Still really busy, but here's a kind of a break chopping exercise to get back up to speed on the MPC2000xl, with some other samples thrown on top but not really a complete thing. Mixed quickly through an old Mackie Micromix.
Another really busy week, so I only had time to do a sort of ambient/drone treatment of an excerpt of the recording of the show the duo I'm in played last Tuesday. Two parallel chains of mostly low end hardware effects (some underclocked) plus a bit of Airwindows MV, also in parallel.
Credit to the other half of the duo for the polysynth stuff; I was playing guitar, x0xb0x and drum machine. The dry recording (which is almost completely absent here, this is pretty much 100% wet, live tweaked effects chains) is from the most abstract part of the set.
Thanks to THawkins for hooking me up with the Boss CE-300, without which this would have been impossible, for better or worse.
Too busy for sound design this week, so this is 100% Roland MT-32 factory sounds, sequenced in Renoise and recorded straight to tape through a BBE Sonic Maximizer (for bass boost only) and a Behringer MDX-2100 compressor.
Maximum use of slap bass.
Pretty short on time this week, so I had to go for the obvious fall-back: a sort of directionless, minimal acid improv. Tanzmaus, x0xb0x and a little SP-303, with a couple of echo pedals. Recorded on a Portastudio and mixed to 1/4" tape.
Takes a couple minutes to get going.
All sounds made from a hydrophone recording of Weddell seal calls under the ice in Antarctica in 1979:
Yamaha TG33 (original patches only) + a few big chains of pedals and rack effects of dubious reputation.
Built around a chopped up sample of ambient sound effects from Dungeon Keeper (DOS).
Submitting early since I have to work all weekend.
Minimal drone/glitch recorded live to stereo with no editing or processing.
EHX Freeze
Digitech MIDI Vocalist
Akai MFC-42
DOD R-825 compressor/de-esser
Ibanez AD-202
Behringer Virtualizer Pro
Cross-feedback between two mixers
Full blown space rock, with apologies to Dave Brock for biting his guitar riffs.
My ears were pretty shot by the time I mixed this, listening back to it now I think the bass and kick are too deep to translate well and compete with each other too much, but over all I'm OK with it. Not like I can hear anything down there on my monitors anyhow.
Mostly overdubbed in Reaper in single long takes, with a little bit of step sequencing in obvious parts. I'm also not a drummer even when I'm not dealing with interface latency so I had to tighten up the timing of the drums (which are a sort of haphazardly cobbled together early 90s electronic drum kit made from some free triggers a friend traded to me, a kick pedal someone left in my parents' basement when I was in high school, and the cheapest old Yamaha drum brain I could find on eBay) but I tried to keep them as loose as I could get away with, mostly just moving everything back a few ticks to keep it on the grid, and fixing a few late snare hits; the kick was programmed separately on a DR-110 and doubled as a click track.
Resubmitting so I won't be a week out of sync all year, because I missed the first deadline by a couple hours and didn't notice.
