This was a busy week, involving weekend travel, and I still managed to find some time to work on the track. I began with the thought of filtered percussion, so set up a couple Drum Racks with Analog voices to synthesize the drums--one's low-pass filtered, while the other's high-pass. It needed a bit more, so I added another track of synthesized kick, and threw in yet another drum rack with brush-kit samples. There are two tracks of Operator for bass lines, another track of Operator for that grinding drone voice, a track of Simpler with grand piano (which goes through the Frequency Shifter to make it a bit less "oh, a piano"). I also added a track of Electric for that Rhodes thing.
It also happens that I picked up a guitar that I bought in early January, an Epiphone Moderne from 2000:
So I recorded some bits with that. Those went through Ableton's Amp plugin, mostly on variations of the "Blues" (Fender) preset. (It could use a bit of setup attention when I get home, and it's such an odd non-ergonomic body shape, but I'm digging it.)
An audio effects rack with two parallel processes: a narrow-band of auto-filter going into the Convolution Reverb Pro (Powerstation Berlin Bright impulse), and another narrow-band of auto-filter going into the Buffer Shuffler 2.0.
A send of EQ Eight (midrange hump) going into the Convolution Reverb Pro using the Harpole Cistern impulse.
One send of Filter Delay.
All MIDI channels got a bit of Humanizer for delay, and got L-R auto-pan plus volume auto-pan. Guitars got L-R auto-pan, all set to different frequencies and intensities.
Man, did all of this max out the processor. I tracked with the built-in Reverb, but subbed out the Convolution at the last moment for rendering. Screen redraws really hurt during the preview part of things, but the rendering went fine.
Title from the Little Bay de Noc, where I'm looking out at the frozen tip of Lake Michigan.
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