virtus.

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.