52/52! A return to three tracks of PureSalem Mendiola, recorded in two quick late-night sessions Friday and Saturday. It's been...a week. But here we are.
There's a bit of line hum audible in places; it's weird that that's not typically been the case for a while with this guitar. Bridge, neck, and both-pickup tracks, with some convolution reverb and the usual effect rack on the stereo out.
The title comes from a little town in Pennsylvania, on route 522. (Not far from week 475's namesake Meadow Gap.)
Kind of a late edit on this, but it was a busy weekend. This one's drums (Ableton Acoustified Kit 02), two tracks of Epiphone Embassy II bass (one with EQ-8 low-end rolloff, and the other with Auto-Filter high-pass, played higher on the neck), and two tracks of home-built Res-O-Glas guitar--one through Montreal Assembly Count to Five (the backwards-sounding one) and one straight to the Focusrite, though with some low- and high-pass Auto-Filter with drive.
Sends: one echo (with LFO band-pass Auto-Filter in front), one convolution reverb (with high-pass Auto-Filter in front), and Valhalla Supermassive. There's Wide&Warm preset compression on the stereo output.
Title comes from this week's number, counting from last year.
A friend sold me his Montreal Assembly Count to Five pedal, so that's featured on this week's track. I did a few ambient improvs with that (with home-built Res-O-Glas and CMI E-200 guitar strung with Nashville high tuning), and added Ableton's 64 Pad Kit Jazz drums, and a pass with 80s Epiphone Embassy II bass.
Sends: two convolution reverbs and one echo.
Title comes from the asterism with this name containing M85.
A very late upload by my usual schedule (though not "late" for this streak). All the tracking took place this past weekend, but arrangement wasn't something I could get to until last evening. My usual method of working on these is this:
It was the same thing here, but the pieces weren't quite fitting together until fairly late. Some of the not-quite-fitting might be from A/D latency, which seems to tack a bit higher than the setting when I first open Ableton. It's most notable on bass here, though I did warp some late notes into place when they seemed much later than "feel."
Drums: Ableton 64 Pad Kit Special, with Max Humanizer and 80-90% probability on most drum hits, though 1, 2, and 4 get 100%.
Keys: PureMagnetik Mark Two Berlin
Bass: 80s Epiphone Embassy II, with EQ-8 low-end reduction
Guitars: PureSalem Mendiola through Balls Effects KWB. One channel's mostly neck pickup with the other being mostly bridge.
Sends: Ableton Echo plugin and convolution reverb (BM7 Clear Ambience) with high-pass Auto-Filter in front.
Wide & Warm preset audio effect rack on the stereo output
Title comes from radio emissions from an unknown object in M82.
I'd thought I was going to do something more abstract this week, though my bass- and guitar-playing sessions ended up making it kind of funky. So it's a groove.
Drums: Ableton Fairfax kit, which sounds interestingly synthetic, but also has some impact. I added a touch of Max Humanizer and gave it some room-sized convolution reverb, and automated delay send on the 2 and 4.
Bass: 80s Epiphone Embassy II, on p-pickup. Low-end rolloff with EQ-8, and then another track also of bass, but in the higher register, with high-pass Auto-Filter with a bit of drive.
Guitar: PureSalem Mendiola on the bridge mini-humbucker, through Balls Effects KWB. One got room-sized convolution reverb send, and the other got a much larger hall send.
Title comes from the function of the old 80-type vacuum tube.
This one goes up late for me, though not late for this year's streak. This one is another all-Danelectro-baritone piece, which started with syncopated drums (64 Pad Kit Jazz), got a keyboard line (PureMagnetik Berlin Rhodes), and then a bunch of baritone parts (basslines, chords, lead figures).
My initial pass at collaging these together...just didn't work. So I let it sit a day or so, and reassembled it from sections that I knew worked. Now it's kind of a summer jam.
Drums got some Max Humanizer and some randomization, as well as increased drive from Drum Buss. A couple guitar lines got high-pass auto-filter with drive, and a few got the Glue Compressor. Baritone bass got a bit of EQ-8 low-end rolloff, but not like my real bass does.
Sends: one room-sized convolution reverb (with high-pass auto-filter in front), Delay, Echo, and Valhalla Supermassive.
The stereo mix got an audio effect rack, on the Master Wide & Warm setting--a bit of a change from my usual, but it sounded better here.
Title comes from the number 79 being a Happy prime, Lucky prime, and Sexy prime (with 73).
Carved out a little time this week for a track. My initial thought was to do something shoegazey, and then I immediately started making this vintage-y funk thing. Apparently my internal aesthetic compass is a gyroscope.
Drum racks of Acoustified 15 and Emperor kit (through Drum Buss), Operator with a triangle wave and a hint of 3rd harmonic, Electric on the MkI2 crunch preset, Epi P-J with bass rolloff, and Epi Moderne through Reuss RF-01 and Vox Wah. Sends are a convolution reverb and Echo on Dub Syndicate preset. Full-Chain Master on the master channel.
Title from the iridescent quality of iridium (which gives it its name).
