Three tracks of fingerpicked Danelectro baritone guitar, with kind of...an Elizabethan vibe, maybe? No effects, but some convolution reverb.

The title comes from the asteroid 515 Athalia.

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.

To switch things up a bit, this week's track uses the Danelectro Baritone. Three tracks (neck, bridge, both in series) straight into the UA Volt, no pedals. There's the usual convolution reverb and finalizing effects rack. I tracked in a couple quick late-night sessions Friday and Saturday; four clips didn't get used, but I ended up using everything else.

The title comes from the Indian astronomer Aryabhata, who developed many mathematical equations, including one describing the Earth's rotation, in (apparently) 511 CE.

Guitar trio again, but this time with Danelectro baritone. There's some high- and low-pass Auto-Filter with drive on the bridge pickup, and some EQ-8 with low-end reduction on the neck pickup. And two convolution reverbs, in addition to the usual Wide&Warm preset for finalization. No outboard effects.

The title comes from US Highway 491 (formerly 666), which gives access to Shiprock, NM.

This one's an example of what happens when I'm not feeling as though there were ideas, and then finding at arrangement/mixdown that there are musical ideas here.

I'd started late Friday night by tracking some bass, which...didn't work. Saturday night, I tracked three different tracks of baritone guitar parts (bridge pickup, neck pickup, both pickups) and wasn't sure how they were working--the 6/4 meter seemed good, but there's a pause at the end of some phrases, and some parts played with that start/stop quality, coming in at different beats, rather than regularly.

Listening back to it all just now...it kind of works. So I'm going with it. It's kind of an unexpected gift from the process of sitting there and tracking.

The title comes from the Ōmiya district of Saitama, where Hikawa Shrine was founded in 473 BCE.

Another of the all-one-guitar + resonator network pieces. This one uses the Danelectro baritone, with one channel going through the resonator network. I tracked some compatible parts, and putting them together...didn't work. Rather than scrap the whole piece, I started over with arranging the parts, relying less on repeating one chord progression and keeping parts a bit shorter. Then I tracked a few new parts in each of three tracks to fill in gaps.

There's a convolution reverb on all three of these, and Wide & Warm compression on the output.

The title comes from what may have been the meaning of the Onojutta-Haga word that was the source of the name for the Juniata River.

Another entry in the trying-to-work-fast one-guitar series. This time it's the Danelectro baritone, through the Balls effects KWB. This one's three tracks--one was a straight-through five-minute improvisation I ended up cutting down some, and the other two are responses to it.

No inline effects, but there are two different convolution reverb impulsess: one with the "dirty spring" preset, and one with the "large wooden room" preset.

The title is from M93 containing seven Delta Scuti variable stars.

This one took a few turns after I'd started working on it. I'd started with a few syncopated drum parts (Ableton's 64 Pad Kit Jazz), and thought there'd be a moody atmospheric thing happening. Then I picked up the Danelectro baritone, and a bassline came out that had some attitude to it. I put a few chords to it, and then the next basslines came out with a lot of swagger. So...out with the plan. I did several more passes with the baritone, mostly straight into the board, but then cut a few leads through the Balls Effects KWB and Vox Wah, finally adding a few more through the Reuss RF-01 (and Vox Wah), which come at the end.

Inline effects: Max Humanizer and Drum Buss on the drums. Some Glue Compressor on the baritone, with some Auto-Filter with drive on the cleaner chordal baritone parts.

Sends: Delay on drums, with two different convolution reverbs (one with high-pass auto-filter to prevent boominess) on the baritone.

Title comes from their being 75 uniform polyhedra, if you omit the infinite ones.

Kind of a lot going on this weekend, but I thought to make a trilogy of all-baritone pieces. So here's another.

Drums: Drum Rack of Ableton's Towel Kit, with Max Humanizer. Maybe the challenge here was simplifying the drums enough to work with the guitar.

Guitars: 2008 Danelectro Baritone, no effects. Some inline Auto-Filter and Glue Compressor on the left and right channels (with cabinet on one), and a bit of EQ-8 to roll off the bass.

Sends: one Echo, one Valhalla Supermassive, and one convolution reverb.

Title comes from the number of bits in the Arecibo message.

Another rather busy week and weekend, so this one came together in a few quick sessions: one to come up with some drum beats, one with Danelectro baritone guitar for all guitar parts (three tracks--bass, rhythm, lead), and one to arrange/mix.

Drums: Ableton Drum Rack, using the Towel Kit preset rack--there was a slightly dead thump to these that I liked. There's some Max Humanizer on the drums as well (30ms).

All guitars are Danelectro baritone. The bass got a little EQ-8 to roll off extreme lows, and the lead got some Glue Compressor to control dynamics.

Sends: one Echo, one convolution reverb, and one Valhalla Supermassive.

The title comes from there being several religious sites and traditions mentioning 72 temples. There's kind of a road-trip vibe to this one, I think.

A crowded weekend--I still tracked everything, but didn't get the pieces arranged until Monday evening. (The way the deadlines fall this year, that works out.) It's a short piece, a bit sloppy (trying to fiddle with latency settings here), but it has a pleasantness to it.

All Danelectro baritone guitar (the 1449 reissue from 2008) straight into the Focusrite A/D--two tracks of both pickups (lead and bass), one of just the bridge (rhythm). Drums: Ableton 64 Pad Kit Rock with Max Humanizer. Keys: Puremagnetik Mark Two Berlin.

Sends: one convolution reverb, one Echo (with LFO auto filter in front of it), Valhalla Supermassive. Multi-band full-chain on the output.

Title comes from 71 being the algebraic degree of Conway's constant, which describes a property of look-and-say sequences.