I was thinking a bit about the work of Charalambides--the idea of two guitars with delay working up some fuzzy ambience. In tracking, though, I found it going in a more clearly defined chordal and less loosely-timed direction.
This one's just five tracks of PureSalem Mendiola through Balls Effects KWB, with different amounts of gain. There are two convolution reverbs: one "experimental" ABLCR Timelapse, and one more conventional large hall. The stereo output went through Wide&Warm compression/EQ.
The title is from a method of verifying Messier's recorded position for M91.
Very busy week including travel to the spatial audio workshop at RPI, so this is a quick little improv with Max/MSP. [cycle~] into the pitch/delay/pan/degrade network, a bit of convolution reverb, and Full-Chain Master in Live.
Title from the use of this week's element thallium in photoresistors.
Job-search stuff took up a lot of attention and energy this week, but I did carve out a bit of time to throw some drums together--Ableton's 32-pad jazz kit and their 64-pad Dub Techno kit, in the parts you hear in the middle section. Saturday night, I added some rhythm patterns (for beginning and end) and Epiphone Moderne with the output going only to a convolution reverb (with the Dan Harpole Cistern impulse). Then I added some sparse lead lines in another channel, and finally put down some Epiphone bass.
Sends: cistern convolution reverb, and one studio-sized convolution reverb, along with a tweaked Echo plugin. Auto-pan on the Dub Techno kit and guitars, and automation on the jazz kit for hitting the echo at the ends of phrases. Full-chain Master on the mix buss.
Title from the French name for the precipitate of barium sulfate, since barium (atomic number 56) is this week's element.
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.)