Another intuitively-structured one, this one began with a slow drum beat, and got interesting when I added long-persisting delay with filtering to it. I did a few different rhythms with Ableton's 64 Pad Kit Special drum rack, and added some handclaps, along with some Rhodes which I took out again.
Next up was Epiphone P-J bass, using the usual signal chain (EQ-8 for bass rolloff), though I'd also rolled down the tone control. I'd initially thought of rolling off highs...but changed my mind for this one, so the bass is close to typical.
Guitar was home-built Res-O-Glas through the Balls Effects KWB for a bit of overdrive, and Vox Wah for both tone shaping (rhythm track) and effect (lead track).
Sends: bandpass Auto-Filter with LFO frequency center into Ableton's Echo (analog triplet dub preset, tweaked to remove some noise), Valhalla supermassive on a large reverb preset, and high-pass Auto-Filter in front of a room-sized convolution reverb.
Inline: Bass got EQ-8, while drums got Max Humanizer. Guitars got some auto-pan to get them out of each other's way, though lead guitar also got some Glue Compressor. And I used that channel to do some reversed clips from time to time as well.
The editing/arrangement process involved a lot of cutting things out--I played more than I kept in. (This is even down to certain notes; it just sounded better with things left out.)
Title comes from *67 being the call-waiting-blocking code for a lot of telephone systems.
All in the box--drum racks, Impulse, Electric, Tension...and a lot of Auto-Filter wah on a lot--including a delay send channel with auto-filter on the front. (I'd recorded bass for this, but ended up replacing it with Tension Clavinet when the key changed.) It started as a dub thing, but got funkier, and I ended up applying wah to a lot of it. Busy week, so not a lot of time to devote to tracking, but I did spend some time in the evenings making variations to the drum line.
Whoops, didn't realize at first that our deadline was Saturday night. Here's one I'd been working on this week, out of the desire to hear a Laswell-dubbified Jesus-Lizard kind of thing. Not sure I got there, but it's an interesting direction. Drums: rock kit, some high-pass auto-filter on the kick to boost it, low-pass auto-filter with drive to roll off some overall highs and give it some grit, and I put 24ms of M4L Humanizer on there to give it a bit of breath. (Any more than that felt too slow and sloppy.)
Bass: 80s Epiphone P-J (P only) with flat wounds into the board, some Cabinet plugin to give it air, and a convolution reverb send.
Keys: Clavinet with LFO bandpass auto filter into delay for that hypnotic thing, and Operator (Funky Organ) to give some pad effect.
Guitar: two tracks of Epiphone Moderne through EHX LPB2ube (cranked, two sides cascaded) and Vox Wah for tone shaping.
Sends: two different convolution reverbs (one with a high-pass filter to keep the kick from getting boomy), and three different filter delay combos, some with simple delay, one with band-pass LFO auto-filter for the dubby drum effect.
Also, Full-Chain Master on the 2-mix.
Title is a reference to the Jesus Lizard.
(Edit: brought one of the guitar motives back in toward the middle and end.)