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A studio update
I'm working on the "last" song for the EP, which is to say the most recent thing I've written with this part of the Everything is Reversible project in mind. And I've just about got it now.
After scrapping all the work I'd done up until today and starting over. Not quite from scratch -- I'm using the same beats -- but close enough.
After I recorded a rhythm guitar track I flipped the tape over for the "lead" guitar track.
On playback, I decided to nix the rhythm guitar track and use the lead as the main music -- because it's FAR more interesting than what I'd come up with for the rhythm part. It's a pretty cool bit, I think. It's heavily covered by effects and -- get this shit -- I'm using an electric toothbrush for most of the string manipulation. There's no plectrum involved, I did all the picking with my index finger and thumb. And I'm currently sporting an adhesive strip on my thumb tip, so there's another "unique" little touch there. But most of it is the toothbrush, which reacts with the guitar pickups quite nicely, thank you. Dan can attest to this, having been here when I came up with the idea during that Space Panic! session a few weeks back.
Another cool thing -- just before I started recording the noise track, I noticed I had the tape speed dial rolled back to the slowest position. So, to further obscure the noise track, I rolled the dial into the fastest position before recording it. This worked out AMAZINGLY well for two reasons -- it rendered the track indecipherable, and it meant that I only needed about a minute and a half of noise to cover the three minutes of song.
I recorded a brand new vocal -- with fresh words -- but I think I'm going to either cut it completely or drown it in effects. I think I'd much rather pump the information into the listener subliminally. Trust me, it's all there in the "noise" track. Those of you with sound editing software and lots of free time on your hands can get to the root of what I'm saying -- provided, of course, that you're also capable of reading my mind.
This thing is abstract "like you read about," as my friend Jonathan Cooper used to say. I sincerely doubt anyone could figure out what I'm trying to say with this one -- which is fine by me.
By the by, it's called Reflex Point. The title's nicked from the third part of Robotech, the "New Generation" portion (my favorite) specifically.
I'm not QUITE done yet -- I've got two lines of TV dialogue to acquire before I call it a day -- but at last I can see the finish line, and IT FEELS GOOD.
After scrapping all the work I'd done up until today and starting over. Not quite from scratch -- I'm using the same beats -- but close enough.
After I recorded a rhythm guitar track I flipped the tape over for the "lead" guitar track.
On playback, I decided to nix the rhythm guitar track and use the lead as the main music -- because it's FAR more interesting than what I'd come up with for the rhythm part. It's a pretty cool bit, I think. It's heavily covered by effects and -- get this shit -- I'm using an electric toothbrush for most of the string manipulation. There's no plectrum involved, I did all the picking with my index finger and thumb. And I'm currently sporting an adhesive strip on my thumb tip, so there's another "unique" little touch there. But most of it is the toothbrush, which reacts with the guitar pickups quite nicely, thank you. Dan can attest to this, having been here when I came up with the idea during that Space Panic! session a few weeks back.
Another cool thing -- just before I started recording the noise track, I noticed I had the tape speed dial rolled back to the slowest position. So, to further obscure the noise track, I rolled the dial into the fastest position before recording it. This worked out AMAZINGLY well for two reasons -- it rendered the track indecipherable, and it meant that I only needed about a minute and a half of noise to cover the three minutes of song.
I recorded a brand new vocal -- with fresh words -- but I think I'm going to either cut it completely or drown it in effects. I think I'd much rather pump the information into the listener subliminally. Trust me, it's all there in the "noise" track. Those of you with sound editing software and lots of free time on your hands can get to the root of what I'm saying -- provided, of course, that you're also capable of reading my mind.
This thing is abstract "like you read about," as my friend Jonathan Cooper used to say. I sincerely doubt anyone could figure out what I'm trying to say with this one -- which is fine by me.
By the by, it's called Reflex Point. The title's nicked from the third part of Robotech, the "New Generation" portion (my favorite) specifically.
I'm not QUITE done yet -- I've got two lines of TV dialogue to acquire before I call it a day -- but at last I can see the finish line, and IT FEELS GOOD.
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