A newer track, studio improv as usual. Which, to people who aren't familiar with the process, is non-rehearsed, non-scripted passages, recorded one at a time (since I do not have six arms). Either the track works or it doesn't - I accept flaws and move on, or I scrap the entire thing.
Composition:
- two clean tracks, Fender Mustang (very soft pan, left/right split) to Fender Hot Rod Deluxe.
- distorted/fuzz track, hard left: MXR Blue Box (2 octave down fuzz) into Boss GL-100 "Guitar Driver" rackmount preamp. Digitech Timebender analog delay on the verge of self-oscilating for effect. Adds a nice low-end splatter and crackle and ambience to fill out the scene.
- distorted warble, hard right: Devi Ever Soda Meiser cranked, into Boss GL-100 again. Adds cracking transistor warble with an overdefined tape saturation-style low end.
- fuzz background, center pan. Boss GL-100 "HM-2 setting" into Devi Ever Soda Meiser. Adds just the right amount of texture to the process.
Mix together lightly, and there's an audio headache (literally) - the central genesis of an idea, under siege from everything else - the outside world, the pain, the passing of the moment. Some of these things may be beautiful in their own right, but the integrated whole is one of dis-ease and moment-to-moment being.
ready to come home now by rfurtkamp
Observations from the six by eight studio cell on wierd music, recording, and what makes noise worth doing.
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