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Didn't really get in the flow this time, it shows :/

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Hi gang!

Just a little reminder to be gentle with yourself. :)

cheers <3

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This week I've got a simple techno lead driven d&b roller for everyone. The title is derivative of a bad week at work. I also considered naming this "Model 499" in honor of Juan Atkins' passing, but couldn't put anything I did on that level.

Lead synths are out of one of those gforce OB Oberheim things. I also have a dynamic pad in the second half from the recent update to Massive. The arp is out of gforce SEM. I'm not sold on that arp element here but I couldn't find anything more interesting that kept the right tone and timing. 

For the beat I lazily layered a sample pack kick and the supreme/versatile extension break out of Ed Solo's classic breaks sample pack. I need to put a lot more work into the beats on this. They are kind of lifeless so far.

The vocal I dug out of Seba's Painted Skies samples.  He gave those away long ago for his remix challenge.

The bass is three separate dips into sample pack one shots. I'm still shit at basslines.

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Inspired by my family’s adventures in potty training.

Featuring:

My two year old son.

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Some quick death metal on the very odd fender Machete Head, its a weird amp, somedays I cant get a sound, the next day it sounds fantastic. I think its just very susceptible to pickups etc but happy with todays sound at least.

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This week has been a bit insane so today we have some more ambient speedtrash. I could see it being background noise for a deep space horror movie, maybe.

I took advantage of black friday sales and fully upgraded my FL Studio so now I have a lot more virtual synths to experiment with, this one is Sakura.

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Here's a weird one. I'd started with a fingerpicking pattern that required a finger-reset at the end of the phrase that I couldn't make in time, so I left a rest in. It turned out to be in 6/4, but the rest didn't sound right, and I couldn't make it work with the rhythm I had in mind...which presented as 5/4. So...out went the first version of that pattern, and in with 5/4. (A slight change to the left-hand fingering and dropping a couple notes made it work.)

Then I had the problem of making this rhythm work throughout. There are multiple chord changes and chordal patterns here, but the chugging-bouncing rhythm became something of a gravitational center, and any attempt at departing from it just didn't work. So this one chugs and bounces along in 5/4 as a waltz plus a two-beat.

Three tracks of PureSalem Mendiola, with both pickups on the left, bridge on the right, and neck pickup in the center. The both- and bridge-pickup channels got the vintage circuit of the UA Volt, but I'm not convinced this was a good approach: there are moments of clipping that sound harsher than I'd like. In retrospect, it would have been better to have the vintage circuit off and just overload the input a bit.

There's the usual convolution reverb send from these channels (but a smaller wooden-room impulse), and the usual compression/eq/limiting on the stereo.

The title comes from a hill in Scotland with an elevation of 671 m. There were other possibilities, but I mean...come on: Cat Law.

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This one is is about the leverage of the signal follower. The drum kit is ducked by the signal follower, which is following the synth. 

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I was trying out different chord progressions with a new synth and fell in love with this one. The combo felt very different to me. To liven it up I added some drums and other synth bits to the end.

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Made with VCV Rack

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