Kind of like last week's, this week's tempo was all over the place before I tracked guitar and bass. Finally it seemed like uptempo dub, so here we are. Percussion is the 64-pad Jazz Drum Rack, 64-pad Dub Techno kit, Impulse of some hand drums I have, and hand claps. Keys are Puremagnetik Mark I Rhodes, Drawbar, and CP-70. Guitars: baglama-tuned Heit Deluxe for clean-ish rhythm, and Epiphone Moderne (Reuss RF-01 Fuzz and Vox Wah). Bass is the usual Epiphone P-J (with EQ8 to roll off lows).
Sends: auto-filter to roll off lows before a convolution reverb (marble foyer), and two Echo channels, one Dub Syndicate with high-pass, and one Analog Triplet with an LFO-bandpass filter in front. Full-chain master on everything, and auto-pan on the keys and percussion.
I submitted this, and then listening back...didn't like the lower mids. Here's a corrected mix (still on Sunday!)
Title from the use of erbium in lasers..
This week's track started much differently--at 117bpm. I had some interesting drum patterns going on, but couldn't find a way into them. Guitar and keyboard lines weren't all that interesting. So I took a radical step on Saturday and cranked the bpm down to 68--ah, now it's a dub track. OK. Then I could finish it.
Instruments: Drum Rack of 64-pad single hit jazz kit samples, Drum Rack of Dub Techno single hits, Impulse of hand claps, Operator with pitch mod (sort of a cuíca effect), Puremagnetik CP-70 ("Lite" preset), Epiphone P-J bass (EQ-8 to roll off lows), and Epiphone Moderne (through Balls Effects KWB and Vox Wah) for guitar. At the last minute, I remembered to put Drum Buss on the drums. (Oops.)
Sends: two channels of Echo (Dark Fade and Dub Syndicate presets), and one empty-swimming-pool convolution reverb. Full-chain master on the out.
Title from the use of this week's element, Holmium, an atom of which was used by IBM a couple years back to store one bit of data.
Not feeling particularly well most of the week, so the fundamentals of the track didn't emerge until late in the week, with some simple drum parts, and bass. Initially I went for a sparse post-rock thing, but threw that all out when I reduced the drums to the simplest patterns, and re-built them as something I could reasonably play dubby bass against. (Two tracks of bass--one with cabinet plugin, and one with auto-filter and distortion, both side-chained against the kick) Having been listening to some Laswell projects, I put tables on there as well, and Ableton's Behr stringed instrument. As a last-minute addition, I tracked a bunch of guitar (Res-O through Vox Wah, into band-pass auto-filter), and played a lot with automating sends (one to a convolution reverb, one to LFO band-pass auto-filter into filter delay). M4L Humanizer on the drums and tabla, and full-chain master on the 2-mix.
Title from the wikipedia entry on the number 14:
Take a set of real numbers and apply the closure and complement operations to it in any possible sequence. At most 14 distinct sets can be generated in this way. This holds even if the reals are replaced by a more general topological space. See Kuratowski's closure-complement problem.