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Strange week for me; actually wrote a lot of music so ran out of gas a little for weekly beats. Did a back to basics approach with OPL1 (sine only 2-OP FM, 9 channels) and just starting vamping on some deep house and then decided to do some silly metric modulation to a swing sort of thing with weirder jazz chords. Hence the silly title of this track.

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megamix of some demo loops for ███, ███ ███ ███ █████████ ████████ ████ ████.

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Was traveling again this week but didn't get to grab any samples ._. had a ton of fun with friends though and was able to mess around with wavesynth in the airport and on the plane! (mostly just that intro eerie sounding bit which shows up again midway)

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Had about 4 sketches this week. I decided to submit the one that was most different for me. We’ve been doing lots of chaos. I am interested in the minimal rhythmic side of using these sounds as well. I had been wanting to use this ipad orchestra library again.

This was written in about 2 hours up until 20 minutes before the deadline.

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Something about 5 or "five"?

Or was it Se7en, or something?

...eh? ...Who knows?

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Thank you if you listen.

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It's another long one this week, because why should I make a song less than 6 minutes? And a noisy one, as it was clearly necessary.

Heavily inspired by a couple new acquisitions from Fairfield Circuitry, 20% More (a very nonsensical fuzz) and Conflict of Interest (envelope CV control that I was plugging into the 20% More). Both Pulsar 23 and Bass VI got run through that combo, and maybe it was too much, but probably also necessary.

Pads from Prophet 6, some more little bits and sequencing from Digitakt, and some more Bass VI that isn't 20% More.

I think this is one that I will look at in a couple weeks and either think "eh, a bit uninspired" or be very satisfied with. I am not sure which yet.

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Further spring cleaning of unfinished m8 projects.

This I started about a year ago.. maybe my 4th or 5th attempt at doing a track on the m8.

Initially I started this one with the intend to incorporate my diy samples, and to learn commands / automation.

I hated the resulting track but liked the timbres and basic groove, so this week I decided to salvage it.

Took the existing track as a template and changed all the voicing / chords / scale, then added a lot of new automation and tricks I learned since getting more accustomed with the device.

I recorded the m8 through some outboard stuff instead of rendering, and due to the automation at the end of the track, when it it looped back to the start again; it was completely mangled. I thought that was pretty neat so I let it roll, and lo and behold, at some point things got even weirder. I feel like I couldn't have hit pause at a better time, so I'm real proud about that. Some happy mistakes resulting in two noise sections to wrap things up! lolz

I kinda like it now, and I'm happy to be done with it

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This week included (as usual) an hour and a half of ambient improvisation, finalizing a collection of this year's Weekly Beats pieces so far, a Friday-evening ambient improvisation (not yet released), and (today) a rehearsal for a show in a couple weeks.

That seems like a lot when I type it out. So I had one tracking session Saturday evening for this, and on a whim selected the Kalamazoo KG-2, tuned D F# C# E F# A. (I still have to level those frets and swap out the too-level bridge, so I can approximate that 7 1/4" fretboard radius.) Apart from having to avoid certain parts of the fretboard, it worked reasonably well, after I tightened down the pickguard again.

This guitar lends itself to thrashing around, which leads to that channel of droning on open strings while I slide around a cluster of fretted notes. (I did, after all, use this guitar for a few Glenn Branca sessions back in the day, so thrashing is in its history.) Some of these rhythm parts got pretty long in tracking; I wasn't inclined to stop at the end of a measure.

There are three tracks of Kalamazoo: neck pickup on the left, bridge pickup on the right, both pickups in the center. I felt too lazy to patch in the Colourbox, so it's direct into the UA Volt, with the "vintage" tone circuit on. I didn't worry too much about overloading, since this A/D clips nicely. (I also used the usual send to a convolution reverb, and the usual compression/eq/limiting arrangement on the stereo mix.)

The results...seem pretty decent. I'm fond of that one section in the middle (~ 1:36), so let it go on a bit longer than some of the others. After uploading, I found a few places where before-the-bar note attacks were cut off in editing, and restored them. While I was at it, I boosted everything a dB, and mixed up the reverb send a bit. So now it's more correct.

This really does have a stronger rock feeling than I've used in the last few weeks. Maybe I'm overselling it here with this title, but Mount Overrocker's highest point is 644 m.

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There are some bits and bobs in here that I like, but it's very muddy sounding.

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