Lately, I have been generating more material and experimenting with different approaches to constructing the form of my drafts. All three of the samples here are the products of slightly different approaches.
This post also marks the first collection of sounds produced with my new interface, the Steinberg UR44: certainly a huge improvement over my outmoded Tapco Link.USB. Aside from the superior preamps, it offers more inputs and four line outs, which will be important when I reach the stage that I am mixing for quadraphonic diffusion.
Here is an excerpt from an improvisation using multiple high-feedback harmonizer/delay effects, and my attempt at approaching the often assigned task of composing the essence of cracked out monkeys. The approach was to record a few takes of the dry signal, and two distinct effected channels, picking the best one, and essentially cropping a mix down of the tracks around the inevitable golden section.
Here I plotted out in Ableton’s arrangement view alternating sections, where I had clearly allocated portions of time for one flavor of processing (controlled by automation) and performance technique on the guitar. Controlling the sections and their duration was an impromptu piece of prose that I typed up, believing that if I apply my ability to form ideas with English to my construction of musical form (something I struggle with), I could make more endearing music. I’m pretty sure this was a misapplication at this stage, because it was a lot of work for a relatively small amount of music. Perhaps the approach can help me out with finishing this work, though.
Here Is a kind of hybrid of the above approaches, where I overdubbed affected string scrapes in a separate track over quasi-serial improvisations through a beat repeater.